Pub Date : 2022-11-14DOI: 10.12697/sv.2022.14.98-125
Liisi Jääts, Mariliis Vaks, Thea Kull
Wooden chairs with rush seats have been a part of North- and West-European vernacular furniture since at least the 17th century. The same type of chairs with woven seats are represented among the Estonian vernacular chairs as well, but no research has been done on this topic so far. The term “rush seats” (kõrkjapõhjad) has been used in museum collections records as well as archival sources to denote the seats woven of plant material. The aim of the present article is to analyse what plant species have been used for making “rush seats”, how the plant material was prepared for weaving, what the work process was like, and which variations can be found in the patterns of surviving rush seats. Our source material includes the rush seat chairs in the Estonian National Museum (ENM) collections and archival sources from the ENM, as well as the Institute of the Estonian Language archive of the Estonian dialects and Finno-Ugric languages (EMSUKA). As the information concerning our research topic in the archival records was rather limited, a considerable part of our research is based on museum artefact analysis, including botanical analysis of the plant material, complemented by a practice-based approach. There are 28 rush seat chairs dating from the late 19th to early 20th centuries in the ENM collections. The vernacular plant names used in the archival sources (kõrkjas, luga) do not correspond to the current botanical nomenclature, therefore it remains unclear which plant species were used for weaving chair seats. In 15 chair seats inflorescence were discovered inside the woven plant material, analysis of which identified it as lakeshore bulrush (Schoenoplectus lacustris). In coastal regions, Schoenoplectus tabernaemontanii growing in salt water has also been used. In one case, the seat material is broadleaf cattail (Typha latifolia). According to some data in literature, the lake bulrushes were collected for weaving around St John’s Day, i.e. in late June before the inflorescence appeared. However, the inflorescence found inside the seats confirmthat the plants have been, at least partly, collected later, in July. For our own experiments, we have collected bulrushes in early July. In the ENM collections, 12 seats have been woven of one-ply bulrush string, and 16 seats are made of two-ply rush cord. The use of one- or two-ply cord may have induced different weaving techniques. Based on comparison with rush weaving traditions in other countries, we suggest that one-ply rush string was made by twisting the plan stems, gradually adding new ones, and at the same time weaving the string around the seat frame. The process of weaving the seat started from the outer corners of the seat frame and then by gradually working towards the centre. All the seats in ENM collection woven with one-ply rush string use this weaving method. Preparation of two-ply rush cord started with hand-twisting the plant stems into one-ply string. Likely, a rope-machine was used to t
{"title":"Eesti kõrkjapõhjaga toolide materjal ja valmistamisprotsess / Wooden chairs with rush seats: material and making process","authors":"Liisi Jääts, Mariliis Vaks, Thea Kull","doi":"10.12697/sv.2022.14.98-125","DOIUrl":"https://doi.org/10.12697/sv.2022.14.98-125","url":null,"abstract":"Wooden chairs with rush seats have been a part of North- and West-European vernacular furniture since at least the 17th century. The same type of chairs with woven seats are represented among the Estonian vernacular chairs as well, but no research has been done on this topic so far. The term “rush seats” (kõrkjapõhjad) has been used in museum collections records as well as archival sources to denote the seats woven of plant material. The aim of the present article is to analyse what plant species have been used for making “rush seats”, how the plant material was prepared for weaving, what the work process was like, and which variations can be found in the patterns of surviving rush seats. \u0000Our source material includes the rush seat chairs in the Estonian National Museum (ENM) collections and archival sources from the ENM, as well as the Institute of the Estonian Language archive of the Estonian dialects and Finno-Ugric languages (EMSUKA). As the information concerning our research topic in the archival records was rather limited, a considerable part of our research is based on museum artefact analysis, including botanical analysis of the plant material, complemented by a practice-based approach. \u0000There are 28 rush seat chairs dating from the late 19th to early 20th centuries in the ENM collections. The vernacular plant names used in the archival sources (kõrkjas, luga) do not correspond to the current botanical nomenclature, therefore it remains unclear which plant species were used for weaving chair seats. In 15 chair seats inflorescence were discovered inside the woven plant material, analysis of which identified it as lakeshore bulrush (Schoenoplectus lacustris). In coastal regions, Schoenoplectus tabernaemontanii growing in salt water has also been used. In one case, the seat material is broadleaf cattail (Typha latifolia). \u0000According to some data in literature, the lake bulrushes were collected for weaving around St John’s Day, i.e. in late June before the inflorescence appeared. However, the inflorescence found inside the seats confirmthat the plants have been, at least partly, collected later, in July. For our own experiments, we have collected bulrushes in early July. \u0000In the ENM collections, 12 seats have been woven of one-ply bulrush string, and 16 seats are made of two-ply rush cord. The use of one- or two-ply cord may have induced different weaving techniques. Based on comparison with rush weaving traditions in other countries, we suggest that one-ply rush string was made by twisting the plan stems, gradually adding new ones, and at the same time weaving the string around the seat frame. The process of weaving the seat started from the outer corners of the seat frame and then by gradually working towards the centre. All the seats in ENM collection woven with one-ply rush string use this weaving method. \u0000Preparation of two-ply rush cord started with hand-twisting the plant stems into one-ply string. Likely, a rope-machine was used to t","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126114741","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}
Pub Date : 2022-11-14DOI: 10.12697/sv.2022.14.14-34
Jason Baird Jackson
The current article is an abridged and adapted version of Jason B. Jackson’s 2021 article On Cultural Appropriation, published in Journal of Folklore Research 58 (1), translated into Estonian by Elo-Hanna Seljamaa with the author’s permission. This article starts from the premise that cultural appropriation is a key concern for folklorists and ethnologists, as well as for many of the communities with which they engage and partner, but that it is also one that has received relatively little attention of a general conceptual sort. This is true despite the ubiquity of cultural appropriation discussions in popular media, public culture, and informal scholarly conversation. Drawing on the work of these fields, an ideal-type conceptualisation of cultural appropriation is offered, one that situates it as one among a range of modes of cultural change. For cultural appropriation, the key neighbouring modes are diffusion, acculturation, and assimilation (as shown in figure 1). This heuristic emphasises the metacultural discourse that marks instances of cultural appropriation as well as the inequality often characterising the parties to such episodes. Keywords: cultural appropriation, ideal-type conceptualisation, inequality, cultural exchange
本文是Jason B. Jackson于2021年发表于Journal of Folklore Research 58(1)的文章On Cultural Appropriation的删节改编版，经作者许可由Elo-Hanna Seljamaa翻译成爱沙尼亚语。本文的出发点是这样一个前提，即文化挪用是民俗学家和民族学家以及他们参与和合作的许多社区所关注的一个关键问题，但它也是一个相对较少受到一般概念关注的问题。尽管文化挪用的讨论在大众媒体、公共文化和非正式学术对话中无处不在，但这是事实。借鉴这些领域的工作，提出了文化挪用的理想型概念，将其定位为一系列文化变革模式中的一种。对于文化挪用，关键的相邻模式是扩散、文化适应和同化(如图1所示)。这一启发式强调了元文化话语，它标志着文化挪用的实例，以及这些事件当事人经常表现出的不平等。关键词:文化挪用，理想型概念化，不平等，文化交流
{"title":"Kultuuriline omastamine kultuurimuutusena / Modeling cultural appropriation as a kind of cultural change","authors":"Jason Baird Jackson","doi":"10.12697/sv.2022.14.14-34","DOIUrl":"https://doi.org/10.12697/sv.2022.14.14-34","url":null,"abstract":"The current article is an abridged and adapted version of Jason B. Jackson’s 2021 article On Cultural Appropriation, published in Journal of Folklore Research 58 (1), translated into Estonian by Elo-Hanna Seljamaa with the author’s permission. This article starts from the premise that cultural appropriation is a key concern for folklorists and ethnologists, as well as for many of the communities with which they engage and partner, but that it is also one that has received relatively little attention of a general conceptual sort. This is true despite the ubiquity of cultural appropriation discussions in popular media, public culture, and informal scholarly conversation. Drawing on the work of these fields, an ideal-type conceptualisation of cultural appropriation is offered, one that situates it as one among a range of modes of cultural change. For cultural appropriation, the key neighbouring modes are diffusion, acculturation, and assimilation (as shown in figure 1). This heuristic emphasises the metacultural discourse that marks instances of cultural appropriation as well as the inequality often characterising the parties to such episodes. \u0000Keywords: cultural appropriation, ideal-type conceptualisation, inequality, cultural exchange","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"273-276 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130764774","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}
Pub Date : 2019-11-05DOI: 10.12697/sv.2019.11.78-101
Mari Pukk
This article provides an overview of the unique tradition of wearing headscarves as practiced by the islanders of Kihnu. I discuss the importance of cotton print headscarves in the traditional clothing of Kihnu women and explain the meaning of kallisseltsi headscarves as an intra-community phenomenon, giving an overview of the origin and characteristics thereof. Printed cotton headscarves are considered an integral part of Kihnu traditional clothing, but as purchased goods they have, up to the present, remained beyond the scope of ethnographic studies. Headscarves are classified by material, origin and purpose. Even today, seven different types of headscarves are known ; names were assigned to the different types based on their patterns. Headscarves must always be worn in harmony with the main item of clothing: the skirt. The colours and stripes of the skirt convey the events that take place in the course of a woman’s life. Adherence to the rules is supervised by the elders of the community and by the more knowledgeable members who look after the preservation of the island’s traditions. As with wearing, there are also specific unwritten rules concerning the care, storage and folding of headscarves. In the Kihnu community, the most valuable cotton headscarves are those made of red printed cotton fabric that were produced in Russia, in the factories of Aleksandrov County in the Province of Vladimir in the late 19th century and the early 20th century. Elsewhere in the world, the headscarves are also known by their main colour – Turkish red. Owning kallisseltsi headscarves is, in a way, a status symbol in the Kihnu community: the owner of the largest number of headscarves is considered the proudest and richest. The circulation of headscarves is very carefully monitored, and the most valuable ones are only worn during important life events. Keywords: Kihnu cultural space, folk costumes, headscarves, communal clothing norms
{"title":"Printed-pattern headscarves in Kihnu cultural space","authors":"Mari Pukk","doi":"10.12697/sv.2019.11.78-101","DOIUrl":"https://doi.org/10.12697/sv.2019.11.78-101","url":null,"abstract":"This article provides an overview of the unique tradition of wearing headscarves as practiced by the islanders of Kihnu. I discuss the importance of cotton print headscarves in the traditional clothing of Kihnu women and explain the meaning of kallisseltsi headscarves as an intra-community phenomenon, giving an overview of the origin and characteristics thereof. \u0000Printed cotton headscarves are considered an integral part of Kihnu traditional clothing, but as purchased goods they have, up to the present, remained beyond the scope of ethnographic studies. Headscarves are classified by material, origin and purpose. Even today, seven different types of headscarves are known ; names were assigned to the different types based on their patterns. \u0000Headscarves must always be worn in harmony with the main item of clothing: the skirt. The colours and stripes of the skirt convey the events that take place in the course of a woman’s life. Adherence to the rules is supervised by the elders of the community and by the more knowledgeable members who look after the preservation of the island’s traditions. As with wearing, there are also specific unwritten rules concerning the care, storage and folding of headscarves. \u0000In the Kihnu community, the most valuable cotton headscarves are those made of red printed cotton fabric that were produced in Russia, in the factories of Aleksandrov County in the Province of Vladimir in the late 19th century and the early 20th century. Elsewhere in the world, the headscarves are also known by their main colour – Turkish red. Owning kallisseltsi headscarves is, in a way, a status symbol in the Kihnu community: the owner of the largest number of headscarves is considered the proudest and richest. The circulation of headscarves is very carefully monitored, and the most valuable ones are only worn during important life events. \u0000Keywords: Kihnu cultural space, folk costumes, headscarves, communal clothing norms","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130249184","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}
Pub Date : 2019-11-05DOI: 10.12697/sv.2019.11.64-77
Anu Pink
Knitting is a textile technique with a global spread, yet the method of holding the yarn and needles differs between geographic areas and cultures. There are three main knitting styles: holding the yarn in the right hand or throwing, holding the yarn in the left hand or picking and knitting with the yarn in front of the work and manipulating it with the thumb. Knitting methods have been subject to change over time. People have tried to make the movements either faster or, as is the case with 19th century England, more graceful. Estonian knitters stayed true to throwing for centuries and were not waived by German, Russian or Scandinavian knitters. However, picking has become prevalent within the last century following the Finnish example and published materials. Studying the Estonians’ knitting style and comparing this to neighbouring countries provides an insight into the development of and influences on Estonian knitting. Keywords: knitting, knitting history, knitting styles, picking, throwing, Continental knitting, English knitting, Portuguese knitting, Estonian knitting
{"title":"Knitting style – the grace of noble ladies or the speed of peasant girls?","authors":"Anu Pink","doi":"10.12697/sv.2019.11.64-77","DOIUrl":"https://doi.org/10.12697/sv.2019.11.64-77","url":null,"abstract":"Knitting is a textile technique with a global spread, yet the method of holding the yarn and needles differs between geographic areas and cultures. There are three main knitting styles: holding the yarn in the right hand or throwing, holding the yarn in the left hand or picking and knitting with the yarn in front of the work and manipulating it with the thumb. Knitting methods have been subject to change over time. People have tried to make the movements either faster or, as is the case with 19th century England, more graceful. Estonian knitters stayed true to throwing for centuries and were not waived by German, Russian or Scandinavian knitters. However, picking has become prevalent within the last century following the Finnish example and published materials. Studying the Estonians’ knitting style and comparing this to neighbouring countries provides an insight into the development of and influences on Estonian knitting. \u0000Keywords: knitting, knitting history, knitting styles, picking, throwing, Continental knitting, English knitting, Portuguese knitting, Estonian knitting","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125978278","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}
Pub Date : 2019-11-05DOI: 10.12697/sv.2019.11.124-147
Riina Rammo, Jaana Ratas
Spiral tubes made from coiled wire have been used as decorative elements on garments in Estonia for the last thousand years (from the 10th to 19th centuries). Decorations using this technique can be found in both archaeological and ethnographic collections. The tradition documented in Estonia is part of a larger phenomenon that spread across the eastern shores of the Baltic Sea (Finland, Northwestern Russia, Latvia, and Lithuania, in addition to Estonia) from the 6th century AD. Thus far, archaeologists have regarded spiral tube decorations mainly as a source for garment history, and not much attention has been paid to understanding their construction. This article focuses on the techniques used to make spiral tube decorations, from wiredrawing to constructing the ornaments. The results from metal analysis prove that the main raw materials used in wiredrawing have been copper alloys, with additives being mainly zinc and tin, and in lesser amounts, lead and other elements. Woollen and linen yarn and horsehair have been used as materials for constructing patterns. The woollen yarns used are usually fine and of high quality. Two main techniques used to make the ornaments can be observed: weaving the spiral tubes into a tablet-woven band and the use of various types of braided mesh and bands. When considering this very long period as a whole, it is possible to discern many regional differences both in techniques and pattern combinations. Behind the archaeological examples, makers of different skill levels and with different purposes can be seen, from professional craftsmen to women who made spiral tube decorations at home for personal use. Keywords: Spiral tube decorations, ancient craft, tabletwoven bands, archaeological textiles
{"title":"Spiral tube decorations on garments: Restoring a lost technique","authors":"Riina Rammo, Jaana Ratas","doi":"10.12697/sv.2019.11.124-147","DOIUrl":"https://doi.org/10.12697/sv.2019.11.124-147","url":null,"abstract":"Spiral tubes made from coiled wire have been used as decorative elements on garments in Estonia for the last thousand years (from the 10th to 19th centuries). Decorations using this technique can be found in both archaeological and ethnographic collections. The tradition documented in Estonia is part of a larger phenomenon that spread across the eastern shores of the Baltic Sea (Finland, Northwestern Russia, Latvia, and Lithuania, in addition to Estonia) from the 6th century AD. Thus far, archaeologists have regarded spiral tube decorations mainly as a source for garment history, and not much attention has been paid to understanding their construction. This article focuses on the techniques used to make spiral tube decorations, from wiredrawing to constructing the ornaments. \u0000The results from metal analysis prove that the main raw materials used in wiredrawing have been copper alloys, with additives being mainly zinc and tin, and in lesser amounts, lead and other elements. Woollen and linen yarn and horsehair have been used as materials for constructing patterns. The woollen yarns used are usually fine and of high quality. Two main techniques used to make the ornaments can be observed: weaving the spiral tubes into a tablet-woven band and the use of various types of braided mesh and bands. When considering this very long period as a whole, it is possible to discern many regional differences both in techniques and pattern combinations. Behind the archaeological examples, makers of different skill levels and with different purposes can be seen, from professional craftsmen to women who made spiral tube decorations at home for personal use. \u0000Keywords: Spiral tube decorations, ancient craft, tabletwoven bands, archaeological textiles","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122639263","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}
Pub Date : 2019-11-05DOI: 10.12697/sv.2019.11.164-179
Made Uus
This article provides an overview of the traditional domestic leather processing methods used in Estonia throughout history, as well as of 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 a fermented flour mixture (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. Keywords: animal hide, tanning, leather dressing methods
{"title":"Traditional leather processing using domestic methods in Estonia","authors":"Made Uus","doi":"10.12697/sv.2019.11.164-179","DOIUrl":"https://doi.org/10.12697/sv.2019.11.164-179","url":null,"abstract":"This article provides an overview of the traditional domestic leather processing methods used in Estonia throughout history, as well as of 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 a fermented flour mixture (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. \u0000Keywords: animal hide, tanning, leather dressing methods","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128483502","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}
Pub Date : 2017-11-13DOI: 10.12697/sv.2017.8.196-207
M. Pau
Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet the practical competence regarding its usage is lacking in Estonia as far as the construction industry is concerned. Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in a relatively low thermal conductivity, hemp-lime, the composite material made by mixing hemp with lime, is suitablefor insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around the hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness. The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface, when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations also protects the wooden construction elements surrounded by the hemp-lime, which thus also reduces the risk of moisture and frost damage. Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of the buildings being put up from 1st January, 2021, should not exceed the limit established for nearly zero-energy buildings. In short, this calls for a more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low. Keywords: industrial hemp, lime, clay, hemp-lime
{"title":"Hemp-lime – contemporary usage of traditional materials","authors":"M. Pau","doi":"10.12697/sv.2017.8.196-207","DOIUrl":"https://doi.org/10.12697/sv.2017.8.196-207","url":null,"abstract":"Hemp-lime is a comparatively unknown building material in Estonia. Scientific interest in this material is increasing remarkably quickly around the world, yet the practical competence regarding its usage is lacking in Estonia as far as the construction industry is concerned. \u0000Hemp occupies an important place amongst crops that have traditionally been cultivated in Estonia, but its use has not been typically associated with the construction industry. Owing to its strong fibre, hemp has primarily been seen as raw material for the production of textile products, particularly rope, and the inner core of the plant or ‘hemp hurd’, has been cast aside as a by-product. Since the porosity of hemp hurds results in a relatively low thermal conductivity, hemp-lime, the composite material made by mixing hemp with lime, is suitablefor insulating pre-existing building envelopes as well as for installing insulation for new buildings during construction. Lime creates an alkaline environment around the hemp hurds, making it difficult for fungi and pest insects to thrive. Compared to other natural insulation materials, hemp-lime therefore has a rather good balance between durability and cost-effectiveness. \u0000The essential feature of hemp-lime relevant to construction engineering is that the material is monolithic – any occurrences of sparsity and the resultant risk of thermal bridging in building envelopes is kept to a minimum, since the hemp-lime filling that surrounds the load-bearing structure forms a solid external surface, when properly installed. Owing to its high level of air-tightness, external structures made from hemp-lime can reduce the risk both of excessive cooling and of overheating. In addition to creating a comfortable indoor climate for residents, mitigating any sharp fluctuations also protects the wooden construction elements surrounded by the hemp-lime, which thus also reduces the risk of moisture and frost damage. \u0000Reducing the annual energy consumption of buildings and ensuring healthy indoor air quality pose significant challenges to the construction industry, since according to the current building code, the energy performance indicator of the buildings being put up from 1st January, 2021, should not exceed the limit established for nearly zero-energy buildings. In short, this calls for a more efficient use of resources, including the production, transport, installation, and recycling of materials. Compared to the majority of contemporary building materials, hemp-lime is relatively eco-friendly, and its energy content is low. \u0000Keywords: industrial hemp, lime, clay, hemp-lime","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115365813","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}
Pub Date : 2016-11-04DOI: 10.12697/sv.2016.7.147-160
I. Raud
The contemporary study, making and wearing of national costumes worn in 19th-century Estonian peasant culture requires both good knowledge of the objects and an awareness of the understandings, attitudes and world view related to peasant culture. This article sheds light on the values associated with the national costumes worn in the parish of Vändra. It concentrates on the rational way of thinking connected to national costumes and related aesthetic and moral beliefs. The term “rationality” here denotes, first and foremost, reasonable and purposeful behaviour arising from practical considerations. The study of meaningfulness sheds light on the background and objectives of the aesthetic choices underlying the design of national costumes, but also on the messages conveyed with the help of objects. In addition to literature concerning national costumes, the manuscripts found in the Estonian National Museum concerning the clothes worn in the parish of Vändra and neighbouring parishes and the observations made based on single objects are also used as sources.National costumes are used even today as a type of clothing that shows national belonging. 19th-century understandings and evaluations related to national costumes can today be studied indirectly. They manifest themselves in the way national costumes were made and worn and to a great extent were influenced by the environment in which the peasants lived.The obtaining of clothes meant a lot of work for peasants in the 19th century, starting with the growing and processing of the material and ending with the making and finishing of the clothes. Popular materials were easily accessible and could be processed at home, although they required a lot of work. As the obtaining of linen and woollen yarn and the weaving of cloth were labour-intensive processes, patterns for the sewing of clothes had to be as practical as possible. Great attention was paid to increasing the durability of clothes and to the easiest possible maintenance thereof. In the choice of material and the finishing of clothing, the climate, the ease of use and the context of use were taken into consideration. Both textiles and leather were used to the maximum. Woollen cloth was considered a more valuable material than linen textile, and this could be explained by the latter wearing out sooner.Besides practical aspects, the aesthetic result was also considered important – in addition to aspiring for beauty, many items of clothing represented the wearer’s social status, and people believed in the protective power of clothing. When wearing national costumes, one had to take into account the system of communal values. Unfortunately, very little material has been recorded about these understandings, and the field is difficult to access for researchers studying individual objects.National costumes reflect the way of life and beliefs of the people of the 19th century. In the study of national costumes – where alongside material sources little i
{"title":"Rahvarõivas talupojakultuuri ühe ilmingu ning mõttemaailma kajastajana. Interpretatsioon Vändra kihelkonna näitel / National Costumes as one of the Manifestations and Reflections of the Frame of Mind of Peasant Culture: Interpretation Based on the Example of Vändra Parish","authors":"I. Raud","doi":"10.12697/sv.2016.7.147-160","DOIUrl":"https://doi.org/10.12697/sv.2016.7.147-160","url":null,"abstract":"The contemporary study, making and wearing of national costumes worn in 19th-century Estonian peasant culture requires both good knowledge of the objects and an awareness of the understandings, attitudes and world view related to peasant culture. This article sheds light on the values associated with the national costumes worn in the parish of Vändra. It concentrates on the rational way of thinking connected to national costumes and related aesthetic and moral beliefs. The term “rationality” here denotes, first and foremost, reasonable and purposeful behaviour arising from practical considerations. The study of meaningfulness sheds light on the background and objectives of the aesthetic choices underlying the design of national costumes, but also on the messages conveyed with the help of objects. In addition to literature concerning national costumes, the manuscripts found in the Estonian National Museum concerning the clothes worn in the parish of Vändra and neighbouring parishes and the observations made based on single objects are also used as sources.National costumes are used even today as a type of clothing that shows national belonging. 19th-century understandings and evaluations related to national costumes can today be studied indirectly. They manifest themselves in the way national costumes were made and worn and to a great extent were influenced by the environment in which the peasants lived.The obtaining of clothes meant a lot of work for peasants in the 19th century, starting with the growing and processing of the material and ending with the making and finishing of the clothes. Popular materials were easily accessible and could be processed at home, although they required a lot of work. As the obtaining of linen and woollen yarn and the weaving of cloth were labour-intensive processes, patterns for the sewing of clothes had to be as practical as possible. Great attention was paid to increasing the durability of clothes and to the easiest possible maintenance thereof. In the choice of material and the finishing of clothing, the climate, the ease of use and the context of use were taken into consideration. Both textiles and leather were used to the maximum. Woollen cloth was considered a more valuable material than linen textile, and this could be explained by the latter wearing out sooner.Besides practical aspects, the aesthetic result was also considered important – in addition to aspiring for beauty, many items of clothing represented the wearer’s social status, and people believed in the protective power of clothing. When wearing national costumes, one had to take into account the system of communal values. Unfortunately, very little material has been recorded about these understandings, and the field is difficult to access for researchers studying individual objects.National costumes reflect the way of life and beliefs of the people of the 19th century. In the study of national costumes – where alongside material sources little i","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131788286","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}
Pub Date : 2016-11-04DOI: 10.12697/sv.2016.7.180-210
D. C. Reed
In 1972, I was apprenticed to an elderly mountain man steeped in the traditions of log crib construction. Cyrus Paul Lewis taught me the skills of 18th and 19th century rough and finish carpentry as it pertained to folk architecture. The craft training of log construction added on top of several years experience as a modern day carpenter enabled me to build a company that restored houses and other log buildings all over the United States from 1974 to 2006. In 1978 I continued my formal education in anthropology and preservation specializing in log structures at George Washington University in Washington, D.C. Having read all the authoritative works on log buildings and compared them to what I was learning in the field, it was obvious there were many gaps in the collective body of knowledge concerning the development and dissemination of log crib structures.During a brief first trip to Europe, it was easy to see that the log crib buildings in Alpine and northern Europe in no way resembled the American log cribs erected for three centuries by the settlers arriving on the American shores and those pushing west to establish their farms and build their houses. It became clear American scholarship had a long way to go in understanding the log crib, its development, technology and dissemination throughout the world much less in America. In 2009 a quest to fill in some of the gaps was begun.After four years of intense research with field trips to Turkey, southern Europe and ranging all the way north to the Scandinavian and Baltic countries ringing the Baltic Sea two findings became very clear. First, no one person can possibly conduct the massive research needed to fully understand origins, technology and dissemination of the world's log cribs. Secondly, it was apparent, contrary to what had been declared in former publications, that Europeans did not transfer their log crib technologies intact to the eastern shores of the US. Rather only a small number of scattered details mixed with a few processes of material manufacturing and building commonly used in Europe were configured into what was to become an American log crib style almost from the first settlements.These discoveries bore witness to the fallacy of single or two person research efforts that resulted in broad, sweeping declarations of origins and disseminations concerning log crib technologies. Most authors were not familiar with the professional training needed to fully understand the hands-on traditions of building with logs and have largely missed the facts concerning the developmental history of log buildings in a specific country and the world. Far more collaborative research between the multiple disciplines and experienced master craftsmen is needed.Even in Estonia further studies are needed to determine how the dual-purpose barn-dwelling developed and where it originated. With seven centuries of multiple foreign occupations responsible for bringing in many different types of technologies
1972年，我师从一位深谙木床构造传统的山地老人。赛勒斯·保罗·刘易斯(Cyrus Paul Lewis)教会了我18世纪和19世纪民间建筑中粗加工木工的技能。原木建筑的工艺培训加上几年作为现代木匠的经验，使我能够在1974年至2006年期间在美国各地建立一家修复房屋和其他原木建筑的公司。1978年，我在华盛顿特区的乔治华盛顿大学(George Washington University)继续接受人类学和保存学的正规教育，专攻原木结构。在阅读了所有关于原木建筑的权威著作，并将它们与我在该领域所学的内容进行了比较之后，很明显，关于原木摇篮结构的发展和传播，在集体知识体系中存在许多空白。在第一次短暂的欧洲之旅中，很容易看出阿尔卑斯和北欧的木床建筑与美国的木床完全不同，这些木床是由抵达美国海岸的移民和向西推进建立农场和建造房屋的移民建立的，这些移民建立了三个世纪。很明显，美国学术界在理解原木摇篮方面还有很长的路要走，它的发展、技术和在世界各地的传播更不用说在美国了。2009年，一项填补部分空白的探索开始了。经过四年的深入研究，我们到土耳其、南欧实地考察，并一路北上到环绕波罗的海的斯堪的纳维亚和波罗的海国家，有两个发现变得非常清楚。首先，没有一个人能够进行大规模的研究，以充分了解世界原木床的起源、技术和传播。其次，很明显，与以前的出版物所宣称的相反，欧洲人并没有将他们的原木摇篮技术完整地转移到美国东海岸。相反，只有少量分散的细节与欧洲常用的材料制造和建筑工艺混合在一起，几乎从第一个定居点开始就形成了美国的原木摇篮风格。这些发现证明了个人或两个人的研究努力是错误的，这种努力导致了对原木床技术的起源和传播的广泛、彻底的声明。大多数作者都不熟悉专业培训，无法充分理解用原木建造建筑的实践传统，并且在很大程度上错过了有关特定国家和世界原木建筑发展历史的事实。需要多学科和经验丰富的工匠之间进行更多的合作研究。即使在爱沙尼亚，也需要进行进一步的研究，以确定双重用途的谷仓住宅是如何发展的以及起源于何处。由于七个世纪以来的多种外国占领，从其占领者的祖国带来了许多不同类型的技术，爱沙尼亚是一个完美的研究领域，可以研究和跟踪该国发展的细节，并追溯其起源。爱沙尼亚并不是唯一一个有着丰富的原木建筑传统需要进一步研究的国家。需要在全球基础上对大陆和世界范围内的原木床进行进一步研究。国家调查必须完成，所有结果数据必须与一个中央数据库共享，并加以整理，以便进行发展研究。这项工作对于了解原木床技术在世界各地的起源、发展和传播至关重要，更不用说美国和欧洲大陆。多个全球原木床研究工作的结果将对工艺培训，原木床技术培训以及在现代世界中重新引入相对千年的旧技术产生深远的影响，这些技术充斥着有毒的修复，无法在新建筑中很好地工作。从研究中学习和筛选新的木结构建筑修复技术。减少二氧化碳水平、温室效应和增加当地社区凝聚力的环境考虑都将受益于全球深入的研究工作，以填补原木床开发和技术方面缺失的信息空白。为了协调、整理和传播所有这些研究，必须成立一个专门研究原木摇篮发展的单一全球组织。有必要成立一个新的组织，专门研究原木的建造历史，发展恢复、森林管理和木材保护技术，以便为原木工人提供持续的入门和更高级别的工作培训。 如果世界要维持和发展更多的高薪工作，降低税收，维护现有的原木结构，以有效的方式明智地利用有限的自然资源，并为数百万人提供更好的生活条件，那么研究和培训是必不可少的。 如果世界要维持和发展更多的高薪工作，降低税收，维护现有的原木结构，以有效的方式明智地利用有限的自然资源，并为数百万人提供更好的生活条件，那么研究和培训是必不可少的。
{"title":"Palkehitus: uurimise, taastamise ja arenguloo selgitamise vajadused Eestis ja maailmas / Relevance of Log Crib Research, Renovation and Development in Estonia and the World","authors":"D. C. Reed","doi":"10.12697/sv.2016.7.180-210","DOIUrl":"https://doi.org/10.12697/sv.2016.7.180-210","url":null,"abstract":"In 1972, I was apprenticed to an elderly mountain man steeped in the traditions of log crib construction. Cyrus Paul Lewis taught me the skills of 18th and 19th century rough and finish carpentry as it pertained to folk architecture. The craft training of log construction added on top of several years experience as a modern day carpenter enabled me to build a company that restored houses and other log buildings all over the United States from 1974 to 2006. In 1978 I continued my formal education in anthropology and preservation specializing in log structures at George Washington University in Washington, D.C. Having read all the authoritative works on log buildings and compared them to what I was learning in the field, it was obvious there were many gaps in the collective body of knowledge concerning the development and dissemination of log crib structures.During a brief first trip to Europe, it was easy to see that the log crib buildings in Alpine and northern Europe in no way resembled the American log cribs erected for three centuries by the settlers arriving on the American shores and those pushing west to establish their farms and build their houses. It became clear American scholarship had a long way to go in understanding the log crib, its development, technology and dissemination throughout the world much less in America. In 2009 a quest to fill in some of the gaps was begun.After four years of intense research with field trips to Turkey, southern Europe and ranging all the way north to the Scandinavian and Baltic countries ringing the Baltic Sea two findings became very clear. First, no one person can possibly conduct the massive research needed to fully understand origins, technology and dissemination of the world's log cribs. Secondly, it was apparent, contrary to what had been declared in former publications, that Europeans did not transfer their log crib technologies intact to the eastern shores of the US. Rather only a small number of scattered details mixed with a few processes of material manufacturing and building commonly used in Europe were configured into what was to become an American log crib style almost from the first settlements.These discoveries bore witness to the fallacy of single or two person research efforts that resulted in broad, sweeping declarations of origins and disseminations concerning log crib technologies. Most authors were not familiar with the professional training needed to fully understand the hands-on traditions of building with logs and have largely missed the facts concerning the developmental history of log buildings in a specific country and the world. Far more collaborative research between the multiple disciplines and experienced master craftsmen is needed.Even in Estonia further studies are needed to determine how the dual-purpose barn-dwelling developed and where it originated. With seven centuries of multiple foreign occupations responsible for bringing in many different types of technologies","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"185 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116144761","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}
Pub Date : 2015-11-01DOI: 10.12697/sv.2015.6.145-153
Maaja Kalle
A penik decorated with woven trim (galloons), known as 'kard-penik', has been worn in Hiiumaa as part of folk costumes. The examples in the collections of Estonian National Museum have been dated to the 1st quarter of the 19th century. In earlier times all girls wore a penik while attending church. In later times, it was used as a headpiece by the brides in Hiiu county, and also by bridesmaids in Emmaste and Käina. By the end of the 19th century, the tradition of wearing peniks started to disappear due to the growing popularity of Myrtus head chains. The author of this article has focused mainly on the materials and the possible techniques used to make peniks in order to recreate the item and to describe the process.
{"title":"Ühe peniku taasloomise lugu / Recreating a Penik (a Form of Head Decoration)","authors":"Maaja Kalle","doi":"10.12697/sv.2015.6.145-153","DOIUrl":"https://doi.org/10.12697/sv.2015.6.145-153","url":null,"abstract":"A penik decorated with woven trim (galloons), known as 'kard-penik', has been worn in Hiiumaa as part of folk costumes. The examples in the collections of Estonian National Museum have been dated to the 1st quarter of the 19th century. In earlier times all girls wore a penik while attending church. In later times, it was used as a headpiece by the brides in Hiiu county, and also by bridesmaids in Emmaste and Käina. By the end of the 19th century, the tradition of wearing peniks started to disappear due to the growing popularity of Myrtus head chains. The author of this article has focused mainly on the materials and the possible techniques used to make peniks in order to recreate the item and to describe the process.","PeriodicalId":245575,"journal":{"name":"Studia Vernacula","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127034322","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}
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