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The article examines the development of traditional arts and crafts among Kazakhstan's Uyghurs under the influence of various historical factors. The Uyghurs of Kazakhstan and other Central Asian countries comprise ethnographic group which developed over the last centuries separated from the main Uyghur population in Xinjiang, China, which resulted in emergence of their particular features. The article argues that the transformation of traditional arts and crafts among the Uyghurs of Kazakhstan occurred under the influence of political events, which changed dramatically the life of the entire population of the Russian Empire. With the establishment of Soviet power, the country's rapid industrialization meant that products produced by individuals in workshops could not compete with less expensive and more practical products manufactures at factories and plants. Thus, blacksmiths, and artisanal producers of leather and cloth declined. Nevertheless, certain types of traditional art crafts (jewellery art, production of musical instruments, working out calabash) survived albeit on a limited scale due to the development of national idea, which requires symbols of ethnic culture. Modern artists exploit fantasy and go beyond traditional frames of ethnicity. The article argues that the arts and crafts of the Uyghurs received a new impetus in the Soviet era, despite the threat of a certain loss of ethnic peculiarities. [ABSTRACT FROM AUTHOR]

This article argues that we need to question the Orientalist ideology that draws boundaries between the study of crusader art and that of the neighboring Muslim states. Two unusual Ayyubid glass beakers, now in the Walters Art Gallery in Baltimore, are shown to contain Christian images. These images are placed within a landscape showcasing the major monuments in Jerusalem: the Dome of the Rock, the Holy Sepulchre, and the Tower of David, to highlight the significance of the sites for the viewer/patron. When these two beakers are compared with metalwork made in an Islamic style but depicting Christian scenes, it becomes clear that they were not as rare as we may think. Indeed, they prompt us to rethink our preconsumptions about daily life in the crusader kingdoms and to reassess the workings of the multiethnic market spaces of the Levant. The beakers may have served a foreign clientele, but most probably were made for local Christian communities. Furthermore, these pieces allow us to study the processes of transference of tastes and techniques to the West. [ABSTRACT FROM AUTHOR]

Presents a historical overview of Mozarabic art. Definition of Mozarabic; Description of Mozarabic arts; Motif of Mozarabic arts.

The article considers the connection between the images on the borders of a seventeenth-century "Munich Prayer Book," kept at the Bavarian State Library in Munich, Germany, and the artist, Jacques de Gheyn II. In contrast to the extravagant complexity of the sixteenth-entry manuscripts as Georg Hoefnagel's miniatures in the "Missale Romanum" and the Bocskay "Schriftmusterbuch," the "Munich Prayer Book" emphasizes simplicity and natural history. The author notes that the images copied from de Gheyn's works reflect the admiration of the album by art patron, Emperor Rudolf II and by the artists at his court.