Studia Vernacula最新文献

{"title":"Kasetohust punutud Eesti ala märsid: eripärad ja valmistamine / Estonian Birch-bark Satchels: Particularities and Weaving Techniques","authors":"Andres Rattasepp, V. Jarõš","doi":"10.12697/sv.2014.5.69-93","DOIUrl":"https://doi.org/10.12697/sv.2014.5.69-93","url":null,"abstract":"The largest group of birch-bark items in the collections of Estonian museums (around 190 objects) consists of “satchels” woven from strips of birch bark, and closable with a flap. (In English, there is no exact equivalent for the Estonian term märss, which denotes a container for food, woven out of birch back, and carried on the back.) These satchels were used mainly in the 19th and the first half of the 20th century in northern Estonia.The purpose of this article is to provide a brief historical overview of such items as found in Estonian areas, and also to confirm, through comparative analysis with analogues from neighbouring areas, the uniqueness of the technological solutions used to weave them. As far as we know, there is today no birch-bark weaver, who carries on the traditions of his predecessors, so we had to reconstruct the skill, starting by weaving some satchels based on those in the ethnographic collections, which also allowed us to analyze this type of object from the perspective of the requisite skills.The article offers fascinating data about birch-bark satchels, birch bark crafts in general, and heritage culture. Such knowledge is essential for those who wish to weave Estonian-style birch-bark satchels; it is also useful for stewards of the museum collections who wish to supplement their own knowledge of such items and their associated descriptions. It also provides an opportunity to reappraise the historical value of such satchels in museum collections and their importance in Estonian material heritage culture.In the course of the research, the authors developed the first typology for birch-bark satchels found in Estonian areas. As they have basically the same structure, four types were identified on the basis of the manner in which the flap is attached. The first type uses a fastening method known to be used only in Estonia, where the flap cord is tied to the base, attached to a half-loop formed from the carrying strap. The fastening method for the second type is that the flap strap is tied to a wooden, spindle-shaped peg in analogous fashion to satchels from neighbouring countries. Of the items we examined, only four used a third type of fastening, where the flap strap was tied to a loop made of bast, cord or leather strap. The fourth category I reserved for categorizing all items that had no discernible sign of how to fasten the flap. Presumably the flaps on such satchels were not secured by tying or were tied to a cord fastened to the base, which none of the extant items have.The edges of all of the birch-bark satchels from Estonian areas have a discernible cord or “lakapael” (flap strap) woven into them – this is an interesting solution which is not typically found in any neighbouring countries, where an additional bark strip is used in weaving the edge of the flap. The unusual practice of weaving in the flap strap could have been transposed from techniques involving the plaiting of bast or birch bark in plain weaves for mak","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130616225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Helmevöö – kas linnasakste poekaup või Eesti talunaiste käsitöö? / Beaded Belts – Store-bought Goods for Urban Aristocrats or Estonian Peasant Women’s Handicraft?","authors":"Ülli Kont","doi":"10.12697/sv.2014.5.94-111","DOIUrl":"https://doi.org/10.12697/sv.2014.5.94-111","url":null,"abstract":"Men’s leather belts decorated with glass bead embroidery comprise a small and little-known, but nevertheless exceptional part of the Estonian ethnographic heritage. The belts can be found in museums in Estonia, but up to the present day they have not been much analysed. Data indicates that beaded belts appeared as part of men’s clothing in the 1820s when they were worn with both national costumes and city-type clothes. Beaded belts were most popular in the second half of the 19th century. As researchers have perceived them to be items of little interest, they have not been consciously associated with traditional folk art and national costume: the belt-making methods and material were not considered traditional because the beads were bought in shops. This is why the various methods used to embroider and sew beaded belts have so far escaped study, and why the author of this article is now making her own contribution to this area.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121820214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lõimeripstehnikas põrandakatete kudumine Avinurmes 1950.–1970. aastatel kui piirkondlik pärandoskus / Production of Rep Weave Floor Coverings in Avinurme in the 1950s to the 1970s as a Regional Inherited Skill","authors":"Veinika Västrik","doi":"10.12697/sv.2014.5.47-68","DOIUrl":"https://doi.org/10.12697/sv.2014.5.47-68","url":null,"abstract":"The making of rep weave floor coverings was an important source of income in Avinurme, a northern Estonian settlement, from the 1950s to the 1970s. Weaving began for commercial reasons after collective farms were established in 1949, when alternative sources of income were sought, given that such farms only paid meagre wages. At the time, any sort of entrepreneurship was prohibited and punishable as “speculation” and thussales activities were banned, so the sellers sought to leave village council inspectors with the impression that the weaving was being done for their own family. A unique cultural phenomenon thus developed, which was shaped (and eventually fell into decline) for the following period-specific reasons: cotton yarn could be obtained from the Kreenholm textile mill in Narva. This was suited to the rep weaving technique; floor rugs were not available in shops; all households had looms; and rep weave rugs were considered to be more classy than rag rugs.In spite of the illegality of the activity, commercial weaving persisted for decades. Due to the wide territorial range of the sales, the Avinurme rugs had an impact on home furnishing culture almost all over Estonia.The special feature of the Avinurme practice was the use of a thinner and finer pattern warp (the so-called no. 10 thread) in conjunction with a thicker and coarser background warp; the dark weft is visible through the thin warp and is conducive to the formation of the pattern.Other features peculiar to the Avinurme rep woven rugs include composition featuring a double cross of rhombuses, which are not to be found in any printed source. In addition, the region in question had a rich array of patterns of combinations of squares and rectangles. Brown often featured as the warp colour in combination with beige or orange tones; the background warp was frequently made up of brightly coloured lengthwise-striped patterns along the patterned edges.The tradition of weaving these types of rugs and blankets started to decline in the late 1970s when industrially-produced floor coverings became available in retail stores, leading to changes in interior furnishing fashions. Purchasing power had also improved over the decades, and hand-woven traditional floor coverings were seen as old-fashioned in this context.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115855175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Traditsioonilistest kodustest nahatöötlemise võtetest Eestis","authors":"Made Uus","doi":"10.12697/sv.2013.4.125-137","DOIUrl":"https://doi.org/10.12697/sv.2013.4.125-137","url":null,"abstract":"This article provides an overview of the traditional domestic leather processing methods used in Estonia throughout history, as well as the research papers on leather processing that have been published or have yet to be published in Estonian. There is also an overview of the main leather processing and tanning methods (vegetable tanning, alum tawing and flour tanning). Based  on her own experience, the author gives a detailed description of traditional leather processing with fermented cereal puddle (flour tanning) as one of the oldest and most widespread methods of processing hides with fur. The article also gives an overview of the current situation of traditional leather processing using domestic methods in Estonia.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129196586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Luu töötlemine lamba sääreluust vilepilli näitel","authors":"Monika Hint","doi":"10.12697/sv.2013.4.58-72","DOIUrl":"https://doi.org/10.12697/sv.2013.4.58-72","url":null,"abstract":"Bone is one of the many natural materials that can be used to make everyday items. The animal by-products of agriculture can be used to make items inspired by the archaeological finds in Estonia by following the initial form and physiological qualities of the material. In my article, I discuss the qualities of bone as a raw material and processing options, through the example of a flute made of a lamb leg bone. I demonstrate how bone as a craft and consumer material and its processing technology generate and inspire the creation of designs, as well as the links between the natural form of the material and the final product.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123849333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Maakivi ehitusmaterjalina: töötlemine ja kasutus","authors":"Alo Peebo, Madis Rennu","doi":"10.12697/sv.2013.4.73-86","DOIUrl":"https://doi.org/10.12697/sv.2013.4.73-86","url":null,"abstract":"Fieldstone has been used as a building material for many centuries. In Estonia, two large groups of stone suitable for building can be distinguished in terms of architectural outcome and construction technique: calcareous stones (mostly carbonate flagstone and dolomite) and granite boulders, or field stones. The latter cover a broad spectrum of natural igneous and metamorphic rocks (rapakivi granite, diabases, gneiss etc.). In this article, we focus on natural stone belonging to the second group: in particular how it can be processed – split with wedges or a sledgehammer – and historical means of transporting stones. We also take a look at the ethical, aesthetic and cultural aspects of fieldstone use.Field stones were carried to Estonia by the continental glacier. In general, it can be said that fieldstone is a hard and strong stone suitable for use as a building material, which due to its density and low porosity can be used in underground and other supporting structures. These properties mean that fieldstone’s thermal conductivity is high, which is why it is not suitable for building dwellings. It has most commonly been used to build stables, cellars, barns and, to a lesser extent, taverns and other public buildings.Fieldstone is a material with a small ecological footprint which does not participate directly in the carbon cycle, as does timber. Fieldstone processing and transport is relatively energy-intensive, but this is compensated for by the longevity of the structures made. Visually, fieldstone is a very strong and eye-catching material. The surface of each stone is different, making each structure unique. The strong visual message and the long tradition of using fieldstone as a building material are the main factors that guarantee that there are people in Estonia who still commission fieldstone buildings and smaller items.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"182 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116306919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Silmuskudumise põhivõte - kas aadlidaamide graatsia või talutüdrukute kiirus?","authors":"A. Pink","doi":"10.12697/sv.2013.4.87-99","DOIUrl":"https://doi.org/10.12697/sv.2013.4.87-99","url":null,"abstract":"Knitting is a widespread textile technique throughout the world, but the main technique of hand knitting or the manner in which the needles and yarn are held and the stitches are formed is different in different parts of the world. In general, there are three different knitting methods that can be distinguished: knitting by throwing the yarn with the index finger (right-hand knitting)of the right hand, knitting from the index finger of the left hand (left-hand knitting), and knitting from the thumb of the left hand. Over time, knitting methods have changed in many regions for various reasons. People have tried to find more economical work movements, and in 19th century England there were attempts to make the movements more graceful. Knitters in Estonia have stuck to their habitual ‘throwing’ technique for centuries and have not allowed German, Russian or Nordic knitters to influence them. However, knitting from the index finger of the left hand has recently started spreading in Estonia, following the example of Finland and influenced by written materials. This has become the prevalent style among young knitters in Estonia today. Studying knitting movements and comparing them with the methods used in neighbouring countries gives us a clearer picture of the development of knitting culture in Estonia and the cultural influences on it.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129187127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ülevaade Soome palkehituse ajaloost","authors":"Janne Jokelainen","doi":"10.12697/sv.2013.4.101-124","DOIUrl":"https://doi.org/10.12697/sv.2013.4.101-124","url":null,"abstract":"This article takes a look at the history of Finnish log construction and log architecture. Logs have been used as a building material in Finland for as long as the country has been inhabited. The modern corner-notching technique arrived in Finland in the late Iron Age (600−800 AD) from the east, leading to a building type that survived until the 20th century.During the era of church builders (1620−1810), log construction achieved its highest form: the churches built during this period represent Finnish log architecture of the highest quality. Church builders had an excellent command of log construction techniques and knew logs as a building material extremely well, which allowed them to use the forms of the buildings and the decorative elements for the architectonic expression characteristic of logs.Church architecture adapted to other Western style trends in the 19th century. Although outstanding churches were still being built at the time, their technical developments did not lead to further developments in log construction techniques.The architecture of the Finnish artists’ (Akseli Gallen-Kallela et al) villas built in the late 19th century relied on the expressive power of logs, corner joints and handicraft. The walls were stylistically rough-hewn and there was no weatherboarding. The corner notches played a central architectural role and decorative elements were borrowed from Finnish log construction heritage. Artists’ villas have a unique position in Finnish architecture: for the first time, logs consciously emerged as a main architectural element. Contemporary industrial log construction began to develop in the 1950s. Product quality has improved considerably since then as a result of development work, and the prefabricated log has become a generally accepted building material. However, these logs no longer have the essence of a natural material and they have therefore lost their power of expression. The emphasis of industrial log construction and architecture is predominantly on manufacturing as economically as possible using existing production technology. In the 2000s industrial log construction finally started losing its romantic and historical burden and finding its own architectural expression.Contemporary hand-crafted log construction can be regarded as a continuation of the vernacular log construction tradition. Training in hand-crafted log construction has been organised since the late 1970s. The level of training has been highly uneven and the lack of a connection between such training and construction education has been one of its problems. The future of log construction is associated with product quality and energy efficiency. Development work and opening up new cooperation channels is important for the future of log construction as a craft.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134394599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}