By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, on hand in a single resource, "An advent to Iconography" explains the methods artists use references and allusions to create that means. The booklet offers the historic, theoretical, and useful elements of iconography and ICONCLASS, the excellent iconographical indexing approach constructed through Henri van de Waal. issues reminiscent of the background of iconography, personification, allegory, and emblems obtain distinct emphasis. extra gains comprise annotated bibliographies of books and magazine articles from worldwide which are linked to iconographic learn. This accomplished consultant, with its greater than 60 illustrations, bargains a readable and prepared resource for the topic.
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Extra resources for An Introduction to Iconography
This is evidenced by contemporary textiles appearing in the tourist art trade. Similar comparisons may be made with the monetary and decorative use of shells in Polynesia and Melanesia. Shell money in Oceania was laboriously cut and polished before circulation and was, thus, always in short supply (cf. Polanyi, 1968:299). Much like raffia cloth, shells in Oceania were valued for the craftsmanship that went into making them appear unique rather than merely for their convenience as a means of exchange.
So traders throughout the continent have found it necessary to diversify. and more and more of them stock arts and crafts from all over Africa. many supplied by wholesalers who stimulate the production and influence the design in terms of the known market. then export the finished products as widely as possible. The decorative uses of some traditional African art by contemporary consumers are a by-product of this process. Recently, Ashanti akuaba dolls symbolizing fertility have been reproduced in the form of decorative ornaments sold IMAGE CREATORS AND IMAGE CONSUMERS 27 as "unisex" costume jewelry in the West.
Tourist art is an economic commodity with a potential for reflecting the social organization and market demands of the new environment in which it is produced. Considered as a system, tourist art demonstrates the expressive and adjustive relationship between popular culture and economic change. It is a semiotic system in which signs also function as the media of economic exchange. 3 Tourist art reflects the growth of new local markets and the exploitation of these markets as a source of survival among grass-roots artists and artisans.
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