Posts Tagged ‘painting’

umbrella history

Wednesday, January 6th, 2010

Umbrella history

As a shade from the sun, the umbrella is of great antiquity. We see it in the sculptures and paintings of Egypt, and Sir Gardner Wilkinson has engraved a delineation of an Ethiopian princess, traveling in her chariot through Upper Egypt to Thebes, wherein the car is furnished with a kind of umbrella fixed to a tall staff rising from the center, and in its arrangement closely resembling the chaise umbrella of the present time. The recent discoveries at Nineveh show that the umbrella (or parasol) “was generally carried over the king in time of peace and even in war. In shape,” says Layard, “it resembled very closely those now in common use, but it is always seen open in the sculptures. It was edged with tassels, and was usually adorned at the top by a flower or some other ornament. On the later bas-reliefs, a long piece of linen or silk, falling from one side, like a curtain, appears to screen the king completely from the sun. The parasol was reserved exclusively for the monarch and is never represented as borne over any other person. On several bas-reliefs from Persepolis, the king is represented under an umbrella, which a female slave holds over his head.”

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From the very limited use of the parasol in Asia and Africa, it seems to have passed both as a distinction and a luxury, into Greece and Rome. The Skiadeion, or day shade of the Greeks was carried over the head of the effigy of Bacchus; and the daughters of the aliens at Athens were required to bear parasols over the heads of the maidens of the city at the great festival of the Panathenea. We see also the parasol figured in the hands of the princess on the Hamilton vases in the British Museum. At Rome, when the veil could not be spread over the roof of the theatre, it was the custom for the females and effeminate men to defend themselves from the sun with the umbrella or umbraculum of the period; and this covering appears to have been formed of skin or leather, capable of being raised or lowered as circumstances might require.

Although the use of the umbrella was thus early introduced into Italy, and had probably been continued there as a vestige of ancient Roman manners, yet so late as 1608, Thomas Coryat notices the invention in such terms as to indicate that it was not commonly known in his own country. After describing the fans of the Italians, he adds: “Many of them do carry other fine things, of a far greater price, that will cost at least a ducat (5s 6d), which they commonly call, in the Italian tongue, umbrellaces; that is, things that minister shadow unto them, for shelter against the scorching heat of the sun. These are made of leather, something answerable to the form of a little canopy, and hooped in the inside with divers little wooden hoopes, that extend the umbrella into a pretty large compasse. They are used especially by horsemen, who carry them in their hands when they ride, fastening the end of the handle upon one of their thighs; and they impart so long a shadow unto them, that it keepeth the heate of the sun from the upper part of their bodies.” It is probable that a similar contrivance existed, at the same period in Spain and Portugal, whence it was taken to the New World. Defoe, it will be remembered, makes Robinson Crusoe describe that he had seen umbrellas employed in the Brazils, and that he had constructed his own umbrella in imitation of them. “I covered it with skins,” he adds, “the hair outwards, so that it cast off the rain like a penthouse, and kept off the sun so effectually, that I could walk out in the hottest of the weather with greater advantage than I could before in the coolest.” In commemoration of this ingenious production, one species of the old heavy umbrellas was called “The Robinson.”

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Much of the clamour which was raised against the general use of the umbrella originated with the chairmen and hackney-coachmen, who, of course, regarded rainy weather as a thing especially designed for their advantage and from which the public were entitled to no other protection than what their vehicles could afford.

In all the large towns of the empire, a memory is preserved of the courageous citizen who first carried an umbrella. In Edinburgh, it was a popular physician named Spens. In the Statistical Account of Glasgow by Dr. Cleland, it is related about the year 1781 or 1782 the late Mr. John Jameson, surgeon, brought with him an umbrella on his return from Paris, which was the first seen in the city and attracted universal attention. This umbrella was made of heavy wax-cloth, with cane ribs and was a ponderous article. Cowper mentions the umbrella twice in his Task, published in 1784.

The early specimens of the English umbrella made of oiled silk, were, when wet, exceedingly difficult to open or close; the stick and furniture were heavy and inconvenient, and the article generally very expensive; though an umbrella manufacturer in Cheapside, in 1787, advertised pocket and portable umbrellas superior to any kind ever imported or manufactured in this kingdom; and “all kinds of common umbrellas prepared in a particular way, that will never stick together.” The substitution of silk and gingham for oiled silk, however, remedied the above objections.

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The umbrella was originally formed and carried in a fashion the reverse of what now obtains. It had a ring at the top, by which it was usually carried on the finger when furled (and by which also it could be hung up within doors), the wooden handle terminating in a rounded point to rest on the ground. The writer remembers umbrellas of this kind being in use among old ladies as lately as 1810. About thirty years ago, there was living in Taunton, a lady who recollected when there were but two umbrellas in that town; one belonged to a clergyman, who, on proceeding to his duties on Sunday, hung up the umbrella in the church porch, where it attracted the gaze and admiration of the townspeople coming to church.

matching set

Thursday, November 19th, 2009

Chinese clothing is ancient and modern, worn by the Chinese people. It has varied by region and time, and is recorded by the artifacts and arts of Chinese cultur. The articles of clothing of past dynasties are one chapter of Chinese long history and culture. They are not only the reflection of the politics and economy of a given society, but also the great contributions for world civilization. An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism.

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Each and every piece of traditional clothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use.

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The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and black symbolizes winter.

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The Chinese are said to have a fully developed system of matching, coordinating, and contrasting colors and shades of light and dark in apparel. Today, Fashion designers use a mixture of traditional and modern ideas to create new fashions. These new fashions also incorporate age-old motifs such as guardian deities, lions, and masks of Chinese opera characters. Chinese bronze is another source of printed, woven, embroidered, and applied design for clothes. Some of the distinctive designs include dragons, phoenixes, clouds, and lightning. Motifs from traditional Chinese painting also end up in woven or printed fashion designs.

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chinese calligraphy

Thursday, November 19th, 2009

Writing is a tangible representation of spoken language. The composition of Chinese characters is divided into six basic categories:hsiang hsing, direct pictorial representation; chih shih, symbolic renderings of abstract ideas; hui yi, a combination of pictorial elements with symbolic renderings of abstract ideas; hsing sheng, a combination of phonetic and pictorial elements; chia chieh, a character used only for its phonetic value to represent an unrelated homophone or near-homophone; and chuan chu, a character which has taken on a new meaning, and an alternate or modified written form has been assigned to the original meaning. These methods of composing Chinese characters are referred to as the Liu Shu, or “Six Writing Methods”.

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With the “four treasures of the study” as tools, and through the medium of lines, China’s calligraphers have developed uncounted different calligraphic styles over the centuries. However, this plethora of diverse styles can be grouped into five basic categories: Chuan Shu, Seal Script; Li Shu, Official Script; K’ai Shu, Regular Script; Hsing Shu, Running Script; and Ts’ao Shu, which literally means “Grass” Script, but is usually referred to as Cursive Script.

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Each style is unique yet similar to every other style. In the Seal Script style, vertical and horizontal lines are fine, uniform, forceful, and tend to be slightly pointed on the ends. The Official Script style emerged to deal with the growing number of official written documents. The style could be executed quickly because it consisted of extremely straight vertical and horizontal lines and a tight structure. And even though it was designed by modifying the Seal style, it was considerably faster to right. The Regular Script was developed during the Han dynasty (206 B.C.-220 A.D.) based on the Official Script. Because it was even more convenient than the Official Script style, the Regular Script style was used for everyday purposes in the Han Dynasty. The Running Script is a cross between the Regular Script and Cursive Script, and its name come from the “running” manner in which it is executed. The “Grass” or Cursive Script features a simplified structure, the running together of strokes, rapidly written and flowing lines, and a low level of legibility. A Chinese Saying expresses the beauty of the Cursive Script: “The writing stops but the meaning goes on; the brush has been put down but the power is unending”.

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Chinese calligraphy is not only a practical tool of everyday living but also along with traditional Chinese painting compromises the mainstream of China’s art history. All kinds of people have avidly collected works of fine calligraphy. And works of calligraphy are to be found everywhere you look: on shop and government office building signs, on monuments, and in stone inscriptions. All of these examples of Chinese calligraphy have supreme artistic value.

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