German translation: Stroh (in this context straw appliques on an altar front)
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GLOSSARY ENTRY (DERIVED FROM QUESTION BELOW)
English term or phrase:
natural straw
German translation:
Stroh (in this context straw appliques on an altar front)
Explanation: I am sorry to come up with something so obvious; I am sure you know that term; were you looking for a specific term?
not for points
-------------------------------------------------- Note added at 33 mins (2006-05-22 23:37:01 GMT) --------------------------------------------------
yes, I know it sounds odd that's why i was hesitant' all the google hits did not reveal much either ..the only other time straw has any significance in a religious setting would be the manger scene. I hope you have some more suggestions...
-------------------------------------------------- Note added at 58 mins (2006-05-23 00:01:52 GMT) --------------------------------------------------
hopefully this site will shed some light on it it talked about straw appliques that were used for religious images; I hope it helps a bit
Traditional New Mexican Hispanic Crafts
Yesterday and Today
Collectors worldwide have discovered
this special work focused on family and faith.
In New Mexican Spanish there is an old saying, "Muchos pocos hacen un mucho—a lot of nothing makes something." And so it is that the simple utilitarian and devotional material culture of Hispanic New Mexico has become the focus of collectors, museums, art historians, cultural anthropologists and tourists. In the eyes of the early New Mexican Hispanics, their hand crafts stood witness to an often struggling existence in a harsh landscape. The simple crafts of 18th and 19th century New Mexico spawned a renaissance of contemporary Hispanic artists inspired by the work of their ancestors.
Since the recolonization of New Mexico by Don Diego de Vargas in 1692, the Hispanic people have created a variety of art forms, including straw applique, weaving, furniture, santos, blacksmithing, jewelry and tinsmithing.
Straw applique
The simple craft of straw applique or inlay, whose origins indicate Northern Africa, has been practiced by both Native American and Hispanic peoples since the early 1700s. The predominant form has been the blackened cross embellished with an endless variety of geometric designs, although chests, boxes, candle sconces and other items are also covered in the golden straw or corn husk designs.
Josie Ward Cox
Straw Applique Cross
(Detail)
Textiles
Teresa Archuleta Sagel Vallero Star Blanket (Detail)
Throughout the colonial era beginning in 1598, until World War II, a pastoral economy dominated by sheep husbandry gripped New Mexico. Wool weaving engaged entire families and small villages; it became one of the most prolific crafts of the past two and a half centuries. Weavers supplied material for clothing, blanketry, bedding and carpeting for domestic use as well as blankets and yardage for trading. Yearly trade caravans sent hundreds of blankets south into New Spain. In 1807, master weavers Juan and Ignacio Bazan were brought in from Puebla (Mexico) in an effort to upgrade the weaving done in the Rio Arriba. The influence of the master weavers was soon felt and contributed significantly to a lasting textile industry in New Mexico.
If weaving was the most prolific craft produced in New Mexico, the embroidered wool ground known as colcha was and is perhaps the most time-consuming craft practiced by Hispanics. While specific dates and origins of the colcha with its economic stitch are difficult to establish, scholars place its appearance in New Mexico by at least 1750. Colcha work has evolved and flourishes today as a distinctive colonial tradition reinterpreted by new generations of colcha stitch embroidery.
Any observation of New Mexican Hispanic arts would reveal the primacy of religious art. Research indicates that by the late 1700s through the early 1900s, the art of the santero, or saintmaker, was in great demand for religious purposes. The earliest religious imagery made in New Mexico after 1694 were likely those painted directly on the walls of mission churches. Today, vestiges remain of that decorative art behind the altarpieces in the churches at Laguna, Trampas and San Miguel in Santa Fe. By the mid-1700s, paintings on brain-tanned hides of buffalo, elk, or deer were uniquely common to New Mexico, serving as tools for religious education especially among Native Americans. The artists remain unidentified and these early hide paintings still puzzle scholars.
Art of the Santero
Charlie Carrillo
San Jose Retablo
Photo by Ron Behrman from Charlie Carillo:
Tradition and Soul /
Tradicion y Alma,
Barbe Awalt and Paul Rhetts, LPD Press
Zur Erklärung hier der nachfolgende Satz:
This humble material repeats the decorative motifs that were used for the altars in hard stone inlay in the 17 C.
Automatic update in 00:
Answers
12 mins confidence: peer agreement (net): +1
Stroh
Explanation: I am sorry to come up with something so obvious; I am sure you know that term; were you looking for a specific term?
not for points
-------------------------------------------------- Note added at 33 mins (2006-05-22 23:37:01 GMT) --------------------------------------------------
yes, I know it sounds odd that's why i was hesitant' all the google hits did not reveal much either ..the only other time straw has any significance in a religious setting would be the manger scene. I hope you have some more suggestions...
-------------------------------------------------- Note added at 58 mins (2006-05-23 00:01:52 GMT) --------------------------------------------------
hopefully this site will shed some light on it it talked about straw appliques that were used for religious images; I hope it helps a bit
Traditional New Mexican Hispanic Crafts
Yesterday and Today
Collectors worldwide have discovered
this special work focused on family and faith.
In New Mexican Spanish there is an old saying, "Muchos pocos hacen un mucho—a lot of nothing makes something." And so it is that the simple utilitarian and devotional material culture of Hispanic New Mexico has become the focus of collectors, museums, art historians, cultural anthropologists and tourists. In the eyes of the early New Mexican Hispanics, their hand crafts stood witness to an often struggling existence in a harsh landscape. The simple crafts of 18th and 19th century New Mexico spawned a renaissance of contemporary Hispanic artists inspired by the work of their ancestors.
Since the recolonization of New Mexico by Don Diego de Vargas in 1692, the Hispanic people have created a variety of art forms, including straw applique, weaving, furniture, santos, blacksmithing, jewelry and tinsmithing.
Straw applique
The simple craft of straw applique or inlay, whose origins indicate Northern Africa, has been practiced by both Native American and Hispanic peoples since the early 1700s. The predominant form has been the blackened cross embellished with an endless variety of geometric designs, although chests, boxes, candle sconces and other items are also covered in the golden straw or corn husk designs.
Josie Ward Cox
Straw Applique Cross
(Detail)
Textiles
Teresa Archuleta Sagel Vallero Star Blanket (Detail)
Throughout the colonial era beginning in 1598, until World War II, a pastoral economy dominated by sheep husbandry gripped New Mexico. Wool weaving engaged entire families and small villages; it became one of the most prolific crafts of the past two and a half centuries. Weavers supplied material for clothing, blanketry, bedding and carpeting for domestic use as well as blankets and yardage for trading. Yearly trade caravans sent hundreds of blankets south into New Spain. In 1807, master weavers Juan and Ignacio Bazan were brought in from Puebla (Mexico) in an effort to upgrade the weaving done in the Rio Arriba. The influence of the master weavers was soon felt and contributed significantly to a lasting textile industry in New Mexico.
If weaving was the most prolific craft produced in New Mexico, the embroidered wool ground known as colcha was and is perhaps the most time-consuming craft practiced by Hispanics. While specific dates and origins of the colcha with its economic stitch are difficult to establish, scholars place its appearance in New Mexico by at least 1750. Colcha work has evolved and flourishes today as a distinctive colonial tradition reinterpreted by new generations of colcha stitch embroidery.
Any observation of New Mexican Hispanic arts would reveal the primacy of religious art. Research indicates that by the late 1700s through the early 1900s, the art of the santero, or saintmaker, was in great demand for religious purposes. The earliest religious imagery made in New Mexico after 1694 were likely those painted directly on the walls of mission churches. Today, vestiges remain of that decorative art behind the altarpieces in the churches at Laguna, Trampas and San Miguel in Santa Fe. By the mid-1700s, paintings on brain-tanned hides of buffalo, elk, or deer were uniquely common to New Mexico, serving as tools for religious education especially among Native Americans. The artists remain unidentified and these early hide paintings still puzzle scholars.
Art of the Santero
Charlie Carrillo
San Jose Retablo
Photo by Ron Behrman from Charlie Carillo:
Tradition and Soul /
Tradicion y Alma,
Barbe Awalt and Paul Rhetts, LPD Press
Ingeborg Gowans Canada Local time: 12:49 Specializes in field Native speaker of: German PRO pts in category: 4
Explanation: I think Ingeborg is right, but first I wanted to do a little research on the topic. Somebody may be looking for this term in the future and it's always nice to find a complete discussion in the KudoZ glossaries. Alas, by closing the question so quickly, Gabriele, you have cut off the discussion. Maybe we're both wrong.
3.2 - It is recommended that askers allow 24 hours to pass before grading. This gives professionals in various time zones an opportunity to prepare well-researched answers.
From a Polish site with flawed English:
St. Joseph’s Church and the old monastery of Reformati Order is the newest of the historical churches in Sandomierz. In the Baroque church, consecrated in 1697, there is an interesting interior furnishing in the “Reformati” brown colour. The high altar and six side altars, from about 1820, were painted in the illusionistic manner. The altar antepedia made of dyed straw date from this period as well.
The translation workplace 
