Dortmund, Techn. Univ., Diss., 2008.

Diss. Lund. phil. -VIIIa-

Frankfurt (Main), Universiẗat, Diss., 2004.

As a woodcarver since the age of fifteen, I have been a keen observer of carving patterns and motifs practiced by contemporary Swahili wood carvers. In my investigations, I discovered that carvers along the coast of East Africa, do not practice a uniform style of carving, although their heritage was to a great deal influenced by Middle Eastern and Indian patterns. In Lamu, for instance, four styles of carving are applied to decorating doors and furniture. What I found astonishing, is that most contemporary Swahili wood carvers seem to be unaware of the differences in styles, especially with regard to their history and design features. Apparently, most of the patterns used by the contemporary wood carvers of the three prominent Swahili towns under discussion (Zanzibar, Mombasa, Lamu) are directly copied from doors that were made between 1700-1930. Most of these doors are known to have been introduced to the East African littoral by groups who settled in the region at different periods.

Der Kachelofen stellt eine Novation von besonderer Bedeutung dar, die als eine der wesentlichen Grundlagen für die europäische Wohnkultur heutiger Prägung betrachtet werden kann. Erst mit Hilfe der Ofenheizung wurde ein Leben in rauchfrei heizbaren Räumen für breite Bevölkerungsschichten möglich. Die Entwicklung dieser häuslichen Heizungstechnologie über einen Zeitraum vom 13. - 18. Jahrhundert anhand archäologischer, bildlicher, historischer und bauhistorischer Quellen nachzuvollziehen, ist Zielsetzung der Studie ...

As a woodcarver since the age of fifteen, I have been a keen observer of carving patterns and motifs practiced by contemporary Swahili wood carvers. In my investigations, I discovered that carvers along the coast of East Africa, do not practice a uniform style of carving, although their heritage was to a great deal influenced by Middle Eastern and Indian patterns. In Lamu, for instance, four styles of carving are applied to decorating doors and furniture. What I found astonishing, is that most contemporary Swahili wood carvers seem to be unaware of the differences in styles, especially with regard to their history and design features. Apparently, most of the patterns used by the contemporary wood carvers of the three prominent Swahili towns under discussion (Zanzibar, Mombasa, Lamu) are directly copied from doors that were made between 1700-1930. Most of these doors are known to have been introduced to the East African littoral by groups who settled in the region at different periods.

from the content: „The global discourse of sustainability critically challenges fashion as a sys-tem today and encourages organic ways of making as one of the primary mediums to address the three pillars of sustainability. In this regard, crafts and hand-making play key roles in achieving India’s sustainable de-velopment goals, suitable to its socio-economic context. The growing awareness of this subject points to an advantage the country has in its generational textile knowledge, which presents the opportunity to create employment for the vast communities of artisans. ...

No description available.

No description available.

Die Kirche von San Isidoro in León besitzt einen der umfangreichsten und ambitioniertesten Kirchenschätze, der sich – aus einem Stiftungszusammenhang stammend – über die Wirren der Jahrhunderte in Europa erhalten hat. Als kulturelles Erbe des christlichen Königreiches Spanien wird der Schatz in unzähligen Beiträgen erwähnt. Wiederholt hervorgehoben wird seine Bedeutung für die Einführung und Ausbreitung des romanischen Stils auf der Iberischen Halbinsel und die damit verbundene Europäisierung der spanischen Königreiche. Aus welchen Quellen die neu eingeführten Stilmittel schöpften, wird in der Wissenschaft konträr diskutiert. Sowohl Frankreich als auch England, Byzanz und die arabische Welt werden als Vorbilder in Betracht gezogen. In den 1920er und 1930er Jahren nahmen Arthur Kingsley Porter und Manuel Gómez-Moreno erstmals an, dass die visuelle Ursprünge auch in der ottonische Kunst zu finden seien. Das Ziel der vorliegenden Dissertation ist es, dieser vor rund 100 Jahren formulierten und immer wieder aufgegriffenen Vermutung erstmalig in vertiefenden Studien kritisch nachzugehen. Die nordspanischen Könige, so die These, rezitierten die ottonisch-frühsalische Herrschaftspräsentation, um den eigenen imperialen Machtanspruch auf der Iberischen Halbinsel zu manifestieren. Mit den neuen ikonographischen Formen zog analog dazu ein neuer künstlerischer Stil ein. / The Church of San Isidoro in León has one of the most extensive and ambitious ecclesiastical treasures, which - based on a foundation context - has survived the turmoil of the centuries in Europe. Being a cultural heritage of the Christian Kingdom of Spain, the treasure is mentioned in countless articles. Its importance for the introduction and spread of the Romanesque style on the Iberian Peninsula and the associated Europeanization of the Spanish kingdoms is repeatedly emphasized. It is contrarily discussed in science from which sources the newly introduced stylistic devices drew. Both France and England, Byzantium and the Arab world are considered role models. In the 1920s and 1930s, Arthur Kingsley Porter and Manuel Gómez-Moreno first assumed that the visual origins were also to be found in Ottonian art. The aim of the present dissertation is to critically investigate the assumption, which was formulated around 100 years ago and has been repeatedly taken up, in-depth studies for the first time. According to the thesis, the Northern Spanish kings recited the Ottonian-early Salian rule presentation to manifest their own imperial claim to power on the Iberian Peninsula. Analogous to this, a new artistic style was introduced with the new iconographic forms.