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Relevant bibliographies by topics / Fife Folk Museum

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Academic literature on the topic 'Fife Folk Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Fife Folk Museum"

1

Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.

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Iringová, Agnes, and Róbert Idunk. "Solution of Fire Protection in Historic Buildings." Civil and Environmental Engineering 12, no. 2 (December 1, 2016): 84–93. http://dx.doi.org/10.1515/cee-2016-0012.

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Abstract The paper introduces optimization of the functional use of renovated spaces in historic buildings in terms of fire risk. It brings assessment of fire protection in the folk house Habánsky Dvor, situated in the village of Veľké Leváre, whose function was changed into the museum. It goes into static analysis of existing load-bearing structures and assessment of their fire resistance according to Eurocodes.

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Chebotaeva, M. P. "Embroidery ornament on a traditional Khakass holiday women’s fur coat." Ethnography of Altai and Adjacent Territories 10 (2020): 136–45. http://dx.doi.org/10.37386/2687-0592-2020-10-136-145.

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The article deals with the traditional Khakas holiday coats «tone», «Oh ton» and «idect tone.» The research was based on the Museum collections of the Russian ethnographic Museum (Saint Petersburg)and the Museum of anthropology and Ethnography. Peter the Great (Kunstkamera), Khakass national Museum of local lore and Askiz Museum of local lore. The author analyzes the canons of embroidery arrangement on women’s fur coats of the Khakas ethnic groups-Kachin, sagay, koibal, Kyzyl and Shor. Folk embroidery of the Khakas on a festive fur coat had mythological motifs and was a kind of amulet of a person. The main ornamental motifs in embroidery were associated with the Pantheon of gods among the Khakas Tengri (Tigir), Umai (Ymai), the goddess of Fire (From Ine), the God of the Middle world «Earth-Water» (Chir-su), the Sun Goddess (kun) and the moon Goddess (AI).

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Goldman-Ida, Batsheva. "Chanukka-Eisen: Ethnography, Museums and “Hanukkah Lamps of Iron” from Rural Germany." Images 9, no. 1 (May 22, 2016): 64–77. http://dx.doi.org/10.1163/18718000-12340064.

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This case study combines the disciplines of art history, community history, and ethnographic fieldwork to identify a group of museum objects within their cultural context. It shows how ethnography can be used to supplement the tool box available to the art historian in a positive way. Thus, private collections are used to identify the group of Hanukkah lamps of sheet metal in museums. Images of the lamps in folk and fine art, and mention of them in newspaper advertisements and community satirical publications—all contemporary to the period of their use—were consulted. Over 80 interviewees from southern Germany, Alsace, and the Netherlands were interviewed; the majority former teachers from a Jewish school in Wurzburg, others residing in Jerusalem and on the Moshav Shavei Tzion. As a result, the Hanukkah lamps were identified by country, ethnic group, religious affiliation, and object name in the local idiom. Tracing the development and geographic spread of the form also enabled us to identify the same lamp used in different social contexts, among itinerate members of society and the bourgeoisie.

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Andreeva, Irina V. "“To Recognize and Read Something as a Document...”: (The Transfer of Things in Research Reflections by G.L. Dain)." Observatory of Culture 17, no. 4 (September 8, 2020): 414–25. http://dx.doi.org/10.25281/2072-3156-2020-17-4-414-425.

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This article examines the cultural aspects of museum documentation as a process of identifying items to be preserved and actualized as historical documents. In the system of concepts of museum technology, it is designated as a selection process, from the point of view of museum philosophy — as implementation of the specific/museum’s attitude to reality. In the categories of cultural studies, the documentation can be considered as a subject-contextual transfer of things. This case’s formation can be now traced in the articles by J. Dolák, A.N. Balash, A.A. Nikonova, E.V. Abroskina.Basing on the analysis of published materials of the art historian G.L. Dain’s expedition diaries, the article considers the path of a thing to a museum. In addition to institutional factors, the range of her research setting includes the scientific credo of a scientist with a pronounced cultural discourse. This is “the study of toys in living connections with folk life and art, as part of the entire complex of children’s culture”, the knowledge of “the spiritual side of the mechanism of succession in folk culture”. On its basis, a corpus of individual field work methods is formed, relevant to the logic of the modern interpretive turn in the cultural sciences. Their initial message is the perception of a thing as a textual model of national culture, the setting on its multi-layer readability based on the idea of culture as a text. The article considers the subject-contextual transfer of things on the examples of acquiring the items of Bashkir, Chukchi, Eskimo and Buryat traditional cultures for museum collections. Special attention is paid to recreating things from memory by the bearers of the tradition. As a result, a conclusion is made about the five-component structure of the museum documentation process, which includes: cultural metareality — thing — document — object of museum value — museum object. The logic of transformations of things is concretized by the scheme of systematic cultural analysis: document — text — context — discourse — interpretation.

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Hrudevich, Tetiana, and Luidmila Shkira. "HORSE HARNESSES AND RIG OF THE END OF XIX BEG. XX CENTURY IN FUNDS OF NATIONAL HISTORICAL AND ETHNOGRAPHICAL RESERVE «PEREYASLAV» BY I. CHORNYI." Journal of Ukrainian History, no. 40 (2019): 77–82. http://dx.doi.org/10.17721/2522-4611.2019.40.10.

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The purpose of the study of this article is to highlight the history of the discovery of horse harnesses and rig at the end of the nineteenth and early twentieth centuries, and their characteristics. That objects belonged to Chorniyfamily from Kiev and were transferred in 1979 to create an exposition of museums. Presently, the items of horse harnesses and harnesses from the stock collection NHER «Pereyaslav» are exhibited in the museums «Postal Station», «Museum of the National Land Transport of the Middle Dnieper».These museums are located on the territory of the first Museum of Folk Architecture and Life of the Middle Dnieper, established in 1964 in Pereyaslav-Khmelnytskyi city and is the part of the National Historical and Ethnographic Reserve «Pereyaslav». This collection has been gathering for decades. Mikhail Zham (1927–2002) was an ideological inspiration and active collector of horse harness and rigs. Among the large number of horse ruminant, which is in the exposition of museums, there are 25 harnesses and rigsof I. Chorniy. At the beginning of the twentieth century Ivan Chorny, like his father was. I. Chorny, was engaged in camping, had a camping and caravan artillery, a large collection of vehicles, horse harnesses and rigs. Horse rigs – a collection of items for harness, as well as a way to harness them. Rigs should be distinguished from harness, which is a more general term and includes both objects and accessories for harnessing, and for hanging horses and other animals (for horseback riding, or the use of pets). Among the items (harnesses and rigs) belonging to the Black family are: Yoke – a cervical part of a horse's rigs, through which the weight of the transported cargo is transmitted to the horse's neck. There are four in their collection. The arc is a part of a horse's rigs from a bent trunk of a tree, which serves to attach a hawk (one of the two poles, attached to the ends of the front of the car's vehicle) to the yoke. There are three of them. Squares – a long belt, a rope, etc., by which horses are ruled, fixed on both sides to the bridle. The stock collection consists of four units of the box. Bridle («knot») – a piece of harness, which is worn on the animal's head to control it. The collection consists of five pieces of bridles. Breast-bandis a long belt that covers the horse's body and holds the band from slipping around the neck, for example, during descent from the mountain, braking. The collection has four units. Сherezsidelko- a strap that passes through a saddle from one hole to the other, supporting them. Saddle – a part of the rig, in the form of a pillow, which is enclosed under the cherezsidelko. Serves to convey force on the back of a horse. There are 3 of them in collection. Attention is focused on the features of manufacturing, material, technology, and the analysis of harnesses and rigs were made. Also, authors focus on the fact that, depending on the used harness, rigs are divided into: «holobelʹno-postoronkovyy» harness, sidewalk harness; a combined harness. An overview of the declared assembly, analysis of the species, typological, structural features of the horse harness, the comparison of these elements, shows that the samples presented in it are the same type of design, material, technology and characteristic of the entire territory of Ukraine. At the same time, some of them are distinguished by the original artistic decoration, which is a manifestation of the preferences and artistic tastes of the masters who made them. The horse harness and rigs of Chorniy family organically complements the structure and subjects of the exposition of the Museum of National Land Transport and the Museum «Postal Station» of the National Historical and Ethnographic Reserve «Pereyaslav».

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7

Kumar, Lal Bahadur. "MADHUBANI FOLK PAINTINGS AND AMAZING COMBINATION OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3573.

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Through the Madhubani Lak Chitrakala of Mithilanchal, the tradition of Lakkitra is still being maintained. The art of the art is dynamic even today, based on the Sh वंशi dynasty tradition. Madhubani paintings are in great demand abroad but they are neglected in their own country. It is unfortunate that those who have skills in their hands are poor on the rural artist. The country's art world did not get noticed, while "Hasebhawa of Japan has established the Mithila Museum on a hill in Niigata, northwest of the capital Takia." "Hasegawa", a Japanese art admirer and art connoisseur, has visited India more than twenty five times. He also went to the residence of many famous artists of Madhubani paintings and discussed the combination of techniques and colors with the artists of Mithila and Madhubani paintings. After understanding, Mithila artists went to Japan with them and also painted them. Apart from this, many artists visiting America, England, South Africa, France, Germany, Mauritius have made people aware of this art and have raised the value of the country. मिथिलांचल की मधुबनी ल¨क चित्र्ाकला के माध्यम से ल¨कचित्र्ा परम्परा का निर्वाह आज भी किया जा रहा है। यहाँ की ल¨क कला श्©ली वंश परम्परा के आधार पर आज भी गतिशील है। मधुबनी ल¨क चित्र्ाकला की विदेश¨ं में काफी मांग है ल्¨किन वह अपने ही देश में उपेक्षित है। दुर्भाग्य की बात है कि जिनके हाथ में हुनर है, वे ग्रामीण कलाकार आमत©र पर गरीब हैं। देश के कला-जगत् की नजर इस पर नहीं गई, जबकि ‘‘जापान के हासेभावा ने राजधानी ट¨किय¨ से उत्तर-पश्चिम में स्थित निगाता में एक पहाड़ी पर मिथिला म्यूजियम की स्थापना की है। जापान के कला के मर्मज्ञ एवं कला पारखी ‘‘हासेगावा’’ पच्चीस से अधिक बार भारत आ चुके हैं। वे मधुबनी ल¨क चित्र्ाकला के कई सुप्रसिद्ध कलाकार¨ं के आवास पर भी गए अ©र मिथिला के कलाकार¨ं से मधुबनी ल¨क चित्र्ाकला के माध्यम व तकनीक एवं रंग¨ं के संय¨जन पर चर्चा की अ©र उनक¨ समझने के बाद मिथिला कलाकार¨ं क¨ अपने साथ जापान ल्¨ जाकर चित्र्ा रचना भी कराई। इसके अलावा अमेरिका, इंग्ल्©ण्ड, दक्षिण अफ्रीका, फ्रांस, जर्मनी, मॉरीशस जाकर कई कलाकार¨ं ने इस ल¨क कला श्©ली से ल¨ग¨ं क¨ अवगत कराया अ©र देश का मान बढ़ाया है।

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8

Dronjić, Matija. "The Seosan Park Cheomji Nori as Example of the Republic of Korea’s Intangible Cultural Heritage Safeguarding at Regional Level." Etnološka istraživanja, no. 25 (December 3, 2020): 23–33. http://dx.doi.org/10.32458/ei.25.8.

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The author presents results of a research conducted during a five-month study visit to the National Folk Museum of Korea in 2017 as a part of the International Partnership Program for Cultural Partnership Initiative (CPI) of the Ministry of Culture, Sports and Tourism of the Republic of Korea. The objective of this visit was to study the Korean system of safeguarding their intangible heritage as well as its effects at the institutional and communal level. The paper deals with the latter and focuses on practices of safeguarding the local specific puppet play Park Cheomji Nori, which has been included into the regional Register of the intangible cultural heritage.

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9

Pistsov, Konstantin. "The Prototype of Chinese Folk Woodcuts Series, Depicting the Gods of Flowers from the Collections of the State Museum of Oriental Art and the State Museum of Fine Arts named after Alexander S. Pushkin." Oriental Courier, no. 3-4 (2020): 272. http://dx.doi.org/10.18254/s268684310012440-2.

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10

Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.

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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft materials of late 19th - the 1980s, wooden objects of the first half of the 20th century. In some cemeteries of the Nogai District of the Dagestan Republic, carved stone sepulchral stelae (‘syntas’) of the19th - 20th cc. were studied. Two authors albums with traditional Nogai ornaments, unique stencils made of white paper and used as a silhouette base of patterns in felt carpets (‘kiyiz’) and for decoration of clothes, head-dresses, tobacco pouches, shoes, pillows, and blankets were revealed during the field studies and recorded. During the research, all the revealed objects of the Nogai decorative and applied art with traditional ornament were photographed, their detailed inventory and large-scale sketches were made. The stencil patterns and drawings from the albums were copied. As a result of the researches in 2014 - 2016, a database of the Nogai folk ornament has been replenished with 942 objects and 1102 kinds of stencils and drawings.

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Dissertations / Theses on the topic "Fife Folk Museum"

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CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.

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Books on the topic "Fife Folk Museum"

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Museum, Fife Folk. Fife Folk Museum, the Weigh House Ceres. Ceres: Fife Folk Museum, 1988.

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Museum of Fine Arts, Boston., ed. American folk: Folk art from the collection of the Museum of Fine Arts, Boston. Boston, Mass: MFA Publications, 2001.

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1946-, Saccidānandan, Ajīta Kaura, Miśra Dineśa, Foundation of SAARC Writers and Literature (India), and Academy of Fine Arts and Literature (India), eds. Folklore, the intangible cultural heritage of SAARC Region. New Delhi: Foundation of SAARC Writers and Literature, 2009.

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Material journeys: Collecting African and Oceanic art, 1945-2000. Boston, MA: MFA Publications, 2007.

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1945-, Roberts Allen F., Fine Arts Museums of San Francisco., and M.H. De Young Memorial Museum., eds. The shape of belief: African art from the Dr. Michael R. Heide collection. [San Francisco]: Fine Arts Museums of San Francisco, 1996.

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Reed, Sue Welsh, Pamela Parmal, Abaigeal Duda, Gilian Ford Shallcross, and Carol Troyen. American Folk. MFA Publications, 2002.

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Reed, Sue Welsh, Abaigeal Duda, Gilian Ford Shallcross, Gerald W. R. Ward, and Pamela A. Parmal. American Folk. MFA Publications, 2001.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia), Russian Avant-garde Foundation, Walters Art Museum (Baltimore, Md.), and Fine Arts Museums of San Francisco, eds. Origins of the Russian avant-garde: Celebrating the 300th anniversary of St. Petersburg : the Walters Art Museum, Baltimore (13 February-25 May 2003), Fine Arts Museums of San Francisco (29 June-21 September 2003). St. Petersburg: State Russian Museum, 2003.

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Xatart, Stephanie, and Christraud M. Geary. Material Journeys: Collecting African And Oceanic Art, 1945-2000. MFA Publications, 2007.

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Roberts, Mary Nooter, and Allen F. Roberts. The Shape of Belief: African Art from the Dr. Michael R. Heide Collection. Fine Arts Museum of San Francisco, 1997.

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Book chapters on the topic "Fife Folk Museum"

1

Norton, Jacqui. "The Diggers’ Festival, Organising a community festival with political connotations." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2631.

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This chapter examines the organisation of a community festival from an ethnographic perspective drawn from the festival organiser’s viewpoint. It will provide some context on the reasons for founding the Diggers’ Festival and examine key issues and difficulties surrounding the launch and development of a small festival that relates to historical political activities in the market town of Wellingborough, Northamptonshire, UK. As we shall see, most current political festivals in the UK tend to be events launched to commemorate historical milestones that have a political resonance. The chapter will make specific reference to the festival’s funding, audiences and branding, concluding with recommendations on how to move the festival forward. During 2010 the author was asked by the Independent Socialists of Wellingborough (ISW) to organise an evening event to commemorate the 17th century radicals known as the Diggers. As an individual with socialist leanings, the author agreed to promote the first event, which was held during March 2011, and was launched and branded as the Wellingborough Diggers’ Festival. Even though it was in its infancy arguably only an evening event with two professional performers, Ian Saville, a magician who promotes himself as ‘Magic for Socialism’ (Saville, n.d.), and well-established local folk and Americana band The Old Speckled Men, booked, it was felt necessary to launch the festival name and the branding, with the aim being to produce a steady growth into the fourth or fifth years. It was essential to raise awareness of the identity and purpose of the festival amongst like-minded individuals, the local community and people from surrounding areas. The fourth festival grew from being organised solely by the author to having a committee of an additional five volunteers who coordinated an afternoon fringe event based in a town centre public house with three live music artists/bands, including punk/poet Attila the Stockbroker. A writer who had written historical fiction for teenagers, including one that takes its inspiration from Gerrard Winstan- ley and the Diggers, was invited as a guest speaker to present her work in the local library. The local museum hosted a week long display on the Diggers including a copy of the declaration and a copy of a field map dated 1838 identifying the location of the Bareshanks field (the site of the Wellingborough digger community). The programme for the evening event commenced with a local author Alan Moore (V for Vendetta, Watchmen) as a key speaker, followed by performances by two professional live bands with ‘left’ tendencies. In addition to the general considerations of organising a festival, for instance audience, budget, funding, licensing, entertainment and promotion, coordinating a festival with such strong socialist values was going to be a challenge because of the political connotations.

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