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Learning from traditional miniature painting and from recent studies on their modern and creative applications, the purpose of this paper is to identify the key qualifications of miniature and possible ways for using miniature in urban design studios. Following discussions on the pedagogical and professional effects of using miniature in a design studio, the paper introduces De-Urban Design Studio’s philosophy and its experience in employing miniature as a way of representation as the case study.

Different from the urban design’s professional role which materialized in conventional architectural presentation, miniature appears as a representation way in the search for the appropriate media for the de-urban design’s activist model.

Expressing the philosophy of transition design and de-urbanization, and studying some of the miniatures produced in the De-Urban Design studio, this paper sheds light on the possibilities created by the usage of miniature in urban design studio as a communication medium in making the processes of design more inclusiveness, participatory and democratic.

The term miniatecture is used for the first time as a representation technique developed in the De-Urban Design Studio co-instructed by the authors of this paper.

The Journal of Documentation does not normally publish papers on the classification, etc., of specific subjects. An exception has been made in this case, since most of the available examples of faceted classifications are in the field of science and technology and it is felt useful to publish an illustration of the use of this technique for a subject within the humanities. The techniques of faceted classification were applied to the fine arts in a scheme which was designed for use in a college library. Some problems of classifying the literature are discussed, together with the solutions adopted. An excerpt schedule with an alphabetical subject index and some classified examples are provided to illustrate the project.

The valuation of artworks is challenging since their value encompasses economic, social and cultural values. This study examines two specific questions about the economics of Indian art market: first, the determinants of the price of paintings by Indian artists and second, the risk and return characteristics of investment in Indian paintings. The authors also analyze the role of local context for both questions.

This study uses 8,865 paintings that are auctioned between January, 2000 and June, 2018. A generalized additive model (GAM) is employed to identify the determinants of auction prices and estimate art market price index.

The results indicate that the price of paintings in the Indian market is impacted by both global and local factors. Consistent with the previous research, this study finds that provenance, literature, living status of an artist, artist reputation, auction house, location and gender determine prices. However, the unique behavior of artwork medium and art movement affiliation in the Indian art market signifies the importance of local context in the valuation of artworks. An analysis of the second aspect of the study, i.e. risk and return characteristics of art investment, suggests that though overall art market returns are not lucrative, there are sub-sections in the market that outperform stocks and other assets. Further, the Indian art market shows a weak or negative correlation with other assets, thus making it a good candidate for a diversified portfolio. One of the important findings of this study is that artworks created by artists associated with the Bombay Progressive Artists' Group (PAG) command a significant price premium over all other artworks. Moreover, the average return on investment in paintings by artists affiliated to the Bombay PAG is not only significantly better than other art movements but also higher than all other art assets.

This study contributes to the growing literature on the economics of art market by providing a comprehensive analysis of the economics of Indian paintings. This research highlights the importance of local factors in price determination and on the risk and return characteristics of art investment. To the best of the authors’ knowledge, it is the most comprehensive study of the economics of Indian painting market and the first study to identify the relationship between Indian art movements and prices of paintings and returns on investment in paintings.

The indigenous and sustainable knowledge possessed by the tribal people and communities plays an extremely important role in the conservation of the climate. As per the United Nations Sustainable Development Goals (UN SDGs), tribal communities play an important role in preserving traditional knowledge, culture, food practices and textiles. The remains of the Indus Valley civilisation highlight the importance of the culture and religion. Animism and the worship of nature to achieve success in routines and tasks have been practised by these tribes for centuries. India is a mosaic of more than 705 different colourful tribes, and each of these tribes has their own identity that differentiates it from the other tribes. With increasing ecological complexities, the knowledge owned by the tribes is extremely useful in the preservation of the climate. This chapter seeks to explore the various hues and colours that constitute the mosaic of Indian tribal culture.

Lilliput Lane, based on the edge of the English Lake District, manufactures a range of miniature plaster cottages which are marketed to customers throughout the world, many of whom are committed collectors. This case study traces the early growth of the company in the 1980s, its subsequent setbacks, a successful turn‐around, followed by a flotation and sale in the 1990s. It focuses on the issues of strategic leadership, stakeholder expectations, core competencies, adding value, diversification and focus strategies. Lilliput Lane has been written for the purpose of class discussion. It should not be taken to reflect either effective or ineffective management.

Both paint manufacturers and paint users are continually striving to improve both paint materials and the application of those materials. A tool employed by these companies to achieve the best quality in paint finish is the painting laboratory. It is a facility which enables the companies to test materials, establish optimum spray parameters, evaluate different physical arrangements in spray booths, and so on.

Purpose: As collection development in research libraries becomes increasingly homogeneous and “e-preferred”, it is our heritage collections that differentiate us and anchor the physical presence of our institutions. These valuable heritage resources, vital for teaching, researching, and learning are unfortunately too often inaccessible, uncatalogued, and ultimately undiscoverable. This paper focuses on the curation of special collections as a means of exposing hidden collections and discusses practical steps undertaken to highlight unique print materials in the digital age.

This case study describes the transformation of a hidden collection into a teaching collection through the exhibition of uncatalogued Islamic manuscripts, their associated digital component and the resulting faculty–librarian collaboration.

By sharing print collections through exhibitions with an associated digital component, we are both increasing the visibility of, and improving access to the material.

This case study outlines a successful approach to exposing hidden collections to support an innovative teaching and learning environment.

This purpose of this paper is to investigate the policies and consequences of state‐directed consumerism in Iran during the reign of Shah Abbas I (1587–1629) of the Safavid dynasty.

The research is based upon several secondary literatures, especially Middle Eastern studies and art history, as well as primary source materials in the form of architecture, its decorative elements, and other works. The visual content and consumption themes of a selected tile painting are described and analyzed.

The Shah strengthened the state by building infrastructure, encouraging international trade, and creating a robust silk industry where he controlled production and marketing. He utilized his city and its architecture as a means of communication to impress his subjects and foreign visitors and to increase domestic demand for silk textiles. These promotional efforts led to a surge in spending, which occurred about the same time as similar booms in England and France. Economic problems and rising Islamism dampened this episode of Persian consumerism in the latter part of the seventeenth century.

The set of visual data sources is small and limited to works from just one city, Isfahan.

The research fills gaps in the marketing and consumption history literatures which have not as yet fully considered the use of state resources to promote domestic consumption, consumer marketing in the Middle East, and the promotional roles played by architecture and its decorative elements.

This paper aims to provide a deeper understanding of the painting techniques, materials used and deterioration phenomena in a thin panel painting. As well as, straightening buckling in a thin panel painting and reinforcement have been used by an auxiliary support system.

This requires using several scientific and analytical techniques to provide a deeper understanding of the painting techniques, materials used, deterioration phenomena and a greater awareness of how well treatment the panel painting is. Visual observation and multispectral imaging (Visible Ultraviolet-induced luminescence, as well as Ultraviolet reflected and Infrared [IR]), optical Microscopy (OM), handheld X-ray fluorescence spectroscopy (XRF), X-ray diffraction, Fourier transform IR spectroscopy (FTIR) and gas chromatography were used in this case study.

The analytical study of a thin panel with different methods allowed defining that the thin panel painting consists of plywood panel, ground layer (white lead and animal glue) and painted layer (lead red, cobaltic black, chrome yellow, Venetian red, iron black and white lead and poppy oil). Also, these determined that a convex buckling was the main form of deterioration. The structure treatment was executed by using a wet compress to straighten the thin panel painting and followed by fixing a new special design of the second auxiliary support system on the back of the thin panel painting.

The importance of analytical study to determine the painting techniques, materials used, deterioration phenomena and how well treatment the panel painting is. As well as, using a wet compress to straightening of warping or buckling wooden panel painting. Also, the Plexiglas second auxiliary support system could use to reinforcement the wooden panel and control the wooden panel movements.

IN his admirable survey of library methods and problems in Great Britain, read—unfortunately by proxy—at the St. Louis meeting of the American Library Association, which the author of this paper had the pleasure of hearing, Mr. Bond, in writing of open access, was courageous enough to say that the system in question was the system of the future. It is true that he put that future a long way off, but it is none the less creditable to Mr. Bond's fairness and foresight that he recognises and admits that some time the system of shelf access—perhaps a better term than open access—is bound to prevail, and become the rule rather than the exception in the library administration of this country. One has therefore a shrewd suspicion that much of the fierceness with which the system and the personalities of those who have adopted and approved it, have been assailed, is due to an uneasy feeling on the part of its opponents that time is on the other side, and that they can at best only put the clock back, not stop it.