Costume Elements Research Articles

Cultural Characteristics of Female Hero Images in Intangible Cultural Heritage Films

In Chinese films with intangible cultural heritage themes, female images are an indispensable presence. Particularly, several renowned female hero figures derived from folklore literature, such as Liu Sanjie, Ashima, and Hua Mulan, stand out as symbols of both traditional Chinese heroines and the cultural zeitgeist. This paper utilizes Roland Barthes' semiotic theory to analyze the characteristics of these three representative intangible cultural heritage-themed folk literature films. By employing text analysis methods, it examines the elements of costume, dialogue, setting, and plot in these films. These symbolic elements elucidate the development of female characters and cultural transformations, revealing how traditional culture is represented and transmitted in modern media. The paper also explores the crucial role and value of women in the preservation and inheritance of intangible cultural heritage, offering suggestions for better shaping the images of female heroes in intangible cultural heritage-themed films.

Vyshyvanka of Pokuttia and the Elements of Folk Costume: Past and Present (Based on the Expedition to Horodenkivshchyna)

The article is devoted to the study of Pokuttia embroidery as a phenomenon of ethnic culture, in particular in Horodenka region. The peculiarities of techniques, ornaments and color range are defined. There we can see rukavienky, risheni and tserkovani embroidered shirts, pleats, skirts «in wheat» and other interesting clothes. The ornaments mostly include geometric figures, flower and plant patterns. There are also shirts with embroidered Ukrainian symbols, in particular in the village of Khmeleva. Embroidery techniques consist of cross stitch, plain stitch, low stitch and even on hoops. It is observed during the expedition, that despite the proximity of the villages, similar elements and local differences in the embroidery and folk costume of Pokuttia region have been found. The villages of Horodnytsia, Cherniatyn and Toporivtsi are distinguished by interesting features of local clothing. Here you can find white-on-white embroidered shirts, flowery embroidery similar to Bukovyna, pleated skirts, men’s straw hats – bryli. As for wedding clothes, Yaseniv Pilnyi and Kopachyntsi demonstrate richness and uniqueness here. The wedding attire of local residents of these villages differs significantly from the other settlements. The list of women’s festive outfits consists of kapanka, fota, kabat, percale. Original elements of men’s clothing consist of futerko, shapka-baranka (lamb hat) and a white cloth «rantukh», that the bridegroom has presented to the bride. In Yaseniv Pilnyi unique women’s jewelry – sylianki – are preserved to this day. Nowadays local women and girls quite reproduce actively ancient samples of these necklaces. Girls from Horodnytsia are famous for ducats, indicating their status. All these features make Horodenkivshchyna a special ethnographic region, where authentic clothing occupies a leading place. And although Ukrainian embroidery is evolving significantly today, it is interesting to see that, despite modern fashions, ancient patterns of embroidery are still actively preserved and passed down from generation to generation in the Horodenkivshchyna.

Intangible Space of Continuity and Changes in Ondel-Ondel’s Costume Elements and Performance

The research discussed Ondel-ondel, a significant and tall doll from Betawi, since the costume elements could be changed anytime, anywhere, and in any shape, Ondel-ondel appeared more alive and appealing in different looks. Initially, Ondel-ondel seemed too unchanged, but it was prettier than before. There were many Ondel-ondel performances in Jakarta's streets that were not accompanied by music. Ondel-ondel transformed not only the costumes but also the myth from repellent to entertainer. The changes were exciting to discover the concept or idea of its background, relationships, impacts on the environment, and other meanings for society. The research applied a descriptive qualitative method. Based on a historical approach with semiotic analysis and interpretation as a research method, Ondel-ondel costume elements underwent continuity and changed alongside the social, political, economic, and cultural contexts linked to the role of power of its respective time. Within the continuity and changes in each Ondel-ondel model, there was a compromise and social dynamic in society, which gave the costume elements a unique trade. This compromise created a cultural negotiation space in the community and helped to develop a typical environment that distinguished itself from others. The result is four Ondel-ondel models, each representing society's compromise and the social dynamic between the authorities, the community, and the Ondel-ondel players. When the transformation of the ondel-ondel's appearance creates an intangible space between maintaining its ideology. Meanwhile, on the other hand, the changes in ondel-ondel portray how the changing times also alter the appearance of the ondel-ondel.

HISTORICAL EVOLUTION AND INNOVATIVE DESIGN OF QIANG COSTUMES

Рurpose. This paper analyzes the evolution process and cultural connotation of Qiang costume form, discusses the application form of Qiang costume elements in modern clothing design, and provides a theoretical basis for the innovative design of national costumes. Methodology. The field research method, literature analysis method, and case study method are used to analyze the evolution process, cultural connotation, and design application of Qiang costumes. Results. By studying the development process and style design changes of the Qiang costumes, it is concluded that its unique cultural connotation and design characteristics are closely related to the social characteristics, production methods and religious beliefs of the Qiang people. It is the materialized expression of the Qiang people's world outlook and national psychology. It reveals the reasons for the change of the Qiang costume modelling and proposes the method of using ethnic elements in modern costume design. Scientific novelty. This paper studies the development process of Qiang costume shape from the perspective of design, history, ethnology and anthropology, and puts forward that Qiang costume is the materialized expression form of local people 's world outlook, values and aesthetics, and clarifies that the change of Qiang costume shape is influenced by religious culture and Han-Tibetan culture. Suggestions are made in the form of integration of national costume elements with modern clothing design. Practical significance. The Qiang costume has been fused with other ethnic cultures in the course of historical changes, which is both inherited and changed, which is very inspiring to modern costume design. Digging deeper into the cultural connotation and design language of Qiang costume, so that it can innovate the design method and explore the design carrier while inheriting the national culture, so as to provide reference for the creation of a costume design that can embody both the traditional Chinese culture and the sense of the times.

뮤지컬 엘리자벳의 의상에 나타난 자기반영성 분석 -무대의상의 디자인 요소를 중심으로-

뮤지컬 엘리자벳의 의상에 나타난 자기반영성 분석 -무대의상의 디자인 요소를 중심으로-

Jewelry, Accessories, and Decorative Elements of Women’s Funeral Costume of the First Half of the 6th Century BCE in the Territory of Forest-Steppe Scythia

Among the antiquities of the archaic period of Forest-Steppe Scythia, a group of elite burials of women, possibly endowed with priestly functions during their lifetime, stands out. Until recently, only two unrobbed burial complexes were known to contain the main burials of women of high social rank, in whose graves golden costume elements were found—primarily expressive details of headdresses. The barrows (kurgans) were discovered at the end of the 19th century when amateur excavations were actively carried out on the right bank of the Dnipro. As a result of research conducted by the author at the Skorobir necropolis (in the area of the Bilsk fortified settlement, on the left bank of the Dnipro), two similar graves were recently discovered, which provided new material that significantly expanded the known geographical distribution of this phenomenon. The materials are closely analogous to the previously discovered elite female burials of the Middle Dnipro (barrow 100 near the village of Syniavka, barrow 35 near the village of Bobrytsa) and allow us to highlight a number of stable elements of the funeral costume of noble women and the sets of objects that complemented them. In this article, we consider the social and cultural significance of female attire in elite burials and delimit the chronological framework of this previously understudied phenomenon within the first half of the 6th century BCE. The new finds offer unprecedented insight into the form and meaning of one type of female headdress which researchers have tried to reconstruct for over a century.

Электронно-зондовый микроанализ археологического цветного металла (на примере находок V–VI вв. н. э. из погребений Варнинского могильника)

The article introduces into scientific circulation the first data on the composition of non-ferrous metals of the early Middle Ages in the territory of the river Cheptza. To obtain a comprehensive description of archaeological metal of the 5th–6th centuries samples of 55 items from 15 burials of the Varninsky burial ground were prepared. To conduct the study, a previously tested method of quantitative elemental analysis of the samples was used. The obtained data were entered into an analytical table containing the information on the percentage of components and data from archaeological finds. The analysis of the results revealed that in the 5th–6th centuries people used mainly multicomponent zinc-containing alloys for the manufacture of jewellery and costume elements. The formal approach to the classification of non-ferrous metal alloys was revised: in addition to bronze and brass, zinc-containing bronzes are singled out into a special category illustrating the numerous remelting of non-ferrous metals. Particular attention is drawn to the large number of things based on not copper alloy, but tin alloy. So-called prescription alloys with specified characteristics were identified in small quantities: "pure" twocomponent brass with a high zinc content was identified in only four samples, and bronze was represented by eight analysed samples. The first preliminary measurements illustrate that the population of the polomskaya culture mainly made necessary things from scrap non-ferrous metals and did not have the opportunity to obtain semi-finished products – ingots. The present investigation established the features of using electron probe analysis to study archaeological finds.

A Comparative Study of the Art Forms and Masks of Nuo Opera (Costume) in Various Villages of Wu An City

With the change in history and culture, Wuan Nuo opera has the problems of low cognition and small scope of cultural dissemination. This paper cuts from the area of Wuan Nuo opera costumes. First, it analyzes the similarities and differences between the main rural Nuo opera costumes and masks in Wuan City, then sums up the cultural elements of the Wuan Nuo opera costumes and shows, and finally discusses the Wuan Nuo opera costumes and masks cultural aspects of the application of the modern clothing design, aimed at promoting the dissemination of the culture of Nuo opera in Wuan, and to provide a reference for the contemporary design of clothing.

Humour in the Special Features of the Costumes in the Comedies by Plautus

The article aims to discuss these elements of costumes which are mentioned in the comedies of Plautus but have been omitted yet in the studies on Plautine stage conventions. The first part of the text concerns the costumes which are worn by actors representing characters that have some special physical features. It appears that drunk characters always wear garlands, which point to their state. Big-bellied costumes are worn by male actors who play pregnant women (Alcmene in Amphitruo) but by those who present pimps during the performance, as well. Moreover, many Plautine slaves are rendered as stout, which, combined with big feet, adds much humour to running-slave scenes. The source of laughter lies not only in the padding used to recreate a big belly but also to show the illusion of large breasts, which are exaggerated in size. Such costumes were worn by male actors who presented meretrices, tibicinae and nutrices on stage. The costumes of foreigners consisted of a tunic with long sleeves, earrings, a headdress called causea, tiara and some kind of sandals. Many of these elements were grotesque, which, on the one hand, helped to increase the visibility of the costumes in the theatre, and on the other, contributed to the comicality of the performance. The article presents passages from the Plautine plays which contain such metatheatrical remarks about costumes used in the 3rd and 2nd century BC.

RESEARCH OF THE ASSORTMENT OF JEWELLERY AND ART PRODUCTS WITH COLD ENAMEL

The study of the assortment of jewellery and art products with cold enamel produced by leading jewellery enterprises of Kostroma Region. The study showed that a wide range of products of various cate- gories are covered with cold enamel, mainly from 925 sterling silver – personal adornment, costume elements, souvenir and tableware products. Moreover, the number of jewellery with cold enamel makes up a significant proportion of the total number of manufactured products. A comparative analysis of the assortment in 2019 and 2023 showed a significant increase in the products produced in almost all assortment groups at most enterprises, which indicates the relevance of cold enamelling technology in modern jewellery production.

Детское захоронение начала раннего средневековья из некрополя Горный-10 (юг Западной Сибири)

The article presents the results of studying of an extraordinary children’s burial excavated at the Gorny-10 necropolis. This complex, which today is the largest of the studied sites dated to the beginning of the early Middle Ages in the south of Western Siberia, is located in the Krasnogorsk region of the Altai Territory. The published object (grave 63) is an undisturbed burial of a 10—12-year-old child with representative accompanying grave goods, including horse equipment, costume elements, tools, jewelry and weapons. An analysis of the discovered items made it possible to establish the dating of the burial within the last quarter of the 6 th — the first half of the 7 th centuries AD. It has been established that the qualitative and quantitative composition of the finds indicates a high lifetime status of the buried person. There are grounds to assume that the originality of the grave goods was determined not only by the position of the child’s family, but also by his personal qualities, including participation in the traditional occupations of the early medieval population of the south of Western Siberia.

Role of Elements of Ukrainian Folk Costume in Cossack Folklore Heritage

The purpose of the article is to study the diversity of elements of traditional Ukrainian clothing and their symbolic content in the folklore of the Cossack period; to conduct a substantive analysis of folk art samples in terms of their classification and references to the component parts of the costume. The research methodology is based on an interdisciplinary approach. To solve the tasks set, a number of scientific methods were used, namely: historical and chronological, method of comparison and generalisation, art historical analysis, using the principles of systematicity and historicism. The source base was the heritage of Cossack folklore – lyrical, epic, and lyric-epic works. Scientific novelty. The folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – was studied in view of the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the integral set of clothing performs utilitarian, aesthetic, ritual, ethno-patriotic, and other functions. This applies to such common costume components as shirt, hat, belt, outerwear, and shoes. They were not only everyday items but also symbols of individual events in Cossack life. Conclusions. The analysis of the national folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – has testified to the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the complete set of clothing plays utilitarian, aesthetic, ritual, ethnopatriotic, and other functions. It has been found that references to such elements of traditional clothing as headwear, underwear and outerwear, jewellery and footwear were used by the people in songs, dumas, legends, fairy tales, proverbs, and sayings to emphasise social status, romanticize, and heroise characters and events.
 Key words: folk costume, traditional clothing, ritual, Cossacks, Cossack folklore, oral folk art.

Workshops in Arts and Crafts within Art Projects as a Means of Preserving Ukrainian Folk Costumes

The purpose of the study is to find out the peculiarities of conducting and assigning workshops on techniques for creating and decorating national costumes. The research methodology is based on the methods of generalisation and systematisation, the method of art historical analysis, and typological method, as well as on the principles of historicism and objectivity, which allowed the study to be carried out comprehensively. The scientific novelty is determined by the fact that for the first time in the Ukrainian scientific environment, attention has been drawn to the phenomenon of workshops on various techniques of creating and decorating traditional Ukrainian costumes as an effective tool for maintaining the traditions of national dress in the early twenty-first century, when there is a high level of interest in material and spiritual culture in society. Conclusions. The research is devoted to the study of workshops on various techniques of decorative and applied arts in the contemporary Ukrainian cultural and artistic space, the priority purpose of which is to preserve and popularise folk traditions of creating ornaments and decorating certain elements of traditional Ukrainian men's and women's costumes. Today, such workshops are designed to draw the attention of the general public to material and spiritual culture. The study, based on the analysis of workshops of various formats (within exhibition projects, scientific and popular science conferences, and forums, activities of studios and individual masters of folk art) in Ukraine, has found that these events promote archaic traditions of folk costumes and encourage the general population to study certain aspects of their creation and decoration, taking into account the regional affiliation of the costume. In this regard, it has been determined that workshops are an effective tool for raising the level of ethno-patriotism in society. Key words: Ukrainian folk costume, embroidering, embroidery, embroidered shirt, beadwork, weaving, outfit, decorative and applied art.

Digital Color Images as a Tool for the Sustainable Use of Embroidery Elements from Folk Costumes

The aim of the research is to improve the public’s assessment and understanding of the cultural values and history of Bulgaria. The main issues related to the sustainable use of elements of the cultural heritage are defined, and the accessible literary sources related to the digitization of the folklore heritage are reviewed. Shape indices, color, and textural characteristics were obtained from digital color images of the elements of Bulgarian folk costumes. The most informative indices of these features were selected. A kernel variant of the principal component analysis (kPCA) method was used to reduce the data volume of the feature vector. A Naïve Bayes classifier, discriminant analysis, and the support vector method (SVM) were used for classification. The classification accuracy was assessed. In the analysis of the decorative elements of Bulgarian costumes, it was found that the accuracy of classification depended both on the method for reducing the volume of data and on the separability of the classes of data, depending on the classifier used. In the analysis of microscopic images of textile fabrics from Bulgarian costumes, it was found that the accuracy of classification for the studied objects depended both on the method for reducing the volume of data and on the used classifier. In the considered cases, a classification error below 10% was obtained using a non-linear kPCA kernel and SVM with a non-linear partition function. It was proven that the results of this development can be used in the creation of modern cross-stitch patterns, textile patterns, and clothing. The practical application of these research findings has the potential to benefit various stakeholders, including cultural heritage institutions, researchers, artisans, designers, and the general public, promoting a deeper appreciation and sustainable use of costume embroidery elements. Research can continue in the direction of the sustainable use and preservation of embroidery elements of Bulgarian costumes, enriching the understanding of cultural heritage and promoting appreciation for it in future generations.

«Царевич» Степной Скифии (детское погребение из Толстой Могилы в контексте мифологической картины мира скифов)

The purpose of the article is to reconstruct the child’s place in the social universe of the Scythians. The basis for the study was a child burial from the Tovsta Mohyla mound as one of the few not robbed burials of steppe Scythia of the 4 th century BC. Meanwhile, the burial is regarded as a text (in the semiotic sense). The method developed by the author for reconstructing the semantics of images on the costume elements of the buried led to the conclusion that they reflect a complex of ideas about dominion over the midzone of the mythological universe. The article rebuilds the semiotic status of things that accompanied the buried which allowed us to conclude that the child in the Scythian society inherited the place in the social space belonging to his kin. The child’s burial from the Tovsta Mohyla mound belonged to the Scythian “priest-king”. The buried has not yet passed the initiation so the grave lacks things that are peculiar only to the male or female inventory. Prospect of further research is connected with the methodology development for reconstructing the semantics of the Scythian burial as a single complex.

금관가야 복식을 응용한 김해 문화관광해설사 복식 디자인

The purpose of this study is to design the clothing for the Gimhae cultural tour commentator using Geumgwan Gaya’s costumes. First, the formative characteristics of Geumgwan Gaya costumes were examined for each design element; line and form, color, material, pattern, decoration, and accessories. Every cultural tour commentator plays the role of a promotional ambassador, and so the clothes of the Gimhae cultural tour commentator should aesthetically express the characteristics of Geumgwan Gaya, which represents Gimhae. In addition, the activities of a commentator should be considered the costume should allow for mobility and provide warmth, while realistic costs in production should also be considered. As such the clothing for the Gimhae cultural tour commentator’s costume comprises a muffler, a fur scarf and an overcoat that does not cover the knees, making it convenient for activity. The decoration was added by threading beads onto the embroidery. The overcoat is fastened using a button. The belt which is the only aspect of ancient Korean garments that cannot be found in the hanbok of the Josean dynasty, is expressed in a bundle shape. This study can be said to be a good example of how the elements of ancient costumes can be applied to modern hanbok designs. Due to certain conditions, various other designs have not been developed and this will be supplemented in future research.

Learning, Practicing, and Developing Traditional Handicrafts in Latvia Today

AbstractLatvian folk crafts are characterized by a predominance of women's handicrafts: weaving, knitting, embroidery, and so on, which are practiced both in groups and individually. This article focuses on the interaction between cultural heritage and creative trends in folk crafts in Latvia, examining the way in which artisans learn traditional crafts and the main areas of their activity. Given the context, the aim of this paper is to provide an overview on the development of Latvian handicrafts today based on empirical study which relied on information found on social networks about the latest activities of craftspeople. In addition to personal observations, publications dedicated to the development of folk art in Latvia during the Soviet period and today were also used as sources for the study. In recent years, the growing popularity of the Latvian national costume has stimulated the desire of many people to not only wear the costume but also learn how to make their own version. The Latvian national costume is a combination of various types of handicrafts, and some elements of folk costumes are also used in modern clothing. Nowadays, learning crafts in studios and hobby groups has become the main way to acquire handicraft skills. Training in these settings is based on ethnographic research and information available from modern sources. Works created in handicraft studios and hobby groups are regularly exhibited at local and national exhibitions. Craftspeople in modern-day Latvia merge the study of traditional, ethnographic material with creative self-expression in the production of objects for modern use. Creativity and inherited traditions are therefore combined to various extents depending on the type of objects and their use. Masters of traditional handicrafts participate in the annual public workshop series called Meet Your Master!, which has become a well-known event for popularizing folk crafts in Latvia.

Elements of Shamanic costume in the context of the cultural and historical evolution of the Buryat and Mongolian peoples

Questions of the origin of the shamanic costume constantly remain in the focus of attention of researchers who have studied the phenomenon of shamanism of the Buryats and Mongols. Since material artifacts are the most stable object that has preserved semantic content in a symbolic form. At various times, M. N. Khangalov, Ts. Zh. Zhamtsarano, B. E. Petri, S. V. Ivanov, E. D. Prokofiev, T. M. Mikhailov, G. R. Galdanova, M. Eliade and many others addressed this problem. However, the final understanding of the process of emergence, formation and development of the Buryat shaman costume has not been achieved. At the moment, there are several opinions of venerable scientists on this issue, which not only differ, but often directly contradict each other. The author has made an attempt to understand this topic. The works of the predecessors, as well as the manuscripts of M. N. Khangalov on shamanism from the State Archive of the Irkutsk region are studied. Along with religious aspects, socio-cultural, economic conditions of the formation of Buryat shamanism were studied, the mutual influence of Turkic-Mongolian, Tibetan archaic cults was taken into account. Methods of historical analysis are used. In the process of work, it became clear that it is impossible to put a final point on this issue because of the very large number of layers of various cultural, religious, ritual and everyday traditions that the shamanic cult of the Buryats and its main attribute - the shaman's costume have absorbed. However, the author obtained new results in the semantics of individual attributes and the shamanic costume as a whole. Two main hypotheses of the genesis of the shaman costume are given: a) transformation of the armor of Mongolian warriors, b) evolution of animalistic imitation vestments. The author's position is stated on each of these theories. The semantic meaning of the "skeletal style" in the design of the shamanic ritual cloak is given.

Саамские этнокультурные артефакты в региональной туристской и культурно-массовой деятельности (на материале Мурманской области)

The role and functions of material objects of the culture of the Kola Saami are revealed in the paper. Namely elements of national costume and the full set of Sami folk costume, ethnic souvenirs, ethnographic exhibits, traditional handicrafts, etc. that are relevant to sign/symbol are investigated. These objects, in addition, are regularly used in regional tourism and cultural activities. The main functions of the Sami ethnocultural artifacts are analyzed. Depending on the specifics of use, some groups of ethnocultural artifacts and their functions in the Sami holidays are identified.

Ewish center of lacemaking in Sasov of Eastern Galicia of the second half of the 19th - the first third of the 20th century: history and artistic features

Jewish center of lacemaking in Sasov, founded in the mid-nineteenth century by Marcus Leib Margulis. In process of research were used archive materials, sources of the first third of twentieth century, particular works of Peter Kontny, publications in periodicals and works of leading researchers of Jewish textiles. The sources of research are art objects of Jewish lacemaking from museum and private collections. It was founded that in village of Sasiv in period of the heyday of production in the second half of nineteenth century, was working near 250 masters, who made elements of ritual costumes. The main assortment of products was Atara for Thales, men's kippah, women's shabbat hats and bibs. Technique of making lace of the Sasov center is called “Spanier Arbeit”. The origin of the term is quite controversial today; it also is associated with the definition of “Spanish Work” and with Yiddish terminology “wickerwork”. Lace of Sasov belongs to the braded type of silver threads with flat cross section – tinsel. The article analyzes the artistic features of Atara – rectangular “crown”, “collar" which was sewn to the prayers veil of the thallas in the part which covered the head. The tradition of performing atars has a long history that is confirmed by different miniatures of medieval books, portraits of Jews in ritual costumes, as well as saved samples. The decoration of atara is dominated by plant ornament, usually in Baroque style. The images of roses, sunflowers, pomegranates, rosettes have a deep symbolic meaning in Jewish culture and appeals to biblical and Talmudic texts as well as oral tradition. High skills of making the lace and their artistic features indicate the professionalism of cell masters. Preserved monuments are unique examples of decorative art of Galician Jews.