HOLY SHIT GUYS, I WAS INSPIRED BY THIS POST TO TRY MAKE THE SONG AND YOU WOULD NOT BELIEVE THE SCREAM I SCRUMPT WHEN I DRAGGED THE TRAINING AUDIO OVER THE BACKING TRACK AND IT LINED UP PERFECTLY
#the museum i worked at had a collection of these baskets!!!#they are like #idk its hard to describe them #they dont look quite like regular baskets they look like so beautiful #anyways check out the Mountain Heritage Center's exhibit on cherokee/rivercane baskets to learn more
Yes, for some reason I don't think they had any Rivercane baskets at this exhibit, the Vinita cultural center is a bit small so maybe that had to do with it? But traditionally Rivercane baskets look like this:
(credit to Lizzie "Nannie" Youngblood and Rowana Bradley, artist unknown for the Chief's Heart shoppers basket)
The basket pictured in the post is likely commercial round reed (with some flat reed), the commercial form of the materials we would use such as Honeysuckle, Buckbrush, or Trumpet Vine. Many Western Cherokee picked up round reed basketry due to lack of supply of Rivercane after the forced removal to Oklahoma.
I'm not exactly sure what you're referring to in regards to this post but I am a tribal member who is posting this and these were taken at our own museum within our own territory in Oklahoma. This information provided is provided by our knowledge keepers and elders.
I am one of these people you talk about being alive, sharing my culture 🙂
I strongly dislike how "some museums have unethical practices, and repatriation of stolen goods should be a high priority when applicable" has morphed into "all museums are evil, and museums are an unethical and untrustworthy source of information by nature."
For many years, until Ichiku Kubota revealed the secrets of creating a kimono (and this happened when the artist was 63 years old), the family lived on the money earned from the sale of his wife’s jewelry.
When the young 20-year-old artist Ichiku Kubota crossed the threshold of the Tokyo National Museum in 1937, he did not suspect that he was waiting for impressions that would change his whole life. In the halls of the museum, Ichiku first met Tsujigahana (literally, “Flowers at the Crossroads”) - Japanese 16th-century kimono manufacturing techniques that lasted only a hundred years. Kubota was so fascinated by what he saw that he decided to devote his life to the revival of ancient art.
In the process of improving Tsudzigahan’s technique, Ichiku Kubota gradually transformed it into his own method, which he later called Ichiku Tsujigahana.
Some kimonos created by the master were intended to be worn by connoisseurs and connoisseurs of his art, while others were used in stage productions of the No and Kabuki theater. The remaining works of Ichiku Kubota left in his collection, as they represented the key stages in the evolution of his art.
[text and images from article by Olgado of Russia]
It's waterproof. It's windproof. It's lightweight and durable. And it's made from the intestines of two bears, painstakingly cleaned and sew
I really wanted to know more about this, especially how the water proof stitching works. Here's more information on this project, and hopefully more in the future!
L'Art et la mode, no. 14, vol. 26, 8 avril 1905, Paris. Les Représentations de la Duse au Nouveau-Théâtre. Dessin de Lucy. Bibliothèque nationale de France
La Dame aux Camélias
Déshabillé de Valenciennes serré à la taille par une ceinture lâche de liberty blanc, recouvert d’un peplum de crepe de Chine brodé d'or, dont les pointes, taillées en capuchon arabe, sont fixées par des glands d’or sous de très amples et très longues manches de Valenciennes relevées sur l’avant-bras.
The Lady of the Camellias
Valenciennes lace peignoir, cinched at the waist by a loose sash of white Liberty fabric, and overlaid with a peplum of gold-embroidered Crêpe de Chine; the pointed ends of the peplum—cut in the style of an Arab hood—are secured by gold tassels beneath very full, very long Valenciennes lace sleeves that are gathered up at the forearm.
—
Robe en mousseline de soie blanche plissée garnie d’Alençon. Manteau à longue traîne très souple, en velours "émeraude", pékiné de satin même ton.
Dress of pleated white silk muslin, trimmed with Alençon lace. A coat with a long, flowing train, crafted from "emerald" velvet striped with satin of the same shade.
—
La Femme de Claude
Robe de drap vert brodé de tresse verte, avec col et poignets de cuir blanc et cravate de taffetas noir.
Manteau de drap noir bordé dérangées de boutons et boutonnières de tresse verte. Capuchon doublé de satin vert bordé d’un large galon de tresse de soie noire.
Claude’s Wife
Dress of green wool cloth embroidered with green braid, featuring a collar and cuffs of white leather and a black taffeta cravat.
Coat of black wool cloth, trimmed with rows of buttons and buttonholes made of green braid. The hood is lined with green satin and edged with a wide band of black silk braid.
While differing greatly from traditional Tarocchi or tarot cards, this set earned its misleading name because of a few, unimportant similarities. Never a game, scholars generally agree that this set was an educational tool, used to visually describe a fifteenth-century philosophical model of the universe. It was believed that the universe was a ladder-like structure that began with the beggar and rose through the ranks of man, the muses, the liberal arts, the virtues, and the planets, until it finally reached the pinnacle, the dwelling place of God. Reflecting this order, these fifty engravings were divided into five groups of ten: the Conditions of Man; Apollo and the Muses; the Liberal Arts (with three added disciplines–Poetry, Philosophy, and Theology); the Virtues (with three personifications of cosmic principles called "genii"); and the Firmaments of the Universe.
View the full collection of E-series Tarocchi cards on JSTOR.
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