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.

Etwa 20 skulpturale Arbeiten des frühen 16. Jahrhunderts werden auf der Basis stilkritischer Untersuchungen dem so genannten Meister HW zugeschrieben. Die Bildwerke gruppieren sich um drei mit den Buchstaben HW monogrammierte und datierte Bildwerke: die Figur der Hl. Helena von der Hl.-Kreuz-Kapelle des Rathauses in Halle/Saale (1501/1502), das Altarretabel in der Bornaer Marienkirche (1511) und die Schöne Tür von der Franziskanerklosterkirche in Annaberg (1512). Neben zwei Arbeiten in Goslar und Braunschweig konzentrieren sich die Erhaltungsorte und die Provenienzen im albertinisch regierten sächsischen Raum, wobei insbesondere die Städte Chemnitz und Freiberg, Annaberg und Ehrenfriedersdorf im oberen Erzgebirge sowie die südlich bzw. südwestlich von Leipzig gelegenen Orte Borna und Pegau hervortreten. Seit den 1938 von Walter Hentschel vorgelegten Untersuchungen stand die Gruppe von Bildwerken nicht erneut im Mittelpunkt einer wissenschaftlichen Arbeit. Die jüngste Beschäftigung mit den Werken kann auf die Forschungen insbesondere der letzten 10-15 Jahre zu bildkünstlerischen Äußerungen des ausgehenden Mittelalters und der beginnenden Neuzeit aufbauen. Im Vordergrund der vorgelegten Arbeit stehen umfassende Untersuchungen der drei monogrammierten und datierten Bildwerke sowie der Tulpenkanzel in der Freiberger Marienkirche. Dabei gewähren die Untersuchungen zu den künstlerischen Voraussetzungen nicht nur Einblicke in den Schaffensprozess des Bildhauers und Bildschnitzers, sie ermöglichen zugleich eine Positionsbestimmung der skulpturalen Arbeiten im Kontext des bildnerischen und raumkünstlerischen Geschehens des ausgehenden 15. und beginnenden 16. Jahrhunderts innerhalb des deutschen Sprachraums. / Approx. 20 sculptural works from the early 16th century are ascribed to the so-called Master HW on the basis of stylistic examinations. These sculptures are grouped around three dated sculptures monogrammed with the letters HW: the sculpture of St. Helena in Hl.-Kreuz-Kapelle (Holy Cross Chapel) of the town hall in Halle/Saale (1501/1502), the altar retable in St. Mary’s Church in Borna (1511) and Schöne Tür [Beautiful Gate] at the church of the Franciscan monastery in Annaberg (1512). Apart from two other pieces in Goslar and Brunswick, the places of preservation as well as the provenances are concentrated in the Saxon region formerly governed by the Albertine dynasty with the towns of Chemnitz and Freiberg, Annaberg and Ehrenfriedersdorf in the upper Ore Mountains as well as the towns of Borna and Pegau located to the south and south-west of Leipzig as especially prominent locations. Since the examinations presented by Walter Hentschel in 1938 this group of sculptures has never been the centre of another scientific examination again. The most recent thesis on these works can build on the research in particular of the last 10 to 15 years regarding sculptural expressions at the end of the Middle Ages and at the beginning of the modern age. Comprehensive examinations of the three monogrammed and dated sculptures as well as of Tulpenkanzel (tulip pulpit) in St. Mary’s Church in Freiberg form the focus of the thesis submitted. In this respect, the examinations regarding the artistic preconditions do not only provide insights into the sculptor’s creative process; at the same time, they also allow a positioning of the sculptural work in the context of the events in graphic arts and interior design in the German speaking territories at the end of the 15th and at the beginning of the 16th century.

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. ...

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