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The historical and cultural richness of the Near and Middle East is reflected visually in its costume. In this book, Jennifer Scarce makes brilliant use of years or research to provide a lucid acount of the development of women's dress from the fourteenth to the early twentieth centuries. Her study of costume is set in th ebroader context of the social and economic background of the Ottoman Empire, giving the subject a new an fascinating slant. A detailed discussion of cut and construction is accompanied by pattern layouts and numerous photographs which clearly illustrate the different styles of dress through the centuries. Women's costume of the Near and Middle East is a hitherto sadly neglected subject. After years of original research across the world, this gap has been admirably filled by Jennifer Scarce's scholarly readable study.
Published in conjunction with the exhibition of the same name held at The Metropolitan Museum of Art during the first quarter of 1995. The authors (both curators at The Costume Institute) explore the West's fascination with ideas and motifs from the various Easts, and demonstrate the expression of t
Illustrates a wealth of textiles and costumes never seen before and covering all the Asian continent from Turkestan to Japan, from India to Indonesia, belonging to the Belgian Mis collection, one of the world's major private collections.
The historical and cultural richness of the Near and Middle East is reflected visually in its costume. In this book, Jennifer Scarce makes brilliant use of years or research to provide a lucid acount of the development of women's dress from the fourteenth to the early twentieth centuries. Her study of costume is set in th ebroader context of the social and economic background of the Ottoman Empire, giving the subject a new an fascinating slant. A detailed discussion of cut and construction is accompanied by pattern layouts and numerous photographs which clearly illustrate the different styles of dress through the centuries. Women's costume of the Near and Middle East is a hitherto sadly neglected subject. After years of original research across the world, this gap has been admirably filled by Jennifer Scarce's scholarly readable study.
On the basis of texts, wall-paintings and book-illuminations, this study offers the reader a survey into the liturgical and monastic dress of the Coptic, Nubian, Syrian and Armenian Churches. The starting-point of the investigation is the liturgical vestments in Nubian wall-painting, but eventually an image of the influences and differences in ecclesiastical dress between the several Eastern Churches appears.
This is a fascinating exploration of the mystery that surrounds of Ruben's most well-known and intriguing drawings. Peter Paul Rubens was one of the most talented and successful artists working in 17th-century Europe. During his illustrious career as a court painter and diplomat, Rubens expressed a fascination with exotic costumes and headdresses. With his masterful handling of black chalk and touches of red, Rubens executed a compelling drawing that features a figure wearing Asian costume - a depiction that has recently been identified as Man in Korean Costume. Despite the drawings renown - both during Ruben's own lifetime and in contemporary art scholarship - the reasons why it was made and whether it actually depicts a specific Asian person remain a mystery. The intriguing story that develops involves a shipwreck, an unusual hat, the earliest trade between Europe and Asia, the trafficking of Asian slave, and Jesuit missionaries.
Over 250 illustrations, drawn in the artistic style of the period, depict apparel worn by Egyptian royalty, manual workers, and military, as well as by ancient Sumerians, Babylonians, and Assyrians. Flat patterns show cut of the garments.