By Irena Turnau
This publication through Prof. Irena Turnau, awesome expert within the historical past of fabric and garments, offers an issue which has now not attracted a lot recognition: outfits used for operating. wonderful costumes indicated their proprietors' social prestige, wealth and tool, however it used to be most unlikely to paintings in them. It used to be tough even to maneuver in heavy fur coats, complex headgear and sneakers of fancy shapes. This learn discusses cozy clothing which made actual labour attainable and didn't prevent any form of task. They have been utilized in peasant farms and craftsmen's workshops, they served miners, steelworkers, masons and sailors, they have been worn by way of servants so as to rigidity the excessive prestige in their masters. This e-book is devoted to all these humans of the prior who tucked up their tunics, rolled up their sleeves and trousers, secure themselves with aprons, invented helps and yokes so as to hold commodities - to the entire indigent population of Europe and the neighbouring areas of Asia who toiled to earn their residing. the difficulty of occupational gown in previous centuries is very advanced. not anyone has ever attempted to formulate distinct definitions during this box, and the to be had stories are in simple terms descriptive. --- released in a constrained version of 500 copies.
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Extra info for European Occupational Dress from the Fourteenth to the Eighteenth Century
Prior to this encounter with tattooing. the practice was called "pricking" in the west. Cook introduced the Tahitian word "ta-tu" meaning "to strike" or "to mark" and soon "tattoo" became the common term. Officers and sailors of the Endeavor received tattoos from Tahitian artisans to commemorate their adventures and. on his second voyage to the Pacific. Captain Cook returned to England with 15 Introduction a heavily tattooed Tahitian prince named Omai who was exhibited as an object of great curiosity to members of the British upper class.
Young Nuban men create highly personal designs intended to accentuate their physical development. The use of color and form is a matter of personal creative choice rather than being dictated by tradition or ritual meaning. Body decorations are valued for their uniqueness. symmetry, and enhancement of phySical characteristics. The Nuba are proud of the deSigns and intend them to be admired by and attract the attention of the opposite sex (Faris. 1972; Brain. 1979: 42-45). Hair is another body element that is routinely shaped, cut, colored, removed, and otherwise used as a medium of aesthetic creativity and social communication.
Although a commercially-oriented craft structure continues to dominate contemporary tattooing and the general public continues to define it as a deviant activity. significant changes have been occurring during the last two decades. Younger tattooists. frequently with university or art school backgrounds and experience in traditional artistic media. have begun to explore tattooing as a form of expression. For many. this exploration has been motivated by dissatisfaction with the substance of conventional fine art forms and the career limitations presented by the insular socio-occupational world of artistic production.