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GECEM Project (ERC-Starting Grant), ref. 679371, under the European Union's Horizon 2020 Research and Innovation Programme, www.gecem.eu. ; From the second half of sixteenth century, Chinese silk goods entered into the markets of the Spanish Empire, including its European territories. By the early eighteenth century, the supply of this Asian good increased across Europe because of the rise of trade companies settled in the Far East. This article aims to know the specific silk markets where Chinese silk goods penetrated in Seville in the first half of eighteenth century by analyzing consumption with notarial sources as probate inventories and dowry letters. ; GECEM Project (ERC-Starting Grant), ref. 679371, Horizon 2020, project hosted at UPO

The purpose of this research which was conducted with Central Silk Board, Government of India organization is development of 6 haute couture pieces with innovative fabrics and ornamentation. Another motive was to preserve a traditional Indian silk fabric named "Ilkal" and the cultural practice of handloom. Unusual weft insertions namely Muga, Tussar, Eri, Mulberry Spun,Mulberry filature and Banana were done and fabrics were woven using pit loom. Textiles were ornamented through uniquely designed embroidery motifs. The fabrics were further tested for various aspects. Further consumer survey was conducted which yielded positive results. Garments are adorned at CSB Museum.

Reading the Magnificence of Ancient and Medieval Chinese Silks - Fashionable Weaves and Ingenious Craftsmanship / Dieter Kuhn -- The Origins of Sericulture and Silk Weaving-From Antiquity to the Zhou Dynasty / Peng Hao -- Silk Artistry of the Qin, Han, Wei, and Jin Dynasties / Li Wenying -- Silk Artistry of the Northern and Southern Dynasties / Li Wenying -- Silk in the Sui, Tang, and Five Dynasties / Zhao Feng -- Silk in the Song, Liao, Xi Xia, and Jin Dynasties / Zhao Feng -- Divergent Styles of North and South-Silk Artistry of the Yuan Dynasty / Zhao Feng -- The Path to Refinement: Silk Fabrics of the Ming Dynasty -- Huang Nengfu & Chen Juanjuan -- Textile Art of the Qing Dynasty -- Chen Juanjuan & Huang Nengfu

Dank 1 Einleitung 3 Erste Informationen 3 Ungeklärte Besitzverhältnisse? 4 Warum eine wissenschaftliche Untersuchung? 6 Quellenlage 8 Die Stoffsammlung als Informationsquelle 10 Textilien als wichtiger Bestandteil von Repräsentationsarchitektur 12 Adolf Hitler und die Architektur 15 Berlin - Architektur für zehntausend Jahre 20 Albert Speer 23 Wilhelm Hanzer 29 Hanzers Biografie bis zur Gründung des Stoffarchivs 1941 33 Die Gründung des GBI ̶̶ Stoffarchivs 37 Die Aufgaben des Stoffarchivs 42 Die Inventarisierung der Objekte 53 Die Aufbewahrung der Textilien im "Alten Archiv" 57 Kleinformate 57 Großformate 58 Die Inhalte der Sammlung 59 Original oder Reproduktion? 59 Die Stoffe im "Alten Archiv" 60 Die Stoffe im "Neuen Archiv" 77 Die Unterbringung des Stoffarchivs 78 Berlin-Dahlem, In der Halde 14 78 Die Situation auf dem Berliner Wohnungsmarkt 83 Berlin-Charlottenburg, Lindenallee 25 84 Waidhofen an der Ybbs 87 Das Stoffarchiv und seine Finanzen 91 Hanzers Gehalt 92 Hanzers Dienstreisen 96 Die Ankäufe 98 Das Inventarkonto 98 Ankäufe für das Stoffarchiv in Deutschland 100 Die Situation der Textilbranche in Deutschland 100 Aufstellung über die Einkäufe bei "deutschen" Firmen 105 Auktionshäuser und Händler 107 Die Ausstatterfirmen 121 Die Textilproduzenten 131 Die politische Situation im Elsass 139 Ankäufe für das Stoffarchiv in Italien 146 Die Politische Situation in Italien 146 Alliierte "Roberts-Kommission" und Deutscher Kunstschutz 146 Der Zahlungsverkehr mit Italien 148 Anmerkungen zur Textilgeschichte Italiens 149 Antiquitätenhändler 159 Die italienischen Textilproduzenten 173 Ankäufe für das Stoffarchiv in Belgien 188 Die politische Situation in Belgien 188 Händler in Belgien 190 Textilproduzenten in Belgien 192 Ankäufe für das Stoffarchiv in Frankreich 195 Der Umgang mit Kunstgut im besetzten Frankreich 195 Kunstschutz 195 Einsatzstab Reichsleiter Rosenberg (ERR) 196 Möbelaktion 198 Kunsthandel 199 Raubgut? 200 Finanzierung der Einkäufe in Frankreich 206 Die französischen Händler 210 Die französischen ...

WHAT IS LATENT DEMAND AND THE P.I.E.?The concept of latent demand is rather subtle. The term latent typically refers to something that is dormant, not observable, or not yet realized. Demand is the notion of an economic quantity that a target population or market requires under different assumptions of price, quality, and distribution, among other factors. Latent demand, therefore, is commonly defined by economists as the industry earnings of a market when that market becomes accessible and attractive to serve by competing firms. It is a measure, therefore, of potential industry earnin

WHAT IS LATENT DEMAND AND THE P.I.E.?The concept of latent demand is rather subtle. The term latent typically refers to something that is dormant, not observable, or not yet realized. Demand is the notion of an economic quantity that a target population or market requires under different assumptions of price, quality, and distribution, among other factors. Latent demand, therefore, is commonly defined by economists as the industry earnings of a market when that market becomes accessible and attractive to serve by competing firms. It is a measure, therefore, of potential industry earnin

The analysis of silk is a fascinating topic for research in itself but here, focusing on the 9th and 10th centuries, Marianne Vedeler takes a closer look at the trade routes and the organization of production, trade and consumption of silk during the Viking Age. Beginning with a presentation of the silk finds in the Oseberg burial, the richest Viking burial find ever discovered, the other silk finds from high status graves in Scandinavia are discussed along with an introduction to the techniques used to produce raw silk and fabrics. Later chapters concentrate on trade and exchange, considering

Intro -- Preface -- Acknowledgments -- Contents -- 1: Introduction -- 1.1 The Gem of Central Asia -- 1.1.1 Contributions to Science -- 1.2 Central Asia and Uzbekistan in the Works of Ancient Authors -- 1.3 Location -- 1.4 Nature -- 1.4.1 Climate -- 1.4.2 Temperature -- 1.4.3 Solar Radiation -- 1.4.4 Precipitation -- 1.4.5 Climate Change -- 1.4.6 Flora and Fauna -- 1.4.7 Flora -- 1.4.8 Fauna -- 1.5 History -- 1.6 The Revival of the Great Silk Route -- 1.7 Common Resources, History, and Future -- References -- 2: Historical Geography -- 2.1 State Building -- 2.1.1 Ancient History -- 2.1.2 Medieval Development -- 2.1.3 Colonization -- 2.1.4 The Soviet Period -- 2.1.5 Independence -- 2.2 Governance -- 2.2.1 Government -- 2.2.2 The Electoral System -- 2.2.3 After Karimov -- 2.3 Cultural Geography -- 2.3.1 Historical Roots -- 2.3.2 Cultural Life -- 2.3.3 Religion -- 2.3.4 Gender Issues -- 2.3.5 Education -- 2.3.6 Music -- 2.3.7 Theater -- 2.3.8 Literature -- 2.3.9 Newspapers and Magazines -- 2.4 Architecture -- 2.4.1 Ancient Monuments -- 2.4.2 Modern Architecture -- 2.5 Food -- 2.5.1 Bread Is Sacred -- 2.5.2 The Tea Ceremony -- 2.5.3 Uzbek Cuisine -- 2.5.4 Fruit and Vegetables -- 2.6 Clothing -- 2.7 Traditions and Rituals -- 2.7.1 Weddings -- 2.7.2 The Birth of a Child -- 2.7.3 Consecration of the Mother -- 2.8 Holidays -- 2.8.1 New Year -- 2.8.2 Navruz -- 2.8.3 Religious Holidays -- 2.9 Arts and Crafts -- 2.9.1 Cold Steel from Fergana -- 2.9.2 Gold Embroidery -- 2.9.3 Carpet Weaving -- 2.9.4 Embroidery -- 2.9.5 Ceramics -- 2.9.6 Silk Fabrics -- 2.9.7 Copper Embossing -- 2.9.8 Wood Carving -- References -- 3: Geography of Resources -- 3.1 Global Geological Processes and Geology of Uzbekistan -- 3.1.1 Geological Evolution of Asia -- 3.1.2 Geological Evolution of Uzbekistan.