Calculating Risks: The Socioeconomic Foundations of Aesthetic Innovation in an Ashanti Carving Community

Silver, Harry R.

doi:10.2307/3773059

Cited by 54 publications

(13 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Arnold (1985: 220) declared that there is no economic value for innovation. Producing ceramic vessels that do not fit with tradition and market demand is an economic risk, recalling the work of Silver (1981), who investigated innovation amongst West African woodcarvers. Four inhibitors to innovation and cultural change have been proposed (Arnold 1985: 221-223):…”

Section: Continuity In the Ceramic Assemblage And Conservative Behavimentioning

confidence: 99%

Contextualising the Neolithic Occupation of Southern Vietnam: The Role of Ceramics and Potters at An Son

Sarjeant¹

2014

View full text Add to dashboard Cite

terra australis 42Terra Australis reports the results of archaeological and related research within the south and east of Asia, though mainly Australia, New Guinea and island Melanesia -lands that remained terra australis incognita to generations of prehistorians. Its subject is the settlement of the diverse environments in this isolated quarter of the globe by peoples who have maintained their discrete and traditional ways of life into the recent recorded or remembered past and at times into the observable present. Dewey Number: 666.09597 List of volumes in Terra AustralisCopyright of the text remains with the authors, 2014. This book is copyright in all countries subscribing to the Berne convention. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Inquiries should be made to the publisher.Cover image courtesy of C. Sarjeant.Back cover map: Hollandia Nova. Thevenot 1663 by courtesy of the National Library of Australia. Reprinted with permission of the National Library of Australia. The excavations at An Sơn were funded by a Discovery Grant from the Australian Research Council. My own research was funded by the Australian Postgraduate Award.The analysis of the ceramic fabrics was conducted with SEM-EDX at the Electron Microscopy Unit at The Australian National University, with guidance from Frank Brink. I would also like to thank Glenn Summerhayes for teaching me the benefits and methods of SEM and the electron microprobe.There are a number of people I would like to recognise for their support over the past few years. Charles Higham has always offered advice and provided useful information over the years, even after departing the University of Otago after my Master's. Nigel Chang initially invited me to Ban Non Wat eight years ago, and allowed me to visit again to review the more recent neolithic discoveries in 2009. Fiorella Rispoli and Roberto Ciarla shared their knowledge of the neolithic in central Vietnam, and Fiorella's wealth of knowledge on ceramics has always been a reference for me. Lâm Thị Mỹ Dung opened up the ceramic collections at the University of Hanoi to me in 2009, which offered some valuable comparative ideas for this monograph. Louise Cort and Joyce White organised a workshop on Southeast Asian ceramics in Washington, DC and Philadelphia in 2010; an event from which I gained much inspiration and I feel privileged to have been a part of it. I would also like to acknowledge those individuals from afar who were interested in my research -it helped to keep the inspiration going, so thanks to Andreas Reinecke, Nishimura Masanari, and those I met at conferences over these past few years.Closer to home, I would like to thank Anna Willis for her knowledge about mortuary ritual at An Sơn. I am also grateful for the new insights into southern Vietnamese archaeology after working alongside Philip Piper at Rạch Núi. Thanks to Judith Cameron who was so supp...

show abstract

Section: Continuity In the Ceramic Assemblage And Conservative Behavimentioning

confidence: 99%

Contextualising the Neolithic Occupation of Southern Vietnam: The Role of Ceramics and Potters at An Son

Sarjeant¹

2014

View full text Add to dashboard Cite

show abstract

“…Among the Ashanti, creativity is encouraged in the carving of secular objects but discouraged for objects depicting religious motifs (Silver 1981). There is a similar place for creativity in the Balinese culture.…”

Section: Forms and Domains Of Creativitymentioning

confidence: 99%

Creativity and Cross‐cultural Variation

Lubart

1990

Int J Psychol

107

View full text Add to dashboard Cite

Is the nature of creativity essentially the same around the globe? The effect of cultural factors on creativity is reviewed. Distinct Western and Oriental perspectives on the definition of creativity and the creative process are described. Culture is also shown to channel creative activity by promoting certain domains, social groups, and characteristic ways of approaching the world. The effects of world‐view and pressure for conformity are then presented as cultural features that relate to the nurturance of creativity across domains. The cultural variation described is supported by ethnographic and experimental evidence. Limitations on the scope of the review and methodological issues in cross‐cultural research on creativity are also discussed. The effects of culture on creativity are understood within an interactive framework that incorporates both the person and the environment.

show abstract

“…For further references on both of these perspectives see Stanley (1987). (1976,1977), Silver (1979Silver ( , 1981aSilver ( , 1981b, Richter (1980), Ross and Reichert (1983), Jules-Rosette (1984), and Wolff (1985). The study of the art trade has been the subject of far fewer works, although some notable exceptions, which include descriptions of African art markets and market systems, have been published by Elkan (1958), Crowley (1970Crowley ( ,1974Crowley ( , 1979, Himmelheber (1975), and Robinson (1975).…”

Section: Fascinating Quotations From William Grigsby and Mayamentioning

confidence: 99%

“…In the past two decades, the study of art production for trade (e.g., the social organization of workshops, the relationship between aesthetics and market demand, and the semiotics of communication between art creators and art consumers) has received attention by such scholars as Ben-Amos (1976,1977), Silver (1979Silver ( , 1981aSilver ( , 1981b, Richter (1980), Ross and Reichert (1983), Jules-Rosette (1984), and Wolff (1985). In the past two decades, the study of art production for trade (e.g., the social organization of workshops, the relationship between aesthetics and market demand, and the semiotics of communication between art creators and art consumers) has received attention by such scholars as Ben-Amos (1976,1977), Silver (1979Silver ( , 1981aSilver ( , 1981b, Richter (1980), Ross and Reichert (1983), Jules-Rosette (1984), and Wolff (1985).…”

Section: In This Essay I Draw a Distinction Between The Study Of Thementioning

confidence: 99%

The Trade in West African Art

Steiner¹

1991

African Arts

View full text Add to dashboard Cite

Calculating Risks: The Socioeconomic Foundations of Aesthetic Innovation in an Ashanti Carving Community

Cited by 54 publications

References 0 publications

Contextualising the Neolithic Occupation of Southern Vietnam: The Role of Ceramics and Potters at An Son

Contextualising the Neolithic Occupation of Southern Vietnam: The Role of Ceramics and Potters at An Son

Creativity and Cross‐cultural Variation

The Trade in West African Art

Contact Info

Product

Resources

About