Relevant bibliographies by topics / Costume albums

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Costume albums'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Costume albums"

1

Kynan-Wilson, William. "Souvenirs and stereotypes: an introduction to Ottoman costume albums." Heritage Turkey 3 (December 1, 2013): 35–36. http://dx.doi.org/10.18866/biaa2015.075.

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Melkova, Svetlana. "Fashion design within the structure of contemporary design." Культура и искусство, no. 3 (March 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.3.32432.

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The object of this research is fashion design as one of the new directions in design. Design is constantly developing due to broadening of its area of application and people demonstrate new ideas and demands. The subject of this research is the conceptual-terminological apparatus of fashion design. The author reveals the content of the new concept of “fashion design” that reflects vast proliferation of design activity generated by fashion, including costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashionable brands, etc. The foal of research consists in systematization of sketchy theoretical data on fashion design as a new trend of design. The scientific novelty consists in interpretation of the term “fashion design” and determination of its role within the structure of contemporary design. The conducted research allows identifying close connection of this concept with costume design and graphic design. The presented materials can be used in teaching professional disciplines of “Graphic Fashion Design” and “Project Design” to graphic designers and fashion designers. The research results found application in educational process of future designers in Kemerovo State Institute of Culture.  
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Collaço, Gwendolyn. "Dressing a City’s Demeanour: Ottoman Costume Albums and the Portrayal of Urban Identity in the Early Seventeenth Century." Textile History 48, no. 2 (2017): 248–67. http://dx.doi.org/10.1080/00404969.2017.1369331.

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Bond, Katherine. "Mapping Culture in the Habsburg Empire: Fashioning a Costume Book in the Court of Charles V." Renaissance Quarterly 71, no. 2 (2018): 530–79. http://dx.doi.org/10.1086/698140.

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AbstractThis article introduces two manuscript editions of a richly illustrated costume album dated ca. 1548–49. Commissioned by Christoph von Sternsee (d. 1560), the captain of Charles V’s German guard, and composed using visual material sourced from Dutch master Jan Cornelisz Vermeyen (ca. 1500–59), the costume album records the diversity of subjects, customs, and costumes that the guard witnessed across imperial Habsburg Europe. Shaped by Sternsee’s personal experiences of travel, war, and empire, his costume album paints a vivid picture of imperial propaganda and personal ambition, demonstrating the significant role that Habsburg networks and relationships had upon the period’s visual culture.
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Rothman, E. Natalie. "Interpreting Dragomans: Boundaries and Crossings in the Early Modern Mediterranean." Comparative Studies in Society and History 51, no. 4 (2009): 771–800. http://dx.doi.org/10.1017/s0010417509990132.

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Early modern observers rarely failed to comment on the perceived diversity of peoples, customs, and languages of Mediterranean societies. This diversity they sought to capture in travel narratives, costume albums, missionary and diplomatic reports, bilingual dictionaries, and a range of other genres of the “contact zone.” Modern scholars, too, have celebrated the early modern Mediterranean's ostensibly multiple, diverse, and even “pluralist,” “cosmopolitan,” or “multicultural” nature. At the same time, in part thanks to the reawakened interest in Braudel's seminal work and in part as a much-needed corrective to the politically current but analytically bankrupt paradigm of “clash of civilizations,” recent studies have also emphasized the region's “shared,” “connected,” “mixed,” “fluid,” “syncretic,” or “hybrid” sociocultural practices. Of course, these two analytical emphases are far from mutually exclusive, as recently underscored by Peregrine Horden and Nicholas Purcell's comprehensive, longue durée model of diversity-in-connectivity. Yet, neither Horden and Purcell's structuralist “new thalassology,” nor other studies of the early modern Mediterranean have offered a systematic account of how “diversity” and “connectivity” as both the flow of social practices and the categories for speaking about them have been articulated through specific institutions and genres.
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Galyamov, А. А. "Images of the Ob Ugrians in illustrated editions of the second half of the XVIII – first half of the XIX centuries: an iconological analysis." Bulletin of Ugric studies 10, no. 4 (2020): 774–86. http://dx.doi.org/10.30624/2220-4156-2020-10-4-774-786.

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Introduction: using a wide range of illustrative sources (academic works, ethnographic and costume albums) of the second half of the XVIII – first half of the XIX centuries, as well as relying on the iconological approach, the article analyzes the works reflecting the appearance and life of the Ob Ugrians. Objective: review and iconological analysis of images of the Ob Ugrians based on illustrated editions of the second half of the XVIII – first half of the XIX centuries. Research materials: illustrated editions of the second half of the XVIII – first half of the XIX centuries. Results and novelty of the research: the theme of the representation of the Ob Ugrians in illustrated editions of the second half of the XVIII – first half of the XIX centuries are poorly studied. The relevance of the research in the context of ethnographic Ob-Ugric studies is due to the fact that until now there were no attempts of systematic analysis of images of the Ob Ugric peoples in illustrative publications of the second half of the XVIII – first half of the XIX centuries, which are of scientific value. The novelty of the research is connected with the consideration of transformation of images of the Ob Ugrians on the example of engravings by Ch. Roth and E. M. Korneev, which can be found in domestic and foreign editions of the second half of the XVIII – first half of the XIX centuries.
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Druzhinina, Inga A. "Revisiting the Creation of Colonel D. A. Vyrubov’s Album from the Fonds of the Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) of the Russian Academy of Sciences and Its Real Author." Herald of an archivist, no. 1 (2022): 36–53. http://dx.doi.org/10.28995/2073-0101-2022-1-36-53.

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The article for the first time raises the question of authorship of one of the key sources on archaeology and ethnography of the peoples of the North Caucasus, first and foremost the Balkars, Kabardins, Karachais, and Abazins — an album with watercolour drawings of fortresses, churches, funerary monuments, elements of costume of mountain peoples, etc. stored in the fonds of the Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera). This source is known in historiography under the name of its first owner, D.A. Vyrubov, head of the Nalchik district of the Terek region. The article argues that the author of the album was Ivan A. Vladimirov (1869-1947), Russian and later Soviet artist, archaeologist, and military correspondent. Handwriting experts' examination of handwritten notes in the album and I.A. Vladimirov’s reports on archaeological investigations conducted in the Nalchik district confirms this; chronology and geography of the album coincides with I.A. Vladimirov's travels to the Caucasus. There is interconnected and complementary information on a number of archaeological and ancient architectural monuments, as well as on people who supported Vladimirov in his field research — Dimitri Alekseyevich Vyrubov, the chief of the Nalchik district, and Dadashe Dohshukovich Balkarokov, a Chegem taubian. It is shown that the period from 1892 to 1898, that is, from I.A. Vladimirov’s first appearance in the Nalchik district to Colonel D.A. Vyrubov’s transfer to Vladikavkaz, is the most probable time of the album’s creation. Establishing the identity of the artist who created the album has significantly broadened the information capacity of the source itself, as it now can be considered in conjunction with I. A. Vladimirov's scientific accounts of his archaeological work. This, in turn, facilitates identification of a number of objects, including ancient half-destroyed Christian church near Bylym village. In addition, comparative study of the sources has yielded new information on the monuments. Thus, the album contains drawings and measurements of mausoleums and crypts near the village of Gundelen, church on the Kisanty river, mausoleums and tombs in the same area, while I.A. Vladimirov’s report contains photos of these objects, their site layout plan and drawings. Some previously unknown facts from the history of the first archaeological expedition conducted by I.A. Vladimirov in 1896 have also been revealed.
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Hansen, Kathryn. "The Beauties of Lucknow: An Urdu Photographic Album." Journal of Urdu Studies 1, no. 2 (2020): 141–76. http://dx.doi.org/10.1163/26659050-12340011.

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Abstract ʿAbbās ʿAlī of Lucknow published several volumes of photographs which were unique in being accompanied by text in English and Urdu.The Beauties of Lucknow(1874), an album of female performers and costumed actors from the Indar Sabhā, is attributed to him. Based on examination of the rare book in five archival locations, this article accounts for the variations among them. It distinguishes between the photographer’s authorial intentions and the agency of artisans, collectors, and others who altered the artifact at various stages. Comparison of the textual apparatus of the English and Urdu editions reveals the author’s mode of address to different audiences. The Urdu introduction, saturated with poetic tropes, provides insight into ways of viewing photographs as formulated among the local cognoscenti. The article proposes that ʿAbbās ʿAlī’s book was meant as a private gift, as well as a publication for wider circulation.
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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.

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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.
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Katritzky, M. A. "Was Commedia dell'arte Performed by Mountebanks? Album amicorum Illustrations and Thomas Platter's Description of 1598." Theatre Research International 23, no. 2 (1998): 104–26. http://dx.doi.org/10.1017/s0307883300018459.

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Early modern mountebanks, also known as charlatans or quacksalvers, were commercial travelling showmen associated with the sale of quack medicines and other products. They achieved wide recognition as a significant influence on the rise of professional acting, through their employment of performers to attract customers for their wares, and are frequently discussed in the context of early professional popular entertainment. Many depictions of mountebanks include commedia dell'aite costumes, but it has remained an open question whether some of their shows (as well as some of their costumes) fall within the sphere of the commedia dell'arte. Inconclusive evidence is presented by the relatively few studies which incline towards accepting a significant overlap between mountebank activity and the commedia dell'arte and clear-cut distinctions are routinely made between the repertoire of street performers, and that of the comici d'arte. Richards and Richards concede that ‘mountebank stages … may well have been the breeding grounds of many of the first regular actors’, but repeatedly emphasize the distinction ‘between performers of the trestle and those of the stage’, and are careful to dismiss mountebank stage routines as at the most ‘short playlets’. If the presently perceived lack of detailed documentation concerning mountebank entertainment is justified, then so is the cautious approach typified by Richards and Richards. On the evidence presented to date, it would appear that mountebank performances are at most distantly related to the commedia dell'arte.
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Dissertations / Theses on the topic "Costume albums"

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Bond, Katherine Louise. "Costume albums in Charles V's Habsburg Empire (1528-1549)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277715.

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This dissertation addresses the development of the costume book in the rapidly globalising world of the sixteenth century, concentrating on two costume albums produced in the second quarter of the sixteenth century and whose owners and creators shared close ties to the imperial court of Habsburg ruler and Holy Roman Emperor Charles V (r. 1519-56). These richly illustrated albums were among the first known and surviving attempts to make sense of cultural difference by compiling visual information about regional clothing customs in and around Europe and further abroad. Their method of codifying sartorial customs through representative costume figures became a prevailing method through which to examine human difference on an increasingly vast and complex geo-political stage. Yet to have been satisfactorily investigated is the significant role that Habsburg networks and relationships played in shaping these costume albums and their ethnographic interests. The Trachtenbuch, or costume album, of Augsburg portrait medallist Christoph Weiditz (c. 1500-59) is a primary example, constituting a work of keen ethnographic observation which depicts customs and cultures largely witnessed first-hand when the artist travelled to Charles V’s Spanish court in 1529. Of equal interest is the second primary example of this dissertation, the costume album of Christoph von Sternsee (d. 1560) the captain of Charles V’s German Guard. Sternsee’s album, introduced to scholarship for the first time in this study, illustrates diverse cultures and costumes encountered across the imperial Habsburg lands and its neighbours. The emperor’s far-reaching sovereignty propelled Christoph Weiditz and Christoph von Sternsee across the Habsburg lands as they each attempted to benefit their careers and gain prestige from imperial patronage. Their costume albums testify to an empire that encouraged interactions between ambassadors, agents, merchants, military officers, and courtly elite of diverse cultural backgrounds, against a backdrop of shared political, religious, commercial, and military interests. This milieu facilitated the transfer of knowledge and developed methods of visual communication and human representation that were shared and reciprocally recognised.
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Books on the topic "Costume albums"

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Ömerağa, Ahmet. Gönyeli köyü kıyafetler albümü (1900-1980): Costume album of Gönyeli village's [sic]. Kıbrıs Türk Fotoğraf Derneği (FODER), 2008.

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Champagny, Clerjon de. Album de un soldado durante la campaña de 1823 en España. Ediciones Atlas, 1988.

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Firkins, June, and Eve Eckstein. Hat Pins (Shire Albums) (Shire Album S.). Shire Publications, 2007.

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4

Lao zhao pian (Old photos : a series of picture albums). Jiangsu mei shu chu ban she, 1997.

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Lao zhao pian (Old photos : a series of picture albums). Jiangsu mei shu chu ban she, 1997.

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Zhongguo di 2 li shi dang an guan., ed. Lao zhao pian xi lie tu ji: Old photos, a series of picture albums. Jiangsu mei shu chu ban she, 1997.

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7

1864-1935, Gameiro Alfredo Roque, and Almeida Fialho d' 1857-1911, eds. Album de costumes portugueses: Cinquenta cromos. Perspectivas & Realidades, 1987.

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Patkeragirkʻ Haykakan tarazneru =: Album of Armenian costumes = Album des costumes arméniens = Muṣawwar lil-azyāʼ al-armīnīyah. Hamazgayin mshakutʻayin ew krtʻakan ěnkeraktsʻutʻiwn, 1988.

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Soedarmaji, Ramelan Ms, Hidayati A. M, and Proyek Pengembangan Media Kebudayaan (Indonesia), eds. Album seni budaya Jawa Tengah. Departemen Pendidikan dan Kebudayaan, Direktorat Jenderal Kebudayaan, Proyek Pengembangan Media Kebudayaan, 1992.

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Songshan, Shi, and Zhongguo Yi zu fu shi hua ce bian xie zu., eds. The costumes and adornments of Chinese Yi nationality picture album. Beijing Arts and Crafts Publishing House, 1990.

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Book chapters on the topic "Costume albums"

1

Fraser, Elisabeth A. "The Ottoman Costume Album as Mobile Object and Agent of Contact." In The Mobility of People and Things in the Early Modern Mediterranean. Routledge, 2019. http://dx.doi.org/10.4324/9781351042062-6.

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"Play and Performance in Ottoman Costume Albums." In Entertainment Among the Ottomans. BRILL, 2019. http://dx.doi.org/10.1163/9789004399235_005.

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Ehrenfeld, David. "Hot Spots and the Globalization of Conservation." In Swimming Lessons. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195148527.003.0024.

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Eight friends were seated around the dining room table, two bulging photo albums at the ready, about to start a round of that curious adult version of Show and Tell known as Our Summer Vacation. Donna and Stanley had begun their album with pictures of Stanley delivering a lecture to clinical psychologists at the Catholic University of Campinas, in the state of São Paulo, Brazil. This was followed by page after page of lush, colorful South American scenery: snapshots of the mighty Iguazú Falls taken from the river below; towering walls of green vegetation along the Rio Paraná; a thick growth of native trees overtaking the exotic plantings left behind by the celebrated botanist Moises Bertoni at the remains of his agricultural experiment station in the Paraguayan province of Alto Paraná. Then there were pictures of Stan-ley and Donna with their Brazilian hosts, flanked by stately palms; pictures at their friends’ beautiful beach house in Ubatuba; pictures of costumed samba dancers; and more pictures of scarlet and blue macaws, gaudy toucans, purple bougainvilleas, brilliant butterflies, and the rich magnificence of one of the last remaining patches of Brazil’s Atlantic coastal forest. The album provided a breathtaking display of natural and human exuberance painted in a profusion of vivid reds, blues, yellows, and, above all, greens. I could almost smell the myriad fragrances borne on the tropical breeze and hear one of my favorite sounds, the chattering of parrots far above in the treetops. As the pages turned, the phrase “hot spots” came into my mind, that graphic term for those patches of exceptionally high biodiversity—many of them in the tropics—that receive the lion’s share of attention from conservation biologists and others dedicated to the preservation of endangered species. I thought of the conservation argument that says if we want to preserve life, look first at the places where, acre for acre, the most kinds of life exist—where an acre can yield a hundred species of trees instead of a handful, and more species of insects than most of us can imagine.
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Güllüoğlu, Abdullah. "The First Ottoman Legation to Prussia in 1763–1764 and Its Depiction in a Costume Album from Berlin." In Fashioning the Self in Transcultural Settings. Ergon Verlag, 2015. http://dx.doi.org/10.5771/9783956507052-223.

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Conference papers on the topic "Costume albums"

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Cherevko, Marina. "ETHNOGRAPHIC ALBUM OF QING DYNASTY HUANG QING ZHI GONG TU (IMAGES OF TRIBUTARIES OF THE RULING QING DYNASTY) AS A VALUABLE SOURCE OF INFORMATION ON TAIWANESE INDIGENOUS PEOPLES." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.19.

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In the third volume (卷, juan) of an 18th-century woodblock publication Images of Tributaries of the Ruling Qing Dynasty (Huang Qing zhi gong tu, 皇清职贡图), among others non-Han ethnic groups, there are thirteen illustrations of Taiwan’s indigenous peoples, including a brief description of their costumes, disposition, and customs. This volume contains illustrations of various types of Taiwanese “barbaric” natives that reveal a great deal about Qing imaginative conception of savagery. They are classified both by administrative divisions and by categories of civilized (熟番) and uncivilized (生番) depending on their adoption of Chinese culture. The entries begin with the civilized savages of Taiwan county, then south to Fengshan county, and then north to Zhuluo county, Zhanghua county, and finally Danshui sub prefecture. The submitted uncivilized savages follow again in sequence from south to north. Last are the uncivilized savages of the inner mountains. The illustrations thus proceed from the most civilized one through increasing degrees of savagery. In each of the thirteen pictures, the differences between the savage figures and civilized figures are emphasized. The depictions of the physical appearances of the civilized and uncivilized savages can demonstrate their relative levels of civilization. The Qing Dynasty’s ethnographical description, which recorded the social culture of the historical tribes, now became particularly valuable because of the lack of a great amount of information on the indigenous tribes of Taiwan. It is quite necessary to study the society, traditions and cultural features of Taiwanese indigenous people in different periods, especially after their integration into the Qing Empire. Huang Qing zhi gong tu is regarded as a very important source for a detailed investigation of different ethnical types of peoples who inhabited the island of Taiwan. We have to analyze the history of aboriginal culture alongside Chinese culture to gain a more rounded insight into the culture and history of Taiwan.
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