Costume (Art History)

The kimono revival in contemporary Japanese society seems to be pertinent and of high actuality given the multiple articles on the topic in the press and even books; however, it is far from being the first one. Therefore, the study starts with the reconstruction and comparison of previous revivals in Japanese history since the beginning of the Meiji period (1868–2010). In addressing political, social and economic aspects as well the author highlights the way in which nationalist tendencies and international conflicts equally provided impulses for the multifaceted phenomenon of kimono revivals at different moments in history. In the core of the study, based on ethnographic fashion research, Oly Mayela Firsching-Tovar sets out for the first time to analyze the multifaceted aspects of the contemporary kimono revival. Thus, in elucidating the connection between the beginning of the most recent trend and recycled kimono, she shows how in this revival kimono has become part of “casual wear,” as a commodity ready to be consumed in multiple ways. But the commoditization of the kimono was not itself enough to bring about the third kimono revival: this also required the commoditization of history by turning it into nostalgia—especially in the context of tourism in Japan, where historic sites and key events were re-created as stages for the performing of the dressed body in kimono, targeting female and male consumers alike.

The aim of this study is to collect evidence for textile recycling from a prehistoric and historic perspective. The basis are original textile finds and not, as might be expected, written or pictorial sources. The material presented here focuses on archaeological finds, especially on prehistoric to early medieval evidence from Central Europe, also mentioning some interesting examples from medieval and Early Modern times.
This is not a comprehensive study of all possible secondary uses of textiles, but it shall demonstrate different interesting case studies such as re-use and recycling of garments with examples from Bronze Age till early modern period. We also learn from Early Medieval evidence that textile rags have been employed for production processes e.g. of ceramic vessels, clay figurines or for thin bronze objects. In the salt-mines Hallstatt and Dürrnberg in Austria, hundreds of textile scraps have been found, left back in the mines after secondary use as make-shift binding material or sanitary items.
Worn-out textiles were used for caulking wooden ships, as sealing for water-management in prehistoric copper mines and as insulation material for medieval castles. At least, textile scraps also ended in medieval and early modern latrinae – after they have been used as “toilet-paper”. The evidence collected demonstrates a careful resource-management.

Qualitative comparison of similarities between Mughal architecture and prevailing costumes for designing contemporary wear.

Architecture and fashion plays an important role in satisfying basic human need of shelter and clothing. Both fields evolve responding to changes in surroundings brought by different culture. Different art forms in each culture borrow influences from each other to create new aesthetics. Mughal architecture stands out as the Golden age of Islamic architecture which is a fusion of Persian, Islamic and Indian influences known for symmetry, rich decorations and grand structures. Costumes worn during Mughal era were also examples of exquisite craftsmanship.
Present study was undertaken to compare similarities between features of Mughal architecture and costumes worn during this era to prove that costumes worn in any era are influenced by different art forms creating new aesthetics.
Data was collected, collated and validated with opinionnaire through survey method. Results were tabulated in the form of graphs and tables.
This study gave a conclusive result of positive correlation between features of Mughal architecture and costumes worn. This similarity was found in silhouette/shape, textures, colours, surface ornamentation and motives used for decoration.
Based on these similar features six garments were designed and acceptance study was carried out based on six parameters to find the suitability of designs for contemporary wear based on historical influences.

Keywords: Mughal architecture, Pietra dura, Jali work, Costumes, Marble and red sand stone

Even though costume has been dressing the performing body since the ancient world, methods for its analysis are yet to be fully explored. Performance Costume draws on the experience of internationally renowned academic researchers and hands-on theatre, film and experimental performance practitioners to set out an alternative vision for exploring costume across time and place. From the actress on the Victorian stage to design for high quality contemporary TV, this text opens up a new awareness and dignity for costume to be considered
in and on its own terms.
Recent research has connected the study of costume with theories of the body and embodiment, design practices and artistic and other forms of collaboration in vital new ways; like fashion and dress, costume is now viewed as an area of dynamic social significance and not simply as a passive reflector of a preconceived social state or practice. Offering new approaches to research on costume, and exploring a wide variety of cultures, settings and performance contexts, Performance Costume reveals fresh insights into the better-known frames of historical, theoretical, practice-based and archival research into costume for performance, and considers it as an active agent for performance-making and a material embodiment of ideas shaped through collaborative creative work.
A genuinely groundbreaking expansion of the field of costume studies, this is an invaluable text for students and researchers of costume, performance, theatre and film studies and design.

Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau ideal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau ideal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis...

This paper describes the jewellery of Mary Queen of Scots from unpublished inventories and descriptions made by James Mosman made during the siege of Edinburgh Castle in 1571-1573. The additional descriptions clarify some of the obscurities in other inventories and lists, and are here transcribed in full for the first time, allowing cross-referencing and comparison with the previously published inventories.

The jewels were used as pledges for loans from some of Mary's supporters, but the lenders would be better defined as allies of William Kirkcaldy of Grange, and the group bridges the traditional historian's King's and Queen's party dichotomy.

The jewel papers from the National Records of Scotland are transcribed in an appendix. This report was commissioned by Historic Environment Scotland as an Edinburgh Castle Research Report.
(On p. 122 for 'Lady Ogilvie' read 'Lady Argile', Annas or Agnes Keith, Countess of Argyll).

Direitos Reservados para esta edição: Núcleo Editorial-FAV/UFG Modo de acesso: culturavisual.fav.ufg.br Os textos e imagens publicados neste volume são de responsabilidade dos respectivos autores e autoras. Dados Internacionais de Catalogação na Publicação (CIP) GPT/BC/UFG Coleção Desenrêdos, volume 12, 2020 Este trabalho está licenciado com uma Atribuição-NãoComercial-SemDerivações 4.0 Internacional Dados Internacionais de Catalogação na Publicação (CIP) GPT/BC/UFG Bibliotecária responsável: Amanda Cavalcante Perillo / CRB1: 2870 D724 Dossiê : o vestuário como assunto : perspectivas de pesquisa a partir de artefatos e imagens [Ebook] /

L’article analyse la relation entre la caricature et la mode à partir de quelques exemples de la satire visuelle et textuelle de la seconde moitié du XIXe siècle. La période est propice à la caricature de mode car, tout en reflétant les transformations politiques, économiques et sociales du temps, les tendances vestimentaires prônées à l'époque par les périodiques de mode reposent sur l'exagération et la déformation, qualités qui sont aussi les armes des humoristes. La première partie examine la représentation graphique du costume féminin, avant tout celle de la crinoline-cage, et les significations véhiculées par ces images railleuses. La seconde se concentre sur les fragments de La Comédie de notre temps (1874-1876) de Bertall, consacrés à la mode et au vêtement, et cherche à définir l'image de la femme et sa place dans la société bourgeoise en pleine mutation.

This article casts light on the last segment of Knud Rasmussen’s “grand expedition,” his trip to Chukotka,
in the Russian Far East, in September 1924. He spent somewhere between 18 and 48 hours in Chukotka
before he was deported back to Alaska, and it is doubtful that he was able to bring any significant local
objects back with him. Yet the Fifth Thule Expedition’s Siberian Collection at the National Museum
of Denmark includes about 1,000 items. Most of these objects were purchased by Rasmussen after his
return and donated to the museum as an extension of the Fifth Thule work. The article discusses the
significance of Rasmussen’s trip to Chukotka and the origin of the expedition’s Siberian collection. It is
also an attempt to challenge our traditional understanding of an “expedition” as a purposeful journey
with a definitive beginning and end.

Rainbows, so pervasive in twenty-first century culture, were slow to permeate European fashion and textile design. Why, if they have been drawn and described since the beginning of artistic practice, do they so rarely show up on historic clothing? This paper traces rainbows in extant textile art from the sixteenth to the twentieth century.

This research paper analyzes the bead-net dress that was worn by ancient Egyptian priestesses. Specifically, the thesis focuses on Princess Nefertiabet and how she wore this lavish dress for spiritual/religious purposes as a priestess. There is an extensive analytical approach in historical context regarding Princess Nefertiabet and the dress itself.

Clothes represent a significant aspect of Chinese culture, particularly in the depiction of gender. Moreover, sartorial details may also be an index to questions of empire in certain contexts. is paper focuses on female figures and the depiction of costumes for both female and male subjects across media during the early Qing period (ca. the second half of the seventeenth century). My primary focus is porcelain from the Porzellansammlung (Staatliche Kunstsammlungen Dresden); where relevant, I introduce paintings and woodblock prints as cross media examples of how female aire was an index of Han-Manchu relationships and conflicts in the early Qing Dynasty. e core issue or problem is that female figures depicted on Dresden porcelains dating from the early Qing Dynasty (primarily from the Kangxi's reign, -) reflect fashions from the previous dynasty; i.e., women's aire from the Ming Dynasty (-). 1 e ideal Ming-dynasty woman was depicted in conservative, yet garishly-decorated clothes, suggesting that desirable women were to be both elegant and deferential during this period. 2 It is relatively well-known that the Manchus, who founded the Qing Dynasty (-), cultivated a clothing style different from the Han Chinese. At the beginning of the dynasty, the Manchu government issued an edict which ordered the populace to change their aire and hair treatment to a Manchu manner. 3 It is indeed interesting that Ming dynasty clothing paerns would be used in Qing-period porcelain, painting, and woodblock prints. But it does not appear to hold true for both men and women. In contrast, men are outfied in Manchu clothing in Qing period porcelain; they are illustrated alongside women who are garbed in anachronistically Ming-dynasty aire. 4 is juxtaposition reflecting, on the one hand, a shi in ethnic politics through male costume, and a lack of change in female aire, deserves close aention. e distinction offers an opportunity to observe the relationship between Han Chinese and Manchus. First, let me say a word about the issue of dress and its connection with the concept of empire. 5 e Book of Documents mentions that peoples from the frontiers of four directions wore clothes with a le-1 Examples include five Kangxi Period pots and one from the preceding Shunzhi Period (1644-1661) reproduced in this essay (see figs. 6.3-6.5; 6.7, 6.10 and 6.12). 2 e feminine ideal is typically painted in the specific genre, shinütu 仕女圖 [paintings of court ladies]; oen translated as "gentlewomen," this type of sophisticated woman is known for her erudition. 3 e regent, Prince Rui of the First Rank [named] Dorgon, led his army to Tongzhou; Tongzhou's governor then led the people to surrender. [And Dorgon] ordered them to cut their hair in the Manchu style. 攝政和碩睿親王多爾袞 師至通州知州率百姓迎降諭令薙發. 清實錄順治朝實錄 [Veritable Records of Emperor Shunzhi] (Beijing: Zhonghua Press, 2008), 31. 4 Male aire is especially distinct in two Dresden vessels; (see figs. 6.16-6.17). 5 e term huaxia 華夏, a term used to describe the expanse of the Chinese empire and distinguish it from its foreign counterparts since pre-Qin period (ca. third century BCE), embodied the concept of empire in the materiality of clothing, particularly in regards to distinguish the court from the frontier. e earliest references linking huaxia and "China" appear in the Commentary of Zuo 左傳 (late fourth century BCE) and Mencius 孟子 (c. 300 BCE). e most common usage of huaxia in early period is in connection to foreigners, usually appearing together with other words such as yi 夷 (peoples on the frontier).

The dissertation is a fundamental comprehensive research. According to archaeological and iconographic data the costume of the Chernyakhiv – Sîntana de Mureş Culture bearers that had not been systematically studied before was reconstructed. In particular the composition of burial equipment categories was determined on a basis of a representative sample of burials - the details of the outfit, their probable purpose by localization in burial complexes were defined; the difference in costume of different sex representatives was proved; changes in the costume of different chronological phases were observed; elements of the costume those were added by bearers of different ethno-cultural traditions into the general Chernyakhiv costume were found; by the results of sociological analysis of burials the potential of costume details as a social marker was determined; the preserved textile residues from the clothes were analyzed; according to analysis of iconographic data, possible prototypes and analogies of the costume of the culture bearers were found; the main scientific tendencies in the study of costume were determined by the results of paleocostumological literature review; the costume of the population of CSM culture was reconstructed and perspective directions for further researches were outlined.

In 1858 the British Museum purchased an album of Ottoman costume paintings that reportedly had at one time belonged to Heinrich Friedrich von Diez, Prussian ambassador to the Ottoman Empire from 1784 to 1790. "Costumes turcs" contains 264 colorful paintings (on paper) produced in Istanbul, in two bound volumes, representing Ottoman dress. According to an English inscription in the album, it was acquired by Diez during his diplomatic residence in Istanbul. An intriguing object in its own right, it has received scant attention from scholars.  But was it in fact Diez who brought the paintings forming "Costumes turcs" from Istanbul to Berlin?  Material evidence supplied by the album itself suggests that there may well have been a link between "Costumes turcs" and Diez and the Prussian diplomatic milieu.  This essay looks in particular at the close relationship between this album and two other costume albums from the late eighteenth century, both now in France.  Remarkably all three albums share the same English watermark and were apparently made from the very same batch of paper exported to Istanbul in the 1780s.  A comparison of the quite different contents, image sequences, and thematic emphases of the three albums reveals the unusually elaborate and even official aspect of "Costumes turcs," befitting an honorific object. The dating of the paper, combined with the German origin of the leather binding and the use of paper for the binding from a mill near Berlin, place the book with near certainty in the diplomatic and royal milieu of the Prussian capital in the late eighteenth century.

The Yuan dynasty was the first great unified empire founded by an ethnic minority in Chinese history. A great number of ancient sources have proven that under the Yuan, the Mongols’ distinctive costumes, expressive of their nomadic identity, exerted an influence upon Chinese fashions of the time. Even after the collapse of the Yuan, Mongol dress did not disappear but became even more popular in various forms throughout the following Ming dynasty. On the basis of examination of a large number of historical written materials, this paper makes an in-depth study of the various styles and uses of Mongol-style clothing in the Ming dynasty. It provides a panoramic survey in an attempt to outline the use and evolution of Mongol styles in the Ming and to examine some representative case studies in detail. Thus, besides discussing traditional issues in the history of clothing, such as the use, design changes and abandonment of Mongol clothing in the Ming dynasty, it initiates a series of studies from a sociological perspective, offering a preliminary study of the groups who wore Mongol-style clothing in the Ming dynasty, including their occupations, their reasons for using these costumes, and how this mode of dress influenced the social psychology of the period. It also attempts, via clothing, to discuss the changes in transitional Chinese society arising from the movement of nomadic ethnic groups in northern China to the hinterland (another question to be addressed).

This analysis of clothing worn by Marvel Comics’ X-Men characters illustrates the use of streetwear as a tool for narrative symbolism and real-world identity politics of the 1970s, 1980s, and 1990s. Streetwear is used narratively in domestic spaces and to indicate the ways characters
navigate a crises or solidification of identity. Characters consciously return to streetwear rather than costume in order to discover who they are for themselves. Therefore, their identity is tied to their fashion choices, rather than their costume, and examination of fashion becomes as necessary as the iconographic crime fighting suit in defining the superhero. During his 1975-1991 career on the Uncanny X-Men, writer Chris Claremont redefined the superhero by their humanity. Emphasizing their individual personalities rather than their heroic actions, Claremont created new opportunities for characters to exist in domestic spaces and choose what to wear. Characters comment on their appearances, personify major story arcs
through radical makeovers, and are depicted going on dates, playing sports, or lounging around their headquarters— all in clothing other than their superhero costume. By creating figures who dress similarly to their readership, fashion became a way for fans to identify with the characters.

This essay examines the the influence of existing art on new arts, in the form of the emblems of the Scout and Girl Guide organisations internationally. Further study is given to how this significance compares with other possible influences such as nature, psychology, and social circumstances

Costume albums and books depicting the diverse peoples of the Ottoman Empire were produced by Ottomans and Europeans respectively as early as the sixteenth century, defining geography, ethnicity, religion, occupation, and gender in the Ottoman Empire through costume. Mobile objects, costume collections circulated through transimperial networks in the Mediterranean. Long understood as an enticing example of cross-cultural exchange, these costume compendia have nonetheless been interpreted in a lopsided way. Despite the early appearance of Ottoman produced
costume miniatures, most of the still embryonic writing on images of Ottoman costume assumes the priority of European print examples. But European artisans of the book were not without knowledge of Ottoman work: Ottoman-produced costume miniatures circulated in Europe beginning already in the sixteenth century, and increasingly through the seventeenth and especially eighteenth centuries. My essay explores how a consideration of the materiality of the costume book and album – specifically texture, touch, and the practice of hand-coloring – shapes a cross-cultural reading of them, a reading that is reinforced by early modern cultural
constructions of color, especially in relation to textile and dress. This investigation defines cultural mediation as layered, discontinuous, and resulting from a multiplicity of points of contact and exchange.

The book contains published papers of the conference 'Textiles & Identity in the Medieval and Early Modern Mediterranean: Paradigms of Contexts and Cross-Cultural Exchanges' of the British School at Athens held at the (Benaki) Museum of Islamic Art in 2016, as well as some new contributions. The focus in this varied collection of studies by key scholars in the field is on textiles and their functions in various Mediterranean contexts (and beyond) during Medieval and Post-Medieval times (ca. 10th-19th c.). The scope of the contributions encompasses archaeological, anthropological and art historical perspectives on diverse subjects, such as textiles from the Byzantine Empire and the Medieval Islamic World (e.g. Spain, Mamluk Egypt, Seljuk Anatolia), Italy, the Ottoman Empire, Armenia and Ethiopia. The volume offers a state-of-the-art of an often still hardly known scope in studies of textiles as historical and cultural sources of information, which makes it essential reading for scholars and a larger audience alike.The book includes contributions by Avinoam Shalem, Scott Redford, Marielle Martiniani-Reber, Dickran Kouymjian, Laura Rodríguez Peinado, Ana Cabrera-Lafuente, Vera-Simone Schulz, Nikolaos Vryzidis, Elena Papastavrou, Jacopo Gnisci and Maria Sardi.

Hieronymus Bosch was also a celebrated painter in his own time. The patrons and first owners of his paintings were part of the social and cultural elite of the late fifteenth and sixteenth century society. Some of them were portrayed by Bosch on the works they ordered from him; from others we only know that they were interested in his art. It is striking that many of the lovers of Bosch's artworks were in contact with each other, in one way or another. Who were these persons, and how did they relate to each other? And how did they come into contact with the painter Bosch and his work? This research presents an overview of this influential group of burghers, clerics and nobles, who made a significant contribution to the spread of Hieronymus Bosch's fame and his work in Europe.

In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film 'Bram Stoker's Dracula' (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938-2012). The film's critical reception as well as its consequent elevation to a 'canon' status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian 'haute couture' for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.

While few archaeological finds remain concerning dress during the Iron Age of the Celtic Tribes in Europe, if we consider historical commentary, Celtic art, oral traditions and archaeological data together we can amass a generic idea what might have been available and worn by them. This broad approach to dress is not with out bias however and it must be noted that regional differences must have existed. The document tries to amass not just the generic view of dress but also emphasizes the issues of lack of evidence and culture and region differences that impact this information.

Εκτέλεση κοστουμιών ΔΕΣΠΟΙΝΑ ΚΟΥΣΟΥΛΟΥ Κοστούμια των ενδυματολόγων RAIMONDA GAETANI PIERRE LACOTTE ΓΙΑΝΝΗΣ ΜΕΤΖΙΚΩΦ ΛΕΩΝΙΔΑΣ ΝΤΕ ΠΙΑΝ ΣΟΦΙΑ ΠΑΝΤΟΥΒΑΚΗ ΝΙΚΟΣ ΠΕΤΡΟΠΟΥΛΟΣ ΜΙΧΑΛΗΣ ΠΟΛΑΤΩΦ ΤΟΤΑ ΠΡΙΤΣΑ PETER SPELIOPOULOS ΣΥΝΤΕΛΕΣΤΕΣ ΕΚΘΕΣΗΣ Έρευνα -Επιστημονική και Καλλιτεχνική επιμέλεια ΣΟΦΙΑ ΠΑΝΤΟΥΒΑΚΗ Σχεδιασμός Φωτισμού ΓΙΩΡΓΟΣ ΤΕΛΛΟΣ Φωτογραφίες Παραστάσεων STEFANOS Επιμέλεια -Μοντάζ οπτικοακουστικού υλικού ΜΑΡΙΝΟΣ ΚΟΥΣΟΥΝΗΣ Βοηθός Φωτιστή ΣΟΦΙΑ ΑΛΕΞΙΑΔΟΥ Τις κούκλες της έκθεσης παραχώρησε το Πελοποννησιακό Λαογραφικό Ίδρυμα Για τη συγκέντρωση του υλικού και το στήσιμο της έκθεσης συνεργάστηκαν: οι τελειόφοιτες φοιτήτριες της κατεύθυνσης Σκηνογραφίας -Ενδυματολογίας του Τμήματος Θεατρικών Σπουδών του Πανεπιστημίου Πελοποννήσου ΑΘΗΝΑ ΠΡΙΝΤΖΗ ΜΙΚΕΛΑ ΤΣΟΝΤΖΟΥ η τελειόφοιτη φοιτήτρια του Τμήματος Εσωτερικής Αρχιτεκτονικής, Διακόσμησης & Σχεδιασμού Αντικειμένων του ΤΕΙ Αθήνας ΑΛΕΞΑΝΔΡΑ ΔΑΛΙΑΝΗ στο πλαίσιο της πρακτικής τους άσκησης και η απόφοιτος του Τμήματος Θεάτρου της Σχολής Καλών Τεχνών του Α.Π.Θ. ΗΛΕΝΙΑ ΔΟΥΛΑΔΙΡΗ ΚΟΣΤΟΥΜΙ ΧΟΡΟΥ ΚΑΙ ΘΕΑΤΡΟΥ ΑΠΟ ΤΟ ΣΧΕΔΙΑΣΜΟ ΣΤΗΝ ΥΛΟΠΟΙΗΣΗ 24 Νοεμβρίου -7 Δεκεμβρίου 2008 Αίθουσα Εκδηλώσεων Φ.Ο.Υ. Φορέας διοργάνωσης ΕΛΛΗΝΙΚΗ ΕΤΑΙΡΕΙΑ ΕΝΔΥΜΑΣΙΟΛΟΓΙΑΣ ΠΑΝΕΠΙΣΤΗΜΙΟ ΠΕΛΟΠΟΝΝΗΣΟΥ ΣΧΟΛΗ ΚΑΛΩΝ ΤΕΧΝΩΝ ΤΜΗΜΑ ΘΕΑΤΡΙΚΩΝ ΣΠΟΥΔΩΝ Με την υποστήριξη του Υπουργείου Πολιτισμού και του Δήμου Υμηττού Συνδιοργανωτές ΦΙΛΟΠΡΟΟΔΟΣ ΟΜΙΛΟΣ ΥΜΗΤΤΟΥ 5 ΠΕΡΙΕΧΟΜΕΝΑ ΣΥΝΤΕΛΕΣΤΕΣ ΕΚΔΟΣΗΣ Επιστημονική επιμέλεια ΣΟΦΙΑ ΠΑΝΤΟΥΒΑΚΗ Συγκέντρωση υλικού ΣΟΦΙΑ ΑΛΕΞΙΑΔΟΥ Επιμέλεια κειμένων ΧΡΙΣΤΙΝΑ ΟΙΚΟΝΟΜΟΠΟΥΛΟΥ Σχεδιασμός εξωφύλλου ΓΙΩΡΓΟΣ ΘΕΟΔΩΡΟΥ Καλλιτεχνική επιμέλεια ΛΟΥΚΙΑ ΜΑΡΘΑ Σχεδιασμός -Ηλεκτρονική σελιδοποίηση ΑΝΔΡΙΑΝΑ ΜΟΤΑΚΗ Φωτογραφίες εξωφύλλου STEFANOS Φωτογραφίες έκδοσης STEFANOS, ΣΟΦΙΑ ΠΑΝΤΟΥΒΑΚΗ, ΜΑΡΙΝΟΣ ΚΟΥΣΟΥΝΗΣ Εκτύπωση -Παραγωγή Τηλ.: 210 9217513 • http://www.eptalofos.gr •

La vestimenta surge como una necesidad de protección y abrigo. Con el tiempo se convierte en un elemento identitario entre los grupos huma¬nos.

La trayectoria histórica de la vestimenta en el Perú tiene larga data. En la época prehispánica existieron diferentes vestimentas según el status, género, edad, etc. Entre los Incas destacó dentro del vestido femenino: acsu o anacu, lliclla, chumpi y tupus. La vestimenta masculina común fue el uncu.

En los inicios de la Colonia la vestimenta indígena se mantuvo vigente a pesar de las prohibiciones de su uso. Por el contrario se produjo un mes¬tizaje, con la conjunción de tradiciones indígenas y occidentales.

La actual vestimenta tradicional es mestiza y algunas prendas de vestir tradicionales son consideradas como símbolos de identidad en muchas regiones. Tal es el caso de los wankas del valle del Mantaro que toman como referencia de distinción y orgullo a la kutuncha, mujer indígena vestida con el traje autóctono, el anaku, pero modificado, llamado kotón. Este traje es una especie de túnica negra sin mangas que se complementa con otras piezas de origen prehispánico y europeo: el wathraku (faja), la lliclla (manta), el chusi (mantón), la shucupa (especie de tocado), la wetsha (vincha), el anaco (especie de mandil), las manguillas bordadas, la pollera, blonda o fustán, pañal de carnaval y el ticpe (prendedor). En conjunto esta vestimenta resulta emblemática y es asumida como un símbolo de identidad wanka.

L'intento in questa occasione è quello di comprendere, attraverso questo documento, quali potevano essere le relazioni tra i confratelli della scuola dei "tagiapiera" di Venezia nel periodo medievale e di capire, inoltre, gli atteggiamenti verso gli appartenenti ad altre arti edificative, i rapporti con le istituzioni ecclesiastiche ed il governo locale, il sistema di protezione e salvaguardia nei confronti dei forestieri, il confronto con altre realtà in altri luoghi etc.

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(222 plates of illustrations will be in special file. The pages' numeration is special for each big chapter. For real book numeration move the cursor to the right border of each pages / 222 таблицы иллюстраций будут в специальном файле. Нумерация по техническим причинам – отдельная для каждого большого раздела. Подлинную нумерацию стрнице в книге можно выяснить, подведя курсор к правой границе каждой страницы).
ABSTRACT:
In this book, you will find a complex research of the clothes of Iranian-speaking peoples beginning from their appearance in the world politics and in the written sources of the 7th–6th cc. BC and up to the Islamization of Iran and Transoxiana in the 7th–8th cc. AD. The accessories of the costume (except belts), the military costume, the rulers’ crowns and the costume materials themselves are not the subject matter of the text; but the hairstyle and sometimes tattoos are being under consideration. The first three chapters are devoted to analysis of the main periods of pre-Islamic history of the Iranian world (the time bounds being different for different regions): [1] the Achaemenid-Scythian time (the 7th–6th cc. BC — 4th–3rd cc. BC, for Transoxiana—up to the mid. of the 2nd cc. BC); [2] the Parthian-Sarmatian time (the 4th/3rd cc. BC — the 3rd/4th cc. AD); [3] the Sassanid and Early Medieval time (the 3/4th — the 7/8th cc. AD). The sections of these chapters deal with materials on the 13 peoples: (1) the Persians of the Achaemenian time; (2) the Early Scythians; (3) the Scythians of the “classic” period (the 5th–4th cc. BC); (4) the “Pazyrykians” of the Altai; (5) the Chorasmians (for all the 3 periods); (6) the Parnes—Parthians of Iran; (7) the Sarmatians and Early Alans; (8) the Yuech-chihs / Kushans of Bactria; (9) the Sogdians (the 2nd and 3rd periods); (10) the Indo-Scythians of Gandhara; 11) the Persians of the Sassanid time; (12) the Khotano-Sakas of Southern Xinjiang (the 2nd and 3rd periods); (13) the Tokharistanians (with other ethnic elements). As far as each of the above-mentioned peoples is concerned the above-stated ideas are analyzed and new materials (including unpublished ones) are taken into account, the details of many depictions are defined and the data on peoples are generalized for the first time. First of all, we have studied the costume of these 13 peoples, which gives the most abundant and many-sided information on the costume as clothes in real life are a mass phenomenon and can be studied productively and correctly only in big series (in case of single depictions rare costume elements and the looks of gods of foreign origin are mistakenly taken for typical ones).
The main tasks of the book are: 1. The reconstruction of the look of the ethnic clothing complex for each of the above-mentioned peoples: the silhouette, the cut (the information about the latter is limited) and the decorative prin-ciples, the last task being the most labour-intensive. The results allow of a reliable attribution of many artifacts from museums and private collections. 2. Eliciting the aesthetical ideal of different ethnic groups reflected in the costume; the analysis of the depictions of supposed representatives of a certain people in the art of other countries for defining the degree of the authenticity in the costume depiction and its representativeness for this ethnic group. 3. The comparative analysis of the costume of each separately taken synchronous people in each of the three main historical epochs; the analysis of the costume of each ethnic group in different periods for defining the character of the costume evolution and heredity. 4. The retrospective eliciting of the look of the original costume of the most ancient Iranians and the “costume” traces of the Iranian penetration to the west of Iran. 5. Eliciting the type of the costume contacts of ancient Iranian-speaking peoples and the difference in their importance. 6. The analysis of the summarized data on the least studied significant functions of the costume aiming at eliciting the specificity of the Iranian world and some of its peoples.
We suggest a complex approach including following elements: (1) dealing with all kinds of sources alongside ob-serving the most possible scope of facts on each studied people (in case of a technical impossibility, the representative statistic excerpts are studied); (2) the proper selection of the costume décor remnants from burials under analysis (only the accounts and publications of high quality are used) excluding significantly fragmented and stylized depictions and, for some regions, images of gods; (3) the analysis of the material according to the linguistic and ethnic principles—not a regional one (which is not typical for modern research on the costume history); (4) considering all the main costume attributes of the ethnic group as a single costume complex that reflects the specificity of the people; 5) the description of the costume of each ethnic group according to the common program in chapters 1–3; (6) considering ethnic complexes against the background of the synchronous neighbouring ones and both earlier and later ones up to their successors in the 19th–20th cc. AD (otherwise the rightfulness of most conclusions is difficult to guarantee); (7) the analysis of costume evolution of separate ethnic groups under the influence of different factors; (8) compiling a special summary tables on the costume of each people (each drawing in them not being an exact copy of a definite depiction, but given in the most appropriate foreshortening without unnecessary details interfering with perception).
MORE INFORMATION: 2nd Internet ed., Moscow: X-lab, 2011: http://www.narodko.ru/article/yatsenko/eurazia/ .

CONTENTS:
PREFACE 5
CHAPTER 1. The Achaemenian-Scythian time (7th/6th cc. — 4th/3rd cc. BC) 29
1.1. The Persians 29
1.2. The European Scythians 47
1.3. The Pazyryk culture of the Altai Mountains 83
1.4. The Khorasmians 102
The main conclusions 106
CHAPTER 2. The Parthian-Sarmatian time (3rd cc. BC — 3rd/4th cc. AD) 112
2.1. Parthian Iran 113
2.2. The Sarmatians, the Early Alans and the “Late Scythians” 131
2.3. The Yuech-chihs/Kushans 170
2.4. The Khorasmians 187
2.5. The Indo-Scythians 192
2.6. The Sogdians 197
2.7. The Khotano-Sakas 201
The main conclusions 207
CHAPTER 3. The Sasanian and Early Medieval (Pre-Islamic) time (3rd/4th–7th/8th cc. AD) 212
3.1. Sasanian Iran 213
3.2. The Sogdians 231
3.3. Tokharistan and the neighboring regions to the South 247
3.4. The Khorasmians 262
3.4. The Khotano-Sakas 266
The main conclusions 274
CHAPTER 4. The mechanisms of the costume contacts and
the ways of evolution of the costume of ancient Iranians.
The symbolism of costume 279
4.1. The mechanisms of the costume contacts 280
4.2. The ways of evolution of the costume of various peoples 314
4.3. The sign functions of the costume 322
The main conclusions 362
CONCLUSION 364
APPENDIX. The suggestions on the methods of fixation and description of the costume relics
in burial complexes 367
Glossary 370
BIBLIOGRAPHY 371
Abbreviations 416
List of Iluustrations (in English)          418
List of illustrations (in Russian) 423
Illustrations 435-657
Summary                    658
Contents                      663

The article discusses Byzantine attire by focusing on imperial and courtly dress from early to late Byzantium, with main emphasis on Constantinopolitan styles. The visual evidence - mosaics and illuminations - is seen in relation to the written and material sources. Key looks from the sixth to the fifteenth centuries are presented.

Knightly Dueling is a complete overview of the fighting arts of German chivalric dueling, on horse and on foot, during the late Medieval and early Renaissance. Through the words and pictures of original source texts of the great German fight-masters of the 14th through 16th centuries – extraordinary works that poetically preserved medieval methods of the true knightly dueling of mortal combat over grave matters with battlefield arms & armour.Until now, no single book has encompassed and clarified the scattered existing historical information on German dueling with swords, lances, daggers, pollaxes etc. Knightly Dueling shows the ruthless reality of man-to-man combat of the German Kunst des Fechtens (art of fighting), providing a thorough understanding of Johannes Liechtenauer's Roszfechten (horse fighting) and Kampffechten (duel fighting). It gives Middle High German transcriptions, as well as the first and only modern English translations, of works from various fight books by Liechtenauer's renowned masterly interpreters, including Hanko Döbringer, Peter von Danzig, Hans Talhoffer and Andre Lignitzer. The book also presents an illustrated blow-by-blow account of a deadly duel from a German Fechtbuch (fight book); primary source information regarding specific training of noblemen for duels and the training of noble youth in the combat arts; and a unique glossary of historical German chivalric terms for arms and armour.Lavishly illustrated with lots of period artwork, Knightly Dueling restores the concept of German chivalry to its rightful martial role and is a must for any serious scholar of the dynamic field of European martial arts.

Disponibile in ebook e a stampa,  Il volume è composto di 245 pagine  con illustrazioni.
Quale  auspicio beneaugurale per la collana editoriale  ‘VELAMEN’ iniziamo con la trattazione di quelle acconciature  femminili con  copricapi  o veli che fossero, le quali  ancora nel Quattrocento, ma già dall’ antichità  greco–romana, distinguevano  le  vergini nubende dalle  donne sposate, le spose novelle dalle  maritate e queste ultime dalle vedove  …  ma non soltanto: con un copricapo  si differenziavano  anche  le cristiane dalle ebree, le donne ‘honeste’ da quelle ‘desoneste’, e tra queste, le prostitute  dalle  musiche e giullaresse!
Per quanto difficile da immaginare oggi, nella società tardo-medievale,  la  rigida  ‘gerarchia muliebre’ della Chiesa aveva  di fatto  imposto  la tripartizione  dell’altrimenti complesso ‘mondo femminile'  in vergini, spose  e vedove (oltre alle religiose).
Tale gerarchia si traduceva spesso nella vita pratica, in provvedimenti mirati a seconda dello stato di appartenenza : attraverso le vesti venivano codificate gerarchie e  stati sociali …
In questo primo volume, sfilano davanti ai nostri occhi, vergini ‘in capillo’, spose ‘bendate’, vedove con manto da corroccio, monache che vorrebbero ‘bruciar la tonaca’ , meretrici ‘poco gaudenti’,  colte giullaresse ‘dall’ abito vago’  insieme a esotiche buffone, giudee sontuose o vessate, e, infine schiave e balie assoldate per ben altri servizi che quelli a loro deputati…
Per tutte, la rispettabilità o l’ ignominia  passa dalla loro testa:  le  acconciature così come  i copricapi ma anche  i veli, ci raccontano di donne diverse o forse uguali ma che la società vuole  distinte… 
Parleremo di donne e di capelli: esibiti raramente nella società ‘rispettabile’ i capelli delle donne sono nascosti quasi sempre da  drappi e  veli:      virginali,  da matrimonio,  per corrotto (da lutto),  di colori infamanti quelli  imposti    alle meretrici  … 
I capelli  si tagliano in segno di sfregio o si esibiscono per sedurre;    i copricapo  si strappano  e, talvolta si ostentano  gabbando  mariti,  legislatori e predicatori  solerti  nel voler  mortificare le apparenze e  grazie alla abilità  e alla ricchezza di ingegno di artigiani e clienti, e in barba a leggi e mariti,  acconciature e  copricapi  contribuiscono  a consolidare l’articolato universo delle vanità  femminili  in bilico tra  pudore e seduzione…

(Colour illustrations for CD-ROM version you can see after black-white variant)
Colour combinations in the costume of peoples in the Iranian World reveal their traditional character: red, white and blue, with rarer use of yellow, black and green. It reflects ancient Iranian colour symbolism rather than the contents of dye-stuffs. The influence of the Achaemenid Empire on other Iranian peoples includes the use of multi–coloured and, partly, striped fabrics and continued into the period of the Sasanian Empire when the concept of decorating cloth with medallions. Multi-coloured fabrics are not typical for Iranian costume and the costume of many other Iranian peoples in the Parthian period, which can be explained through Greek aesthetic influence.

The Ottoman costume album served as a vital agent of contact in the early modern world.  Conceived and collected through the movement of people in the greater Mediterranean, bound, rebound, sold, gifted, copied and reworked, Ottoman costume albums, produced from the sixteenth through nineteenth centuries, are mobile objects constituted by a flexibility that lends itself to reinvention and reconfiguration.  The costume album transcended geographic points of origin, connecting artisans of the book and diverse audiences across time and space in unforeseeable ways.  Composed of individual sheets, each bearing a single costumed figure representing variously the Ottoman court, military, professions, and civil society, a costume album was custom made and inflected according to the interests of the owner.  The Ottoman costume album is defined by an essential mutability.  This chapter explores these ideas in relation to one particular eighteenth-century album, Costumes turcs, now in the British Museum.  Costumes turcs exemplifies the kind of accidental cross-cultural collaboration typical of costume books: as it moved from Istanbul to Berlin to London, it was elaborated by successive owners, who added to its material state and reinterpreted and redefined it.