scholarly journals Мереживо і в'язання у декорі бойківського вбрання: Етнолокальні та художні особливості

2021 ◽  
pp. 101-113
Author(s):  
О. Р. Козакевич
Keyword(s):  
Systematic Approach ◽  
Research Subject ◽  
Museum Collections ◽  
Textile Production ◽  
Distinctive Features ◽  
Carpathian Region ◽  
Historical Factors ◽  
Garment And Textile ◽  
Technological Methods ◽  
Made In

Local and artistic features of Boiko`s region traditional clothing décor are studied. The attention is given to lace and knit decor, which gave the clothing components a unique and often was the artistic accent in Boiko`s clothing complexes. The methodological basis of the study is the principle of systematic approach and comprehensive research. The comparative-historical and typological methods were used for the study research subject. The analysis of lace and knit décor was done using the art study method. The main typological groups and items` types formed under the influence of ethno-cultural and historical factors were determined in the Boiko`s region based on artifacts from museum collections, field studios and scientific sources. The décor manufacturing textile techniques and technological methods are outlined, with pointed of common and distinctive features in comparison with folk clothing of the Carpathian region`s other ethnographic groups. Artistic and stylistic characteristics of knitting and lace are analyzed, taking into account the interplay of neighboring ethnicities cultures and border features. It is studied out that the lace décor was mostly common in female headwear, the waist wear and shirts. Sprang, lace, crocheting weaving techniques as well as other technological methods were used in the manufacturing lace adornments. Knitting, crocheting and weaving “on the laba” were used for gloves, “narakvytsias”, and socks-stockings manufacturing. In folk clothing Boikos applied weaving belts which were made in technique “on the wall”. This kind of belts also were used in Hutsul`s region – mainly on the Hutsul-Pokuttia border and were not common in Boikos. According to the artistic and stylistic features, it is possible to single out female coifs with lace bottoms, openwork ornaments on female shirts of Transcarpathian Boiko`s region, decoration low edges of aprons (“zapaskas”) with fringes using macramé. However, the ethno-local and artistic characteristic of lace and knitting within single centers were differed in their unique features. Scientific novelty consists in the introduction into the scientific circulation of materials about Boiko`s folk clothing. The focus is on the lace and knit décor that reveals the artistic diversity of Boiko`s region clothing art. The study allows expanding the knowledge of Boiko`s traditional garment and textile production, in particular, about the centers of manufacturing some types of clothing with openwork and knitting. This contributes to use the receives information in the further study of Boiko`s region traditional clothing.

scholarly journals МЕРЕЖИВО І В’ЯЗАННЯ У ДЕКОРІ ЛЕМКІВСЬКОГО ВБРАННЯ: ЕТНОЛОКАЛЬНІ ТА ХУДОЖНІ ОСОБЛИВОСТІ

2020 ◽  
pp. 115-128
Author(s):  
О. Р. Козакевич
Keyword(s):  
Systematic Approach ◽  
Practical Significance ◽  
Research Subject ◽  
Museum Collections ◽  
Textile Production ◽  
Distinctive Features ◽  
Methodological Basis ◽  
Carpathian Region ◽  
Historical Factors ◽  
Technological Methods

Local  and  art  features  of  Lemko`s region  traditional  clothing  décor  are  studied. The  attention  is  given  to  lace  and  knit  décor, which gave the clothing components a unique and  often  was  the  artistic  accent  in  Lemko clothing complexes.  Methodology.  The  methodological  basis  of the  study  is  the  principle  of  systematic approach  and  comprehensive  research.  The comparative-historical  and  typological methods  was  used  for  study  the  research subject. The analysis of lace and knit décor was done using the art study method. Results.  The  main  typological  groups  and items`  types  formed  under  the  influence  of ethno-cultural  and  historical  factors  were determined  based  on  artifacts  from  museum collections, field studios and scientific sources. The  décor  made  textile  techniques  and technological  methods  are  outlined,  with pointed of common and distinctive features in comparison  with  folk  clothing  of  the Carpathian  region`s  other  ethnographic groups.  Artistic  and  stylistic  characteristics  of knitting  and  lace  are  analyzed,  taking  into account  the  interplay  of  neighbouring ethnicities cultures and border features. It  is  studied  out  that  the  lace  was  common  infemale  clothing  in  the  production  of  the headwear,  the  waist  wear  and  shirts.  Knitting items  in  male  clothing  mainly  in  the  south-western  Lemko`s  territories  were  used.  There were  naracvytsias,  mittens,  socks,  locally  were used knitting hats “megerka” and scarves. In the creation  of  lace  and  knit  items  they  used common  techniques  and  technical  methods peculiar  to  Hutsul`s  and  Boiko`s  regions: knitting, crocheting gloves “on the laba”, “on the board”. Instead, the embroidery methods called “English hapt” with “cut out’ was typical only for the Lemko`s, mainly central-western, territories. Scientific novelty consists in the introduction into the scientific circulation of materials about Lemko  folk  clothing.  The  focus  is  on  the  lace and knit décor that reveals the artistic diversity of Lemko`s region clothing art. Practical  significance.  The  study  allows expanding the knowledge of Lemko traditional clothing  and  textile  production,  in  particular, about  the  centers  of  made  some  types  of clothing  with  openwork  and  knitting.  This contributes  to  use  the  receives  information  in the further study of Lemko`s region traditional clothing.

The Coming of the Drawloom: A Chapter in the Technological Transmission between Iran and India

2021 ◽  
Vol 8 (1) ◽  
pp. 33-46
Author(s):  
Ishrat Alam
Keyword(s):  
Thirteenth Century ◽  
History Of Technology ◽  
Textile Production ◽  
Important Place ◽  
Simple Mechanism ◽  
History Of ◽  
Complex Forms ◽  
Technological Transmission ◽  
Made In

In the history of technology, the loom has come to occupy an important place. While the horizontal handloom has a comparatively simple mechanism, this is not true of the vertical drawloom, which through centuries has developed complex forms. The question of the latter’s presence in India in early times has aroused some controversy. The case is made in this article that it arrived in the thirteenth century from Iran but failed to supplant the handloom in most areas of textile production, except for carpet weaving, mainly in Kashmir.

SOLVING SPATIAL CONSTRAINTS WITH GLOBAL DISTANCE COORDINATE SYSTEM

2006 ◽  
Vol 16 (05n06) ◽  
pp. 533-547 ◽  
Author(s):  
LU YANG
Keyword(s):  
Coordinate System ◽  
Systematic Approach ◽  
Distance Geometry ◽  
Spatial Constraints ◽  
Constraint Equations ◽  
System A ◽  
Short Program ◽  
Complete Set ◽  
Point Line ◽  
Made In

A systematic approach making use of distance geometry to solve spatial constraints is introduced. We demonstrate how to create the constraint equations by means of a relevant distance coordinate system. A short program is made (in Maple) which implements the algorithm producing automatically a complete set of constraint equations for a given point-plane configuration. The point-line-plane configurations are converted into point-plane ones beforehand.

Making and Trading Dress and Décor in Seventeenth-century Scotland

2021 ◽  
Vol 100 (3) ◽  
pp. 419-436
Author(s):  
T. C. Smout
Keyword(s):  
Seventeenth Century ◽  
Comparative Advantage ◽  
Low Cost ◽  
Wide Distribution ◽  
Economic Stress ◽  
Textile Production ◽  
Limited Impact ◽  
The Social ◽  
Rural Wages ◽  
Made In

In seventeenth-century Scotland textiles were made in most districts and marketed widely at home and overseas. Woollens and linens, yarn, cloth, bonnets and stockings, with clear regional specialisations, were manufactured, but they were all of low cost and quality. Comparative advantage came from low rural wages. The wide distribution and character of textile production in the seventeenth century proved of great importance for post-Union success. Among imports the variety and social spread of luxury widened and deepened, though demand was restricted to the upper classes and the middling orders in Edinburgh and other large burghs. The seventeenth century, especially the second half, was a time of widening consumption of exotic articles such as tobacco, sugar and coffee among consumables, Asian silks and cottons (and their imitations) as articles of dress, and wall-hangings and pictures as décor. The social anxiety and economic stress this engendered gave rise to sumptuary laws like that of 1681. These had limited impact, though imports remained sensitive to tariffs. The letters of Andrew Russell, a merchant resident in Rotterdam between 1668 and 1697, demonstrate how this trade was carried out in both directions, and how the market responded to governmental attempts at control.

Towards an Integrated Theology of Youth

2021 ◽  
pp. 1-21
Author(s):  
Graham D. Stanton
Keyword(s):  
Young People ◽  
Distinctive Features ◽  
Social Agents ◽  
Prophetic Voice ◽  
Theological Perspective ◽  
God's Image ◽  
Made In

Abstract This article summarises eight theological perspectives on youth and young people. Young people are variously seen as (1) sinful creatures in need of redemption; (2) gifts of God and sources of joy; (3) developing beings in need of guidance and instruction; (4) open to conversion; (5) vulnerable to exploitation; (6) fully human, made in God’s image; (7) a prophetic presence; and (8) a prophetic voice. Rather than simply affirm all 8 perspectives as important, an integrated theological perspective on youth views young people within the distinctive features of their created reality, with particular strengths and assets along with distinct needs and deficits, to be fully capable as bearers of the divine image, and with emerging capability as social agents.

PARASITES OF NYMPHAL AND ADULT GRASSHOPPERS (ORTHOPTERA: ACRIDIDAE) IN WESTERN CANADA

1958 ◽  
Vol 36 (2) ◽  
pp. 217-262 ◽  
Author(s):  
R. W. Smith
Keyword(s):  
Life Histories ◽  
Seasonal Occurrence ◽  
Western Canada ◽  
Laboratory Studies ◽  
Distinctive Features ◽  
Economic Significance ◽  
Made In

The taxonomy, distinctive features, life histories, seasonal occurrence, incidence of parasitism in different hosts and at different times, and the economic significance of 23 species of primary parasites of grasshoppers are described. Three species of hyperparasites are similarly discussed. The information is based on field collections made in Western Canada in 1938 to 1953 and on laboratory studies at Belleville in 1939 to 1955.

COST-EFFECTIVENESS ANALYSIS: CAN WE REDUCE VARIABILITY IN COSTING METHODS?

2003 ◽  
Vol 19 (2) ◽  
pp. 407-420 ◽  
Author(s):  
Taghreed Adam ◽  
David B. Evans ◽  
Marc A. Koopmanschap
Keyword(s):  
Cost Effectiveness ◽  
Systematic Approach ◽  
Methodological Issue ◽  
Cost Effectiveness Analysis ◽  
Economic Evaluations ◽  
Policy Makers ◽  
The Third ◽  
Effectiveness Analysis ◽  
Sources Of Variation ◽  
Made In

Objectives: The need for consistency and standardization of methods for economic appraisals has been recognized for some time and has led to the development of several sets of guidelines for economic evaluations and for costs. Despite this, considerable diversity is still apparent in applied studies. Some of these diversities might be defensible, and some might not. The objectives of this study are to explore sources of variations in the methods used in applied studies and to discuss the nature of these variations and the possibility of reducing some of them.Methods: We first use a systematic approach to identify the major sources of variation in costing methods used in applied economic evaluations. We then compare the methods used with the recommendations made in available guidelines.Results: Four possible sources of variation are identified. The first is where guidelines do not agree in their recommendations; therefore, it is not surprising that applied studies use different methods. The second is where guidelines agree in principle but provide little detail on how to comply with their recommendations; and the third is where a particular methodological issue is not discussed in guidelines. The fourth reason is simply lack of compliance with accepted guidelines.Conclusions: Variability in costing methods used in applied studies raises questions about the validity of their results and makes it difficult to compare the results of different studies. We discuss the implications for the transferability and generalizability of results and suggest ways to minimize the variability in the methods so that the results of costing studies and economic evaluations can be of more value to policy-makers.

scholarly journals CLASSIFICATION OF THE OLBIAN COINS OF THE SECOND HALF OF THE 4TH CENTURY BC.

2021 ◽  
pp. 45-58
Author(s):  
Yevhen Kolesnichenko
Keyword(s):  
Research Methodology ◽  
Systematic Approach ◽  
Complete Classification ◽  
Museum Collections ◽  
Scientific Methods ◽  
Monetary System ◽  
New Varieties ◽  
General Scientific ◽  
Private Collections

Since the beginning of the XXI century, the amount of available for the researchers numismatic material has increased significantly, so introducing a new types of coins into the scientific circulation has become an especially relevant in modern numismatics, even when the archaeological context of most of these finds is almost lost. The study of ancient numismatics of Olbia is rapidly gaining in modern Ukraine. At the beginning of the XX century, ancient numismatics already had some significant achievements, but the accumulated material required urgent cataloging and systematization. During last 10 years since the publication of the most important and thorough catalog of ancient coins by Vladlen Opanasovich Anokhin, as well as the results of cataloging Olbia coins by other researchers - Valery Nechitaylo and Grigory Makandarov, numismatics has been enriched by new previously unknown coin types. The aim of the study. The main purpose of the article is to introduce into the scientific circulation new varieties of Olbia coins and to compile the most complete classification of Olbia coins of the IV century BC. Research methodology. In the process of scientific elaboration of the topic general scientific methods were used: analytical, chronological, and topographical, as well as source methods: critical, metrological and iconographic. A systematic approach to the processing of modern finds from private collections and access to the collections of foreign museums was the impetus for writing an expanded classification work. The scientific novelty. The value of the processed materials is that they not only complement this group of coins, but also refine previously published types in unsatisfactory condition, where incorrect reading of the names and trinkets has led to inaccuracies. The Conclusions. The so-called «obol series» covers the period of the Olbia minting around 350-330 BC. The monetary system consists of four denominations: obol (on the coin field depicts Demeter and the eagle on the dolphin), dikhalk (on the coin field depicts Demeter and the eagle on the dolphin), hulk (on the coin field depicts Demeter and the ear, dolphin) and hemihalk (depicts Demeter and dolphin). The die analysis allowed to divide the coins of Olbia of the IV century BC senior denomination for two stylistic groups. According to the results of our own research, we were able to determine the following number of varieties of each of these denominations: obols – 24 types, dikhalks - 6 types, hulks - 6 types, hemihalks - 2 types. We see the prospect of further research in the introduction into scientific circulation of new previously undiscovered varieties of Olbian coins from little-studied sources - materials of museum collections in Ukraine and abroad, among numismatic rarities sold at numismatic auctions and private collections.

scholarly journals Expertise and the formation of university museum collections

1970 ◽  
pp. 95
Author(s):  
Terje Brattli ◽  
Morten Steffensen
Keyword(s):  
Empirical Study ◽  
Analytical Approach ◽  
Second Phase ◽  
Museum Collection ◽  
Museum Collections ◽  
Work In Progress ◽  
University Museum ◽  
The University ◽  
Made In

This text is a project presentation of work in progress. The objective is to introduce an alternative analytical approach to university museum collections as a phenomenon. This endeavour has been motivated by our experiences of the dynamic and multiple practices and versions of collections by these museums, rather than of the collections as static and uniform. Based on an approach inspired by ontological politics, we analyse the university museum collection as a result of different enactments rather than as a homogeneous entity that either just is, either passively observed or strategically and/or competitively constructed. These theoretical reflections, in addition to observations made in an initial empirical study of practices at a university museum, indicate the need to acknowledge the coexistence of several parallel versions of the university museum collection as expertise performance. This allows for the understanding of the university museum collection as multiple, and the second phase of this project will consist of analysis of relationships between various simultaneous practices and versions.

scholarly journals Keeping the milk grace: Birch bark objects from the collection of the National Fine Arts Museum of the Republic of Sakha (Yakutia)

2019 ◽  
Author(s):  
Ася Львовна Габышева
Keyword(s):  
Fine Arts ◽  
Birch Bark ◽  
Sacred Tree ◽  
Early 21St Century ◽  
Artistic Style ◽  
Traditional Course ◽  
The Republic ◽  
Technological Methods ◽  
Selection Of ◽  
Made In

Берестяные изделия в собрании Национального художественного музея Республики Саха (Якутия), выполненные в соответствии с канонами и художественным стилем, яркий показатель материальной и духовной культуры якутов. В статье представлена типология берестяных изделий из коллекции музея по способу изготовления и декору, дан анализ техники, комплекса выразительных средств и их символического значения. По якутским поверьям береза была священным деревом божеств Верхнего мира, она защищала человека от действий темных сил и болезней. Изделия из бересты помимо утилитарных целей имели важное культовое значение. В берестяных изделиях XX начала XXI века сохраняется архаичная стилистика и техника, демонстрируя нераздельность старого и нового. Каждая мастерица, выражая одухотворенное отношение к природе, обращается к огромному культурному пласту, используя многовековой отбор форм, орнаментики, технологических приемов, которые хранят в себе большие возможности. Бесконечно возрождающийся во множестве творческих вариантов, этот феномен демонстрирует единство в традиционном русле якутской пластики. In the collection of the National Fine Arts Museum of the Republic of Sakha (Yakuita), birch bark items, made in accordance with the canons and artistic style, are a bright indicator of the material and spiritual culture of the Yakuts. The article presents the typology of birch bark objects from the Museums collection by the method of manufacturing and decoration, analyzes the technique, the complex of expressive means and their symbolic meaning. According to Yakut beliefs, birch was a sacred tree of the deities of the Upper World, protecting a person from the actions of dark forces and diseases. Therefore, the objects of birch bark, in addition to utilitarian purposes, had important cult significance, an eternal meaning. Archaic style and technique are preserved in birch bark objects of the 20th early 21st century, demonstrating the indivisibility of the old and the new. Each craftswoman, expressing a spiritual attitude towards nature, turns to a huge cultural stratum, using the centuriesold selection of forms, ornaments, and technological methods that keep endless possibilities. Infinitely reviving in a variety of creative options, this phenomenon demonstrates unity in the traditional course of the Yakut plastics.

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