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Art Of The Scholar-Poets: Traditional Chinese Painting And Calligraphy, University Of Richmond Museums

Exhibition Brochures

Art of the Scholar-Poets: Traditional Chinese Painting and Calligraphy

April 01 to May 09, 1998

Marsh Art Gallery, University of Richmond Museums

Introduction

Chinese culture developed one of the world's most enduring artistic traditions, literati painting, based upon a unique idea about the purposes of art. The art of the scholar-poets is centered in calligraphy and poetry, which the literati learned at an early age as part of their basic education. Painting was done with the same tools as poetry and calligraphy - brush, ink, and paper - and it was an easy step to express poetic sensibilities in visual …

Mixed Media, Scott Rooney

The Messenger

No abstract provided.

1998 The Analysis, Kimberley O'Dowd

Philadelphia University Yearbooks

No abstract provided.

Contributors

Inscape

No abstract provided.

Full Issue

Inscape

No abstract provided.

Front Matter

Inscape

No abstract provided.

Reflections 1998, Matthew Miller, Jennifer Carlile

Reflections

The 1998 issue of Reflections is edited by Matthew Miller with Jennifer Carlile serving as faculty adviser. Award winners of the student poetry contest include: Emily Johnson, Matt Norman, and Jenny Rogers. Award winners of the student art contest include: Joelle Chung, Jodi Baughn, Efvem Teki, and Takiya Patrick. Jodi Baughn is the winner of the photography contest.

Writing And Illustrating Books For Young Readers, Denise May Williamson

All Graduate Projects

This creative project consists of one complete manuscript for a children's book, intended for young readers (ages 5-8), and twelve possible illustrations created in coordination with the text. The manuscript explores the difference between old age and youth, as it is discovered by a child desiring to spend the day with his grandfather. Page numbers and other notes are included to define how the text would come together to fit publishers' guidelines. Various illustration techniques were studied throughout the coursework of this program, to include: black and white ink, color reproduction, watercolor painting, and enhanced computer art. A storyboard was …

Art, Design And Gestalt Theory, Roy R. Behrens

Faculty Work

Gestalt psychology was founded in 1910 by three German psychologists, Max Wertheimer, Kurt Koffka and Wolfgang Kohler. The author discusses gestalt theory's influence on modern art and design, describes its resemblance to Japanese-inspired theories of aesthetics and finds evidence of a mutual, if limited, interest between the gestalt psychologists and certain artists.

Rudolf Amheim: The Little Owl On The Shoulder Of Athene, Roy R. Behrens

Faculty Work

The author discusses the life of Rudolf Arnheim (b. 1904), the celebrated art-theorist and psychologist, professor emeritus of the psychology of art at Harvard University and author of 15 books about perceptual psychology in relation to art, architecture and film, among them Film as Art, Art and Visual Perception, Visual Thinking and The Power of the Center. The article is a biographical overview of Arnheim's life and work, including his association with the gestalt psychologists in Berlin in the 1920s, his pioneering work as a film critic, his flight from Nazi Germany and his subsequent immigration to the United States …

The Artistic And Scientific Collaboration Of Blanche Ames Ames And Adelbert Ames Ii, Roy R. Behrens

Faculty Work

During an uninterrupted period from about 1910 through 1913, Blanche Ames Ames (1878-1969), an American artist and women's suffragist, worked closely with her brother, Adelbert Ames 11 (1880-1955), a lawyer, artist and optical physiologist, in a study of color, perspective and other aspects of pictorial art in the hope of using scientific findings to enhance the realism of their paintings. They made significant progress, but their close relationship ended in 1922 as a result of a disagreement about their joint authorship of a published paper.

Phiber Optik And The Masters Of Deception, Loretta L. Lange

SWITCH

An exploration of Nam June Paik’s work entitled, 'Phiber Optik', one of thirty artworks in his installation Cybertown at the San Jose Museum of Art (Spring 1996). Paik employs the name, 'Phiber Optik', as an homage to the famous hacker Mark Abene, aka Phiber Optik. The article compares Abene, who spent most of his time in the “dark side” of digital information, to Nicholas Negroponte’s optimistic prediction of emancipatory powers of digitization in his book Being Digital. It elucidates the evolution of hackers and how their work became considered an artform as forerunners of an art movement the author refers …

Bibliography For: Reality And Vitual Reality: Extending The Tradition Of Compound Woven Structures

Textile Society of America: Symposium Proceedings

Benjamin, Walter

Emery, Irene

Fannin, Allen A

Grosicki, Z.1.

McCullough, Malcolm.

Newport, Mark.

Nia, Xia.

Oelsner, G. H.

Plant, Sadie.

Re-Defining Tradition: Handweavers To The World, Seema Chandna

Textile Society of America: Symposium Proceedings

It is my ongoing attraction for, and love of, Indian textiles that brought me back to my country of birth after spending several years, studying and working, in New York. This paper deals with my research, experience and observations, over the last year, working closely with the hand-weaving industry in India.

At my design studio, in Bangalore, I have a multi-treadle handloom and have employed a local hand-weaver. We create the designs and make sample swatches at the studio. For production of yardage, based on our swatches, we work with various weaving centers, located in different Southern Indian villages. Depending …

The Past Is Prologue, Lia Cook

Textile Society of America: Symposium Proceedings

Since the early 1970s I have been interested in the construction of imagery in textiles and how the imagery that is an essential part of the structure can be altered through painting, dyeing, and finishing processes. My early pieces used a simple distortion of the vertical horizontal threads to create undulating parallel lines that defined what I called the "fabric landscape", a piece of fabric laid over a relief surface. In 1974-5 I applied photographs directly to the surface of my woven structures, sensitizing the cotton cords with photosensitive chemicals and processing the whole weaving as one would a photograph. …

Unit Turning Blocks For Designing Tablet Weavings, Bonita R. Datta

Textile Society of America: Symposium Proceedings

This paper describes a design process for tablet weaving with four-holed tablets. It addresses the following techniques: twining; Egyptian diagonals~ four-colour diagonals; 3/1 twill; and, 2/1 twill.

DEFINITIONS

Threading direction is the way in which the yarns pass through the holes in the tablets. These diagrams show the two possible threading directions. The fell line of the fabric is above, the unwoven warp is below, and the front surface of the textile faces the viewer.

This paper assumes all tablets are Z-threaded. The impact of alternating or symmetrical threading arrangements, and the operation of flipping tablets to reverse the threading, …

Fiber And Leather Products Of The Juhena Tribe Of Saudi Arabia And How They Are Made, Joy May Hilden

Textile Society of America: Symposium Proceedings

The Juhena tribe in the northwestern region of Saudi Arabia, the Hijaz, live in coastal towns and villages and in remote, jagged mountains inland, parallel to the Red Sea coast. The coastal area has absorbed diverse cultural influences because of its proximity to Africa and Egypt and its location on an ancient trade route, on which Muslim pilgrims travel to the holy cities of Makkah and Medina. Some members of the tribe, such as the Egyptian-born mayor of Umlaj, have their roots elsewhere and have been adopted by the Juhena.

Coastal inhabitants are settled, semi-nomadic and nomadic, and survive by …

Weaving For Your Life: Creating Textiles In Dolp A, Nepal, Anne M. Johnson

Textile Society of America: Symposium Proceedings

High in the Himalayan mountains, two weeks walk from the nearest road, weaving is a necessity, not an option, for the women of the Dolpa region of Nepal. A woman weaves all of her life, and must weave for her family to survive the difficult life at this high altitude. Picture three weavers working outside in the late winter snowfall, seated on the ground within a low-walled enclosure. There can be more light and warmth outside, rather than inside, their stone houses. Weaving also provides a place of community, where men, women, and children gather to card fibers, spin, weave, …

Recreating A Warp-Faced Compound Weave With The Jacquard Mechanism -Considering Heizo Tatsumura-, Keiko Kobayashi

Textile Society of America: Symposium Proceedings

Recreating of Ancient Fabrics

The technique of how the Warp-faced compound weave was once woven has been the focus of study for many specialists in Japan. It was around 1921 that Heizo Tatsumura began to recreate ancient textiles from the 7th and 8th centuries, found in the Shosoin Repository and the Horyuji Temple. He used the new Jacquard mechanism, which had been imported from France in 1873 with great dexterity. With this mechanism, along with his gifted creativity and inventiveness Tatsumura produced new techniques for the purpose of recreation. The very modem Tatsumura chose the Jacquard mechanism as his tool …

Weaving In Taspinar: A Case Study Of Using Samplers In Carpet Weaving, Sumru Belger Krody

Textile Society of America: Symposium Proceedings

The functions of samplers in needlework, as records of patterns and educational exercises, are well known. But the uses of samplers in carpet weaving have not been subject to serious study. This paper based on a case study conducted in the region around the town of Taspinar in Central Anatolia, will describe the appearance of carpet samplers, the role they play in carpet weaving, how they serve the weavers, and why they are important to weavers.

The field research conducted in the village of Taspinar was a result of responsibility undertaken in early 1996 of documenting a small group (15) …

The Market For Central Asian Ikats, Gail Martin

Textile Society of America: Symposium Proceedings

This site seminar presentation will illuminate the history of the market for Central Asian ikat in the west, since the latter part of the 19th century, but with particular focus on the more recent personal experience of the panelist. How is it that these beautiful, vibrantly colored textiles, created within a particular cultural tradition, became known, valued and collected so far away from their place of origin? Although carpets and embroideries from Central Asia have been known to outsiders since well before the 20th century, it was not until well into the 20th century that the ikats from Central Asia …

Spanier Arbeit A Tarot (Collars For A Prayer Shawl), Bonni-Dara Michaels

Textile Society of America: Symposium Proceedings

Spanier Arbeit

A tallit is a rectangular piece of fabric with fringes (tzizit) at the four corners. Until fairly recently, it was worn as a prayer shawl exclusively by observant Jewish males over the age of thirteen. In Ashkenazic lands, primarily Germany and Poland, a limited range of materials was used to make a tallit. It was made of wool or silk, and was white or off-white with a black stripe. The center of one long side of the tallit was often distinguished by some form of decoration. This decorated area would be worn at the neck, functioning …

Catering To The Designer: Stewart Culin's Study Rooms At The Brooklyn Museum Of Art, Kathleen Moore

Textile Society of America: Symposium Proceedings

In 1918, Stewart Culin, Curator of Ethnology, opened his first "study room" at The Brooklyn Museum of Art, filled it with Indian cottons, and invited American designers to use it for inspiration.

While Culin never designed a textile or costume and never deviated from his scholarly and curatorial roles, he in effect functioned as both master of a design library and informal manufacturer's agent American designers responded by incorporating ideas gleaned from the materials he offered them. Stores displayed his exhibitions and even bought from the same sources he collected from.

This presentation will explore how Culin saw himself, his …

Making It The "Old-Fashioned Way", Laura Foster Nicholson

Textile Society of America: Symposium Proceedings

It is tempting to consider the process I am about to describe as the result of a point of view which is subjective and maybe even romantic. Although the adjective "old fashioned" as used in the title carries a certain amount of ironic wit, in fact my method of weaving is ancient and timeless. I chose it because it is the only way I can adequately convey the majority of my ideas about the textile world. I also work this way because I love the process itself I have tailored my ideas, and risked hobbling them, in order to continue …

Dolls And Upholstery: The Commodification Of Maya Textiles Of Guatemala, Margot Blum Schevill

Textile Society of America: Symposium Proceedings

Introduction

Maya weavers of Guatemala are well known for their beautiful backs trap and treadle-loomed cloth, which they create for clothing and related garments and for sale, both within and outside Guatemala. Backstrap weaving, mainly a woman's occupation done in the home, has an ancient history over two millennia, although there are few extant examples of the weavings of the ancient Maya due to climatic conditions (Figure 1). The process, however, was documented in ceramic art, and the tradition of handwoven clothing can be seen in monumental stone carvings, murals, and also in ceramic art. Today weavers purchase the yarn …

Drawing On Tradition, Cynthia Schira

Textile Society of America: Symposium Proceedings

Over the forty years that I have been weaving, my work has changed conceptually and technically. In the late fifties, after studying in Aubusson, I worked in the tapestry technique. What I perceived to be a rigidity within the working process pushed me toward investigating ways of incorporating the spontaneity of the painters of that period into my textile art. The integration of resist-dyeing along with the use of supplementary wefts provided the potential for changes and additions during the weaving process that I sought. The imagery on my work then was formed by and contained within the supplementary wefts. …

Interlacing Histories Loom Technologies And Pictorial Weaving In Late-Nineteenth Century Japan And France, Leila Wice

Textile Society of America: Symposium Proceedings

Starting in 1872, Japanese artisans travelled from Kyoto to Lyon, to study in the town's famed silk-weaving studios. The Jacquard mechanism which they helped to introduce to Japan the following year made the sorabiki-bata draw-loom obsolete within decades. Even in its. most basic application as an addition to hand-loom weaving, this new technology fundamentally transformed the geography and the economy of manufacturing processes by the turn of the century, but these new methods' impact on the actual fabrics which they were used to produce has yet to be fully explored.

In both countries at this time, woven pictures were one …

"Alienor Regina ... Me Fecit": Production And Patronage Of Medieval Tabletwoven Bands, Nancy Spies

Textile Society of America: Symposium Proceedings

Someone, somewhere in northern Europe late in the fifth century or early in the sixth century AD, successfully translated a technique known from woven fabrics to the simple methodology of tablet weaving and started adding supplemental brocading wefts of precious metallic threads to bands woven with fine wool and imported silk warp threads. F or the next thousand years until the new art of lacemaking grew in popularity during the sixteenth century, brocaded tabletwoven bands were one of the favorite forms of ornamental fabric trim in Europe. The question of who wove these beautiful bands is one which has not …

Reality And Virtual Reality: Extending The Tradition Of Compound Woven Structures, Rebecca Stevens, Laura Foster Nicholson, Lia Cook, Cynthia Schira, Barbara Layne

Textile Society of America: Symposium Proceedings

The following papers examine the uses of compound woven structures in contemporary textile art and the methodologies employed to produce this art. Using the working methods and investigations of three teachers/textile artists, these papers will address the interrelated role of high-tech equipment and handwork that gives today's artists the ability to continue the exploration of these traditional structures with a new flexibility and freedom. Collectively the papers will illustrate the creative choices the artists make in using technologies to translate their textile ideas into tangible works of art.

A "compound weave" is a woven structure composed of more than one …

Tracing Intricate Thread Control Systems: The Bamboo Drum Or Swine Basket Loom To The Tc-L, Carol D. Westfall

Textile Society of America: Symposium Proceedings

I use the word "primitive" with great care and caution and a certain humility for we now send men and women into space clad in triaxially woven fabrics which stem from a basic hexagonal basket structure perfected eons ago by some "primitive" Chinese artisan. I am consistently amazed by the extraordinary accomplishments of our common ancestors.

Man's need to adorn his or her body with imagery which acts as a signifier of status or aesthetic is a time honored tradition. The transference of this imagery onto textiles was a natural occurrence, once the need for garments was established - either …