Ukrainian Traditional Embroidery in Clothes of the 50s of the Twentieth Century

The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.

X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

Dating the wood from historical art objects is a crucial step to ascertain their production time, and support or refute attribution to an artist or a workshop. Dendrochronology is commonly used for this purpose but requires access to the tree-ring pattern in the wood, which can be hindered by preparatory layers, polychromy, wax, or integrated frames. Here we implemented non-invasive dendrochronology based on X-ray computed tomography (CT) to examine a painting on panel attributed to Rubens’ studio and its presumed dating around 1636 CE. The CT images achieved a resolution of 37.3 micron and revealed a double panelling, which was concealed by oak strips covering all four edges. The back (visible) board is made of deciduous oak (Quercus subg. Quercus), the most common type of wood used in 17th-century Netherlandish workshops, and was dated terminus post quem after 1557 CE. However, the front (original) board used for the painting has been identified through examination of the wood anatomy as a tropical wood, probably Swietenia sp., a species seldom used in Netherlandish paintings, and remains undated. Its very presence attests the global character of 17th-century trade, and demonstrates the use of exotic species in Flemish studios. The date of the oak board refutes previous results and suggests that this board was trimmed to meet the size of the tropical one, having been glued to it for conservation purposes or with deceiving intentions to pretend that the painting was made on an oak panel. These revelations have opened new lines of art historical inquiry and highlight the potential of X-ray CT as a powerful tool for non-invasive study of historical art objects to retrieve their full history.

Introduction: Divided by Death? Staging Mortality in the Early Modern Low Countries

This special issue examines the multifaceted phenomenon of death in the early modern Low Countries. When war, revolt, and disease ravaged the Netherlands, the experience of death came to be increasingly materialised in vanitas art, funeral sermons, ars moriendi prints, mourning poetry, deathbed psalms, memento mori pendants, grave monuments, épitaphiers, and commemoration masses. This collection of interdisciplinary essays brings historical, art historical, and literary perspectives to bear on the complex cultural and anthropological dimensions of death in past societies. It argues that the sensing and staging of mortality reconfigured confessional and political repertoires, alternately making and breaking communities in the delta of Rhine, Meuse, and Scheldt. As such, death’s ‘omnipresence’ within the context of ongoing war and religious polarization contributed to the confessional and political reconfiguration of the early modern Low Countries.

INTERTEXTUALITY REALIZATION IN SARI MATUA CEREMONY

ABSTRACTThis study aims to describe the realization of intertextuality occurences in sari matua ceremony. This research is conducted qualitatively by applying technique analysis of Bazerman. The data are utterances which delivered by the speakers in the ceremony and transcribed into transcription. Sari Matua is one kind of death ceremony in batak toba culture and has been studied in other particular field of study. In this study, intertextuality occurrence are studied on oral discourse in Sari matua batak toba ceremony. Sari matua batak toba ceremony consisted of two sessions which are Martonggo Raja and main ceremony and this study focuses on these two sessions. The result of this study shows that there were 50 specific data found from 82 specific data which included kinds of intertextuality namely qutotation, reference, and allusion. The realization of intertextuality occurences in sari matua Batak Toba ceremony is realized by some elements of intertextuality itself. The realization Quotation is identified through the presence of lexical expressions such as mandok, manungkun, hatahononku, di dok, pinasihat. Reference is identified by seeing clause which reflected to, re-contextualized to dan re-accentuated to. Allusion is identified by clause complex which referring the text to literature, historical art, story, person even place. The intertextuality occurences realized in sari matua Batak Toba ceremony because the text which quoted, referred to and alluded to from the past time can be reflected in ourlives in the present time. Key words: Intertextuality, Oral Discourse, Batak Toba Ceremony, Sari Matua

The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting

Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.