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The value of fashion

A new month is coming and last month’s wardrobe is becoming useless and outdated, no problem, you can experience new market trends that go perfectly with your taste. Aside from the typical stripes we’re used to, you can try something different, add matching skinny scarves, and your outfit will be fabulous. In cold weather, the designer has developed a collection of clothes that match nature. In addition to helping you express yourself and reveal your unique insides, fashion also makes you comfortable, life-changing, showcases some creativity.

Also, it is through fashion that we inform people, the way we dress tells more about us, the reaction to style depends on the message associated with your choice of clothing. Information can be acceptable or outcast to the outside world, especially about those with personal identities, celebrities, politicians, preachers, and younger generations. Fashion is also an expression of social, cultural and religious values. Fashion is an art, like architecture, which gives its development the form and design he / she wants, just like fashion. This means that clothing is a non-verbal form of communication. Fashion also affects a person’s perception, for example, when someone wears a suit, it is more organized and comfortable, and in turn the suit changes that person’s gestures and the way he speaks. Or when someone wears jeans and T-shirts, it is perceived that such a person is weak and liberal.

Fashion – a demonstration of creativity; we assume someone’s creativity depending on the type of clothing he wears more often. But you need to wonder how fashion enhances someone’s creativity, but, for example, when we wear clothes, do we consider several factors, one of which is that the dress matches the events we attend? Or we would also like to dress up to look like a certain celebrity or a loved one we know. So we can say that if we can be creative in our clothes, we can also be creative in all areas of life, including school and music. The fact is that people are very excited when they do something new in their work, and they become successful when they wear a fabric that no one has worn before and people appreciate that you start to have confidence in your work.

Another fascinating thing in this fashion is that it is important in religions and cultures, for example, Muslim ladies have a unique way where they cover their faces. This is perceived as fashion because the dress is worn as intended. Therefore, it can be said that when people wear clothes out of their beliefs, it can strengthen their faith as fashion reminds them of their religion. And also shows children that it is vital to be unique from others.

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Character of Indian crafts

The panoramic view of Indian crafts is a patchwork quilt of many shades and shades of meaning that reflects the interaction with social, economic, cultural and religious forces. The world of artisans is full of contrasts, all kinds of useful products and sacred items, items for ritual use and ephemeral festival crafts, which represent many levels of improvement – from the simplest to the most technically advanced. In addition, there are many perceptions of the term “artisan” ranging from manual worker to high artistic skill. The craft is then in a complex environment, a dense matrix of many threads and elements.

Stories unfold in the material with skillful mastery of tools and the use of intelligence and the work – a mirror of the society that produces it. No wonder we see traces and signs of culture frozen in stone or clay and metal and wood, and all this resonates with the roots of a particular cultural system that produces or uses the object of crafts. The belief systems that define this form could have originated from a religious source or from some body of ancient folk wisdom.

As someone rightly said, crafts are a true reflection of creativity, closeness to nature, business trip thought patterns, clarity of the right mix to turn a piece of wood or a piece of brass or something else to make a masterpiece.

Thus, the huge terracotta horses of Ayanar stand as vigilant village guards in Tamil Nadu. The temple, mosque, church and tribal gods have contributed to the formation of cult artifacts and vows that are part of the rites of passage in many communities of India. Birth and death, marriage and youth are all joys or sorrows for society, and they create a context for the release of creative energy and the demand for the highest degree of mastery that a craftsman can bring.

There are many expressions: some refined with decorative motifs and surface ornamentation, in others – a primordial sense of peace with a material and sublime proportion that evokes soft feelings, even if the object is made of metal, as in the massive cast glass of a ship from Kerala. The simplicity of Jain surface wood, utensils, and intricate and decorated meenokari, enameled metal products from the Islamic north stand out in stark contrast, each reflecting the ethos of the community and the purpose it serves. In the hills of Nagaland, baskets, hats and other accessories of the carrier tell about his worldview and identity.

India has been at the crossroads of civilization for over 5,000 years. Various waves of interactions from the Northwest and subtle trade interactions from the South and East have brought new ideas and practices, skills and applications. Internal migration and trade operations have borrowed skills from one place and planted them in new and foreign conditions. For example, the textile texture of bandhani in Gujarat finds new expression in the sungads of distant Madurai. The arrival of the Mughals brought exquisite Iranian art in weaving from metal, silk and carpets. The arrival of the British and Portuguese in South India introduced the carved wooden traditions of the West. In addition, the hot humid climate has caused a clever design of the shaded verandas of Pondicherry, coastal Kerala and Tamil Nadu.

Indian crafts are a treasure trove of classical motifs and patterns that have evolved over the centuries, many of which have been passed down from commercial cultures during epochs of interaction. Once upon a time, motifs and patterns absorbed by culture spread in different environments: from stone to wood, from metal to fabric; from weaving to printing and from painting to inlay; each technique brings to the sample its own unique signature, amalgam material and restriction tools. In floral motifs and vines, belts can be found with as many expressions as materials and contexts, like kerry or aam, stylized mango.

The human form has also been depicted in large numbers. The rough and finished broken forms of the Naga warrior contrast sharply with the elegant bronze statuettes of Chola, while the wrought iron tribesman from Chhattisgarh differs from the expressive professional toys from Kandapalli in Andhra Pradesh.

Several crafts are a form of clean service, and the artisan plays the role of behaving critical functions in shape and shape repair. Urine or shoemaker and potter, tile maker and carpenter fall into the category of those who work to serve society with their skills and knowledge. In an era of mass consumption, it may be a good idea to return some of the value of this service to ensure that our products are recycled and recovered rather than used and discarded long before their active life expires. Craft and skill use can bring new values ​​for a sustainable future and a new attitude towards the proper use and abuse of materials in the years to come.

Traditional and modern conditions exist to showcase craft heritage across India. The bazaar is closest to the manufacturer, while new forms of exhibitions and fairs promoted by the government and NGOs represent new formats of modern action. Craft heritage continues to evolve in modern times, and items also find new and modern expression, while old and traditional are still valued for the sophistication they represent. That crafts understand and respond to the variety demanded by their customers can be seen in the abundance of jewelry, clothing, footwear and handmade accessories used in our everyday costume. Kolhapuri, leather shoes, is one such product. The paintings of Worley and Madhubani are two notable examples of everyday art that is part of the living culture of the earth.

In the changing context of a global market economy and ideology, traditional crafts offer sustainable practices that need to be reconsidered and implemented. The development of crafts requires a paradigm shift from the advancement of the corrector, the traditional master, to the quality of craftsmanship, the correction, for he who admires this quality will become a master for eternity.

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Architectural styles of Santa Cruz

The California architectural styles of Santa Cruz have become historic icons that the area proudly preserves with great care. There were many eras that left an inseparable mark in buildings, homes and buildings around the city. The bit of fragrance of all eras remains as an indisputable element of the city’s long and varied history.

Santa Cruz, California, was created largely for the sake of the Franciscan Mission and the Spanish Garrison. The mission was built in 1791, and the garrison was erected in 1793. The Franciscan mission has been relocated to the Mission Hill area, where it is still located due to flooding problems besieged by the San Lorenzo River. The founders of the mission built it in the Baroque style, as they used to. It was built with a plane as a central hearth that forms almost a triplex around the square. The style portends those observed in Mexico and Spain. The mission consists mainly of flexible construction with deep walls in the interior. This simplified design was adopted through the use of Indian workers who did not have extensive knowledge of construction. Decorative bell towers and deep piers surround the building to this day.

Some of the earliest structures erected throughout Santa Cruz were built at home in a decorative, rectangular shape. Wooden boards were used to tie these main houses of the district. They have been very popular in the pioneer era since the 1850s. On Silvar Street there is still a house of this period of time, which is an example of an architectural era.

From 1850 to 1890, houses and office buildings underwent many transitions, and Santa Cruz’s architectural styles evolved, marking different periods of style, such as the Greek renaissance, the Gothic renaissance, the Italian regiment, Eastlake, the Romanesque, Queen Anne, the colonial renaissance, and shingles. The Greek Renaissance house reflected all American taste in construction. Although the design had large pillars similar to Greek stacking, and large porches this style could be seen throughout the country in the era. During the Gothic Renaissance, churches and buildings with very sharp edges and interesting details similar to Gothic buildings in Europe were presented. The Italian period boasted large buildings with large windows and covered porches in front. This style testified to the Renaissance in Italy. Both in the styles of Stick houses and in Eastlake on the street there were large windows and porches or verandas.

Romanesque structures were quite popular for business. The miniature columns located along the rock fronts are the strong characteristics of these buildings. Queen Anne is a very beautiful Victorian structure. Houses in this style were exhibited from the towers on the side of the houses with decorative chimneys and an overall refined look. The colonial revival yielded buildings and houses that had much in common with American houses of the Revolution. American pride was revived when they pushed west, gaining more and more territory, and a tendency to imitate the past American style developed. The style of shingles in many ways resembles its name: houses with low ringworm to build the look of the house, not the siding. These houses were still very large in appearance but understated in the style of appearance, and all testify to the architectural styles of Santa Cruz.

In order for a house or building to be of historic significance in the Santa Cruz area, it must typically be at least fifty years old. This meets the requirements of the National Registry, despite the fact that the California State Register does not explicitly state. However, there are exceptions, and when historical figures, major historical events, religious buildings or cemeteries are born, sometimes a building can be considered historic that has not yet reached the age of fifty.