Folk Art Accessories
Purple French with Flower and Rhinestones Nail Art Tutorial! #51
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Bethany Lowes Folk Art Halloween $17.95 Haunted lights and spooky sights, ghoulish glowing luminaries, frightful festoons what fun. Halloween has become one of the most popular holidays of the year, with legions of would-be creepy creatures on the lookout for fantastic ideas. And the newest craze is to go old-fashioned, with charmingly nostalgic folk-style costumes, decorations, and other accessories. No one does that better than designer Bethany Lowe in this, the very first book to focus solely on folk art projects for Halloween. She gets into the spirit of the season with 30 sensational projects that range from trick-or-treat cones to a crazy quilt pumpkin pillow. |
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Classic Folk Art Speckles Red $8.48 Designed for Fabri-Quilt, this cotton print fabric is perfect for quilting, apparel and home décor accents. Colors include yellow and red. |
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Classic Folk Art Checkerboard Blue $8.48 Designed for Fabri-Quilt, this cotton print fabric is perfect for quilting, apparel and home décor accents. Colors include shades of blue. |
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Classic Folk Art Speckles Brown $8.48 Designed for Fabri-Quilt, this cotton print fabric is perfect for quilting, apparel and home décor accents. Colors include shades of brown. |
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Classic Folk Art Checkerboard Gold $8.48 Designed for Fabri-Quilt, this cotton print fabric is perfect for quilting, apparel and home décor accents. Colors include gold and red. |
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Classic Folk Art Speckles Olive $8.48 Designed for Fabri-Quilt, this cotton print fabric is perfect for quilting, apparel and home décor accents. Colors include gold and olive. |
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A Bibliography Of Dancing $50 Paul Magriel’s ‘A Bibliography of Dancing’, first published in 1936, was the twentieth-century’s first major bibliography of printed dance books. Drawing on material in the collections of the Library of Congress, New York Public Library, Boston Public Library, Harvard College Library and from the catalogues of major European libraries, Magriel produced a bibliography listing nearly five thousand books and articles.The bibliography is divided into eight sections: I. General works; II. History and Criticism of the Dance; III. Folk, National, Regional and Ethnological Dances; IV. Art of Dancing; V. Ballet; VI. Mime and Pantomime; VII. Masques; VIII. Accessories. Each part is subdivided as necessary for clarity, and there is an index of author, subject, and analytical. |
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Japan, Its History, Arts, and Literature (Volume 5) $16.28 Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free.This is an OCR edition with typos.Excerpt from book:Chapter III OBSERVANCES AND PASTIMES (Continued) IT is probable that very few foreigners ever learn to appreciate Japanese dancing. One reason for their want of sympathy is that they approach the study with prejudiced minds. Their conception of dancing is that it must be either musical gymnastics deriving their charm from harmony of sound and motion and pleasurable chiefly to the performer, or a spectacular display, like the Occidental ballet, representing large combinations of graceful movements, enhanced by splendid scenery and accessories of painting and sculpture. But in Japan dancing has primarily a mimetic purpose. With rare exceptions, the dance represents some historical incident, some mythical legend, some scene from the realm of folk-lore or superstition. The technique is elaborate, and although the motions never suggest muscular effort or display abnormal contortions, it is nevertheless certain that physical training of the most rigorous character cannot be dispensed with, and that the very ease of the seeminglysmooth and spontaneous action results from art hidden by its own perfection. It is also certain that the mechanics of the dance are as nothing to the Japanese spectator compared with the music of its motion, and that he interprets the staccato and legato of its passages with discrimination amounting almost to instinct and, in some degree, hereditary. In exceptional cases the foreigner’s perception may be similarly subtle, but he must generally lack the faculty of apprehending the esoterics of the dance, and thus finds himself in the position of a man at an opera who has no libretto, or a play-goer without a knowledge of the plot.1 It has already been shown that from prehistoric times dancing constituted a prominent feature in the worship of the deities, |