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Abramtsevo is known as the earliest site of the Arts and Crafts movement in Russia, sharing aspects of its organization with similar English circles. 1 However, it would be incorrect to conclude that French critics were aware of Savva Mamontov and the Abramtsevo artistic circle as soon as their

In: Experiment

Sie verdankt ihre Entstehung dem Widerstand junger englischer Künstler gegen die Royal Academy Mitte der 8oer Jahre des 19. Jh.s. Sie war das Sammelbecken all jener, die sich zu der Arts and Crafts-Bewegung bekannten. Erster Präsident und Inspirator war Walter Crane. Hauptanliegen der Gesellschaft

In: Lexikon des gesamten Buchwesens Online

region, this carpentry workshop was a collaboration between professional artists and peasants, and evolved to become a model for other kustar workshops and schools. 9 As Wendy Salmond’s chronology in the appendix of her thorough investigation of Russian Arts and Crafts reveals, efforts to study and

In: Experiment

his representation of the Chinese as master artisans and artists, Mandeville quotes a particular proverb, according to which the Chinese say that when it comes to arts and crafts all peoples of the world are blind, the ‘Christians’ see with one eye, and they (the Chinese) only see with two (“Et pour

In: Ming Qing Yanjiu

books and postcards. 2) Wendy R. Salmond, Arts and Crafts in Late Imperial Russia. Reviving the Kustar Art Industries, 1870-1917 (Cambridge: Cambridge Univ. Press, 1996), 1. 3) Kustar is generally translated as a peasant handicraftsman. 4) M. K. Tenisheva, Vpechatleniia moei zhizni (Paris

In: Experiment
In: Catalogue of the Persian Manuscripts in the Library of the Hungarian Academy of Sciences

is the result of two of them as it constitutes a follow-up of the international conference The Arts and Crafts of Literacy: Manuscript Cultures in Muslim sub-Saharan Africa , that was organized and hosted by the editors at the University of Cape Town on September 5 and 6, 2013. The publication of

In: Islamic Africa
In: Handwerk oder Design

within t h e broader context of the European arts and crafts movement a s a product of the s e a r c h for national identity, confrontation with modernity, and distress over fading rural traditions. Her book a p p e a r s a s part of a new s e r i e s at Cambridge University P r e s s entitled Modern

In: Canadian-American Slavic Studies