Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

The aim of this study is to offer a description and evaluation of the ceremonial carriages collections preserved in museums across Bohemia and Moravia, and to put them in the context of European artistic and artisan production in the 16th - 18th century. The study provides an overall account of the development of carriage from technical, as well as art history angle, together with the necessary overview of the issues of courtly hierarchies, ceremonials and visual demonstrations of the modern aristocracy, leading ultimately to the transformation of a simple personal mode of transport into a pompous work of art. Many important Baroque artists took part in carriage construction and decoration, and this study attempts to ascertain the extent of their contribution in this area. By presenting a descriptive summary of the history of the ceremonial carriages found in the collections in Bohemia and Moravia, and providing a comparison study with such carriages from other European countries, we can assert their position within the context of Europe-wide museum collections, as well as provide the opportunity for foreign scholars to take the Czech collections into account in their research.

In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings. / Arts, Faculty of / Anthropology, Department of / Graduate

This thesis involves an investigation of the trees in McLennan County that were suitable for wood sculpture, or wood carving, giving special attention to the wood that could be used for wood sculpture projects in the junior-high-school art program.

I should like to make an attempt to get at that spiritual essence possessed by Mr. Stagg. We all have our own particular qualities in this respect, but Mr. Stagg is truly one of our great men today, and to discover what lies behind his greatness is to make the problem of registering his strength that much clearer. Mr. Stagg stands for something conceded to be great force in American athletics. His code of living, playing, and fighting, and his lifetime spent in guiding young men according to his standards for these activities, have stamped him as a veritable monument in the eyes of our youth. There is strength in the name Stagg, strength in the man, and in the eyes that watch so keenly as boys continue to pass under his tutelage. This strength is moral, a kind of pillar lacking in the structure of many so-called successful men who grew into power during Mr. Stagg's years. He has never compromised his position when opportunities for doing so were plentiful. I should like to make one further point. This is in relation to the material. The medium used is Jarrah wood. It is hard enough to suggest strength, red enough to imply warmth, and yet soft enough to be in sympathy with the generosity of the man portrayed. Stone is cold. It would be more suitable to a portraiture of a Rockefeller, certainly not a Stagg. Wood is a material that comes from a growing life-form, rooted in the ground. It takes its strength gradually as the years roll by. What better choice of medium could be made? At this point the reader may or may not agree with me when I say that the diverse pattern of mental gymnastics undergone by the artist demands more understanding than the observer of his work can fathom. Aside from the psychological and philosophical relationships there are the technical aspects of the creative effort. These latter consideration will be found in the text of the paper. Mr. Amos Alonzo Stagg was the model chosen for the sculpture. The choice was prompted by Dr. Tully C. Knoes who was to have been the subject for the study. Dr Knoles preferred that his close friend and fellow worker, Mr. Stagg, be selected. At this point it became necessary to develop the preliminary sketches for the purpose of deciding upon a composition suitable to the dimensions of the wood.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2003. / This dissertation examines the influences and interventions affecting five selected woodcarvers working in the Northern Province over a period of fifteen years. Chapter Orneis divided into three sections. The first section explores the emergence of the woodcarving tradition through the watershed exhibition of Tributaries (1985), which claimed the 'discovery' of the master woodcarvers from the region. Shortly following on from this was the Neglected TradihmD exhibition (1988) whose role defined a turning point in the exhibiting and documentation of black artists within a changing art historical perspective. / M

过去十年，许多学者都对丽江古城的旅游发展与文化变迁进行过批评。文化真实性的丧失和文化商品化是这些批评中的重要主题。这些问题不仅反映了丽江古城在文化旅游发展下的困境，也是众多其它文化遗产地共同面对的难题。本文通过对丽江古城的木雕与绘画旅游艺术品的研究，探讨了文化旅游中的文化生产与文化想像，并回应了这些相关问题。 / 在田野调查的基础上，本文总结了上个世纪九十年代以来云南旅游艺术品市场的形成，以及丽江旅游纪念品与木雕绘画产品的发展历程。接下来的讨论通过三个主题来进行：传统与原始、真实与消费、混杂与重构。在传统与原始的讨论中，笔者结合东巴象形文字在现代东巴画和旅游艺术品的应用，分析了当代纳西知识分子和精英画家对东巴文化的想像和艺术再现。所谓的传统生活与文化被绑定在了文化的原始性和艺术的原始性表现中。古城艺人在继承了现代东巴画派的成果的基础上将艺术品与现代生活做了更多的联接。但是传统与原始的联接仍然在很多方面建构着当地的文化想像和实践。真实与消费的讨论中，文章认为文化真实性既有客观性的一面，也有主观性的一面，他们共同构成了文化遗产地的文化真实。许多旅游艺术品的生产都与当地的文化想像有关，它是具有实践性的文化生产。在文化商品化的过程中，文化想像也发挥着作用，它使真实与消费联系起来。不同的参与者都在用自己的方式参与着文化变迁与重构的协商。在文化生产的过程中，当地的艺人运用混杂的方式不断试验着新的可以表达自己又获得市场认可的作品。他们通过与不同人的交流与想像，在古城的混杂的空间里寻找着自己可以发声的位置，对艺术的追求和艺术家身份的建构成为其中的一个硕果。 / 随着旅游的发展，古城空间和职能发生了根本性的改变，新的文化群体和文化空间正在形成，对文化想像的追寻代替了对文化真实性的追寻成为了旅游活动的主导。文化遗产概念在传播与应用过程中不断被文化想像所填充。尽管古城的木雕与绘画业仍然存在许多问题，但它却孕育出了一批有理想的当地年轻人，他们在文化变迁中正以自己的力量努力着。 / Since the last decade, many scholars have undertaken critical researches on tourism development and culture changes. Cultural authenticity and cultural commercialization have been the main topics in the discussions. These problems exist generally in most heritage sites. This thesis proposes to further explore these topics by studying the case of Lijiang old town in Yunnan, China. It focuses on the local woodcrafts and paintings, two popular tourist art forms, to examine cultural construction and cultural imagination in cultural tourism. / Based on field studies, I have reviewed the formation of the market for tourism art in Yunnan Province and the short history of souvenir and tourism arts in Lijiang since 1990s. The following discussion focuses on three main topics: tradition and primitiveness, authenticity and consumption, hybridity and reconstruction. The first topic studies the cultural imagination in contemporary Dongba paintings from Naxi intellectuals and elite artists by analyzing the wide use of Dongba hieroglyphic characters. Cultural primitiveness is used to represent traditional life and culture in the paintings. Although the local craftsmen and painters try to connect traditional culture with modern life, the bond between cultural tradition and primitiveness is still a major influence on cultural imagination and practice. For the second topic, I argue that cultural authenticity has both objective and subjective sides, and both sides interact with local cultural imagination at the heritage site. Many tourism arts are produced with local cultural imagination, and in turn they influence the construction of local culture. Cultural imagination is the bridge between authenticity and consumption. Various stakeholders are participating in the negotiation of cultural changes in their own ways. For the third topic, at the production side, local artists experiment with hybridity on their craft works and have found an efficient way to express their ideas as well as getting feedbacks from the market and consumers. The local craftsmen find their identities and positions in the old town as a result of communication and practices. The pursuit for art and the identity of artist are their major achievements. / With the development of cultural tourism, the Lijiang old town has completely changed in terms of both space and function. Newer and younger cultural groups and cultural spaces are emerging, seeking cultural imagination instead of cultural authenticity in the tourism activities. The concept of cultural heritage is filled up with cultural imagination during its spread in practice. Although the development of woodcrafts and paintings in Lijiang still has many difficulties and problems, it has successfully cultivated a group of local artists who have dreams and will put all their efforts to develop the local culture in their works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周蔚蔚. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 269-279) and indexes. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhou Weiwei. / 导 言 --- p.7 / Chapter 第一章 --- 研究背景及文献回顾 --- p.11 / 研究背景及问题的产生 --- p.11 / 相关概念及文献回顾 --- p.16 / 理论资源 --- p.36 / 研究方法 --- p.48 / 论文框架 --- p.50 / Chapter 第二章 --- 九十年代以来纳西民间木雕与绘画的发展概况 --- p.57 / 旅游艺术品市场的形成 --- p.57 / 丽江古城旅游纪念品（旅游艺术品）的概况 --- p.65 / 九十年代后古城木雕绘画旅游艺术品的概况 --- p.71 / Chapter 第三章 --- 传统与原始：东巴象形文字与雕刻绘画 --- p.88 / 从宗教语言到艺术语言 --- p.88 / 主题的模式化 --- p.97 / 新力量的出现与主题的延伸 --- p.109 / 传统与原始性 --- p.115 / 抽离与全球化 --- p.123 / 小结 --- p.128 / Chapter 第四章 --- 真实与消费：雕刻神灵 --- p.131 / 《归猎图》的传奇 --- p.131 / 《黑马图》与《归猎图 --- p.133 / 云南重彩画与云南少数民族的艺术再现 --- p.139 / 三朵指涉的形成 --- p.146 / 《东巴神像》 --- p.164 / 真实性的协商 --- p.173 / 小结 --- p.182 / Chapter 第五章 --- 混杂与重构：古城与艺术家 --- p.184 / “我爱丽江 --- p.185 / 再现古城奇观 --- p.189 / 凝视混杂的古城 --- p.198 / 在凝视中交流与创作 --- p.204 / 混杂的力量 --- p.209 / 对艺术家的文化想像 --- p.221 / “要不择手段地成为艺术家 --- p.223 / “丽江混混 --- p.229 / 中间人的缺失 --- p.233 / 小结 --- p.244 / 结 论 --- p.250 / 文化想像、文化生产与文化遗产 --- p.250 / 古城、木雕绘画与旅游艺术品 --- p.256 / 尾 声 --- p.259 / Chapter 附录一 --- 现代东巴画派主要画家简介 --- p.261 / Chapter 附录二 --- 古城木雕绘画艺人简介 --- p.263 / Chapter 附录三 --- 田野调查访谈的主要人物与时间列表 --- p.265 / Chapter 附录四 --- 本文所引用图表索引 --- p.266 / Chapter 附录五 --- 本文所引用木雕绘画作品索引 --- p.267 / 英文参考文献 --- p.269 / 中文参考文献 --- p.275 / 未经发表的资料 --- p.280

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In the past, protected natural areas have excluded local communities from the land and denied them access to valuable natural resources. However, it is becoming accepted practice to ensure that neighbouring communities benefit from the conservation of these areas. In accordance with their neighbour relations programme, the Natal Parks Board initiated a study to establish the need for indigenous wood in the region of the Thukela Biosphere Reserve (TBR), particularly for the woodcarving industry, and to determine sustainable methods and levels of harvesting. Part of this study was to determine the socio-economic issues surrounding the woodcarving industry and other users of indigenous trees, and these are addressed in this thesis. A multidisciplinary approach was adopted to address as many aspects of natural resource use as possible. The principle of sustainable development was employed to explore the nature of the often complex relationships between local communities and protected areas, and local communities and natural resource use. This principle calls for the integration of social, economic and ecological issues, with special attention to the notions of futurity, equity and the environment. The biosphere reserve is considered to be an appropriate vehicle for achieving sustainable development and the sustainable utilisation of resources, both internationally and in the South African context. However, in practice there are many obstacles to overcome as was observed in the case of the TBR, where security of land tenure and the associated control of and access to natural resources are a source of major conflict in the area. In view of this conflict, a flexible and sensitive methodology that promoted rapport-building was selected, namely Rapid Rural Appraisal (RRA). Mainly verbal RRA techniques were used to gather information on the use of and demand for indigenous trees by the local communities residing within and surrounding the TBR. This information included species names, species uses, estimations of quantities harvested, perceptions of the resource base, conservation practices and harvesting techniques, economic relations, constraints, and relationships between the resource manager and the resource user. Indigenous trees were found to be an important resource for fuel, construction, medicine, carving, and to a limited degree, food, to local people living within and surrounding the TBR. The predominant uses of wood were for fuel and construction materials. Access to these resources varied, depending on the area or farm where people resided. People living in degraded areas outside of the TBR experienced great difficulty in harvesting wood for fuel or building, and either harvested it illegally off privately-owned land or purchased it at great cost. Generally, it was found that on farms where there were very few families present, residents were allowed greater access to wood compared to those living on farms where many families resided. There were also specialist users living in the area, namely traditional healers and woodcarvers. Limited information was collected on the medicinal use of trees. However, the preliminary data suggests that there is a great need for this resource. It was found that there are very few woodcarvers present in the study area. As the carving industry was the original focus of the study, detailed information was collected from these men. It was found that carved products are largely produced for local markets and included traditional weapons and traditional household implements such as meat trays and spoons. Carvers were finding it increasingly difficult to access wood, and the income they derived from this trade was supplementary. Although it is not perceived possible that the indigenous wood requirements of all local people in the area can be met by the resources within the TBR on an ongoing basis, management of bush encroachment may increase the supply of firewood and construction materials, especially to those farm residents who were experiencing difficulty in this regard at the time of the study. Through partnerships with more specialist users of indigenous trees such as woodcarvers and traditional healers, access to these resources too may be improved. Although more detailed and participative research is needed before substantiated management plans can be formulated, it is hoped that through this study a foundation will be laid to direct future research efforts, dispel misunderstandings, and be part of the effort required to ensure sustainable development of natural resources. / Thesis (M.Sc.)-University of Natal, 1996.

The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.