Copyright Li Lanqing
From an exhibition at the British Museum (now closed) on Contemporary Chinese Seals (HERE)
If I must ascribe a meaning to the word craftsmanship, I shall say as a first approximation that it means simply workmanship using any kind of technique or apparatus, in which the quality of the result is not pre-determined, but depends on the judgment, dexterity and care which the maker exercises as he works. The essential idea is that the quality of the result is continually at risk during the process of making; and so I shall call this kind of workmanship 'The workmanship of risk': an uncouth phrase, but at least descriptive.
Researchers have long been fascinated by the strong continuities evident in the oral traditions associated with different cultures. According to the ‘historic-geographic’ school, it is possible to classify similar tales into “international types” and trace them back to their original archetypes. However, critics argue that folktale traditions are fundamentally fluid, and that most international types are artificial constructs. Here, these issues are addressed using phylogenetic methods that were originally developed to reconstruct evolutionary relationships among biological species, and which have been recently applied to a range of cultural phenomena. The study focuses on one of the most debated international types in the literature: ATU 333, ‘Little Red Riding Hood’. A number of variants of ATU 333 have been recorded in European oral traditions, and it has been suggested that the group may include tales from other regions, including Africa and East Asia. However, in many of these cases, it is difficult to differentiate ATU 333 from another widespread international folktale, ATU 123, ‘The Wolf and the Kids’. To shed more light on these relationships, data on 58 folktales were analysed using cladistic, Bayesian and phylogenetic network-based methods. The results demonstrate that, contrary to the claims made by critics of the historic-geographic approach, it is possible to identify ATU 333 and ATU 123 as distinct international types. They further suggest that most of the African tales can be classified as variants of ATU 123, while the East Asian tales probably evolved by blending together elements of both ATU 333 and ATU 123. These findings demonstrate that phylogenetic methods provide a powerful set of tools for testing hypotheses about cross-cultural relationships among folktales, and point towards exciting new directions for research into the transmission and evolution of oral narratives.
A peasant has seven sons and no daughter. Finally a daughter is born, but is sickly. The father sends his sons to fetch water for her to be baptized. In their haste, they drop the jug in the well. When they do not return, their father thinks that they have gone off to play and curses them and so they turn into ravens.The tale also inspired an early German stop motion animated film (Die sieben Raben) that was created by the Diehl brothers in 1937, shortly before Disney's Snow White and the Seven Dwarfs.
When the sister is grown, she sets out in search of her brothers. She attempts to get help first from the sun, which is too hot, then the moon, which craves human flesh, and then the morning star. The star helps her by giving her a chicken bone and tells her she will need it to save her brothers. She finds them on the Glass Mountain. She has lost the chicken bone and chops off one of her fingers to use as a key. She goes into the mountain, where a dwarf tells her that her brothers will return. She takes some of their food and drink and leaves in the last cup a ring from home.
When her brothers return, she hides. They turn back into human form and ask who has been at their food. The youngest brother finds the ring, and hopes it is their sister, in which case they are saved. She emerges, and they return home.
It is impossible to assess whether a given piece of data is any good or not, simply by inspection of the data alone.
Further information about the artist from the Imperial War Museum:Viktor Olgyai studied under William Unger in Vienna and under Theodore Alphonse in Paris. As he originally intended to devote himself entirely to the graphic arts, and only later took up oil-painting, his technical knowledge of etching is remarkable. He is pre-eminently a draughtsman, and though his plates are finely toned, the most notable thing about them is their sense of line. Some of his best works are contained in an album of ten plates entitle 'Winter,' and other notable ones are The Oak, The Mill and Way of Cypresses.
Victor Olgyai (1870-1929) was born in Igló in Hungary. He worked as a painter and designer, and taught at the Graphics Department of the College of Fine Arts in Budapest. He died in Salzburg, Austria.