Hasil untuk "Decorative arts"

Chen Li, Seri C. Robinson

Spalted wood is a natural material characterized by distinctive colors and patterns from wood decay fungi as they digest their substrate and leave behind colored secretions. As an art form, spalted wood was used heavily in western Europe from the 1400s–1600s; however, its use in other parts of the world remains deeply understudied, even in cultures where wood played a dominant social role. The use of spalted wood in China, in particular, is unknown, despite a growing interest by Chinese researchers in modern spalting practices and their potential commercial value. This study systematically reviews the potential historic use, current artistic value, environmental significance, and future application prospects of spalted wood for a Chinese market. By integrating historical records, modern scientific research, and insights from traditional Chinese woodworking, the study provides a comprehensive analysis of the aesthetic and functional value of spalted wood for Chinese markets. The findings indicate that the random and non-reproducible nature of spalted wood imbues it with exceptional artistic appeal and collectability, which has a strong potential to appeal to Chinese furniture design, decorative arts, and high-end interior applications. Furthermore, spalted wood demonstrates considerable potential for resource recycling by turning otherwise non-commercial, pale, white woods into higher value options—a phenomenon that has been studied across Europe and North America. In China, this has the potential to reduce wood waste and advance ecological design. However, challenges remain in fungal infection control, processing techniques, and market adoption. With ongoing advancements in biotechnology and manufacturing processes, spalted wood is poised to gain greater recognition in Chinese art, design, and cultural innovation while also contributing to green manufacturing and sustainable development.

Álbio Nascimento, Kathi Stertzig

Junça craftsmanship is an iconic artisanal technique linked to Beselga, a small district within the municipality of Penedono. This tradition was born as an economic supplement to local agricultural production. The plant, which is the main element of handcrafted products, grows abundantly and spontaneously in the areas surrounding the hamlet. The fiber is harvested exclusively by hand, left to dry and then woven to create various types of products.  Using this technique, artisan Catarina Martins designs and creates not only utilities, but also decorative masks by translating these traditional crafts with contemporary aesthetics. These artifacts are then enhanced and disseminated through the 'Origem Comum' platform, a reality that aims to highlight traditional arts and crafts related to rural areas. They do so through design, research, sales and educational activities. The project aims to emphasize how vernacular knowledge is useful in contributing to a balance between human activities and environmental conditions. Artisanal production becomes a critical activity that promotes equal and sustainable consumption, opposing the automated mass production processes, enhancing, on the other hand, the local cultural identity.  

Margareta Maria Sudarwani

Semarang has developed as a large coastal city with an important port due to its strategic and unique position. This strategic and unique position is shown by the hills at the top of the city such as Gajah Mungkur, Candi, Mrican, Mugas, Mount Sawo, Simongan and others as well as lowlands at the bottom of the city. One of the important historical ethnic villages to be appointed is Kampung Kauman, Semarang, which has a distinctive history related to the existence of the Great Mosque of Semarang. is an ancient village inhabited by local residents which began to be awakened during the reign of Ki Ageng Padang Aran. The Great Mosque of Semarang, although it is quite an old mosque, is the first mosque in the city of Semarang which was founded by Ki Ageng Padang Aran. The Great Mosque of Semarang is located in the old Semarang square complex which has the same pattern as Javanese city squares in general. There are many opinions regarding the term "kauman". There is an opinion that "kauman" comes from the word: nggone wong qoum (place of the clans), pakauman (place of residence of the clans), sing aman (safe group/people) or there is also the opinion of qo'um muddin (Islamic religious leader). Based on the opinions described above, "kauman" contains the meaning of the residence of the scholars. This study aims to examine the sustainability of residential spaces in Kauman village, both physical and non-physical characteristics and aims to optimize the potential of existing villages for urban development planning. This research uses a descriptive method based on empirical facts. The results of the Kauman Village Residential Spatial Sustainability Research are then used as needed, including development strategies and future city government decisions.

Ruslana Sheretiuk, Nadiia Stokolos

Freedom as a universal category of human existence is the fundamental principle of becoming and modern development of European civilized matrix, and also one of the markers of Ukrainian mentality and identity. Its interpretations are closely related, in particular, to Christianity, because freedom is decoded as a gift from God, in return, lack of freedom is unconditional evil and spiritual slavery. In the history of the Roman Catholic Church one of the examples of struggle for human freedom, in particular, its liberation from captivity, is the activity of the order of Holy Trinity (Trinitarians). In 2023, 830 years have passed since the foundation of the order, and 825 years passed from its acquisition of the official status of the monastic community. Exactly the importance of character of the activity of this Roman Catholic order and a number of jubilee dates, related to it, determine the actuality of the chosen topic. The purpose of the article is to clarify the uniqueness of the spiritual calling and modern transformation of the direction of activity of the Roman Catholic order of Holy Trinity (Trinitarians) during the end of the 12th — beginning of the 21st century. The article is an attempt analytical generalization of factual and source material from history, direction and effectiveness of activity of the Roman Catholic order of the Trinitarians. The article outlines the circumstances and factors of the establishment of the Roman Catholic Order of Holy Trinity (Trinitarians), and also leading links of its missionary activity — redemption of Christians from captivity, medical assistance, charity. It was investigated, that the public demand for the service of monks- trinitarians on that time caused a dynamic spread, and finally the establishment of their community in “the whole Christian world”, in particular in Europe, in Asia, in Africa and in America. There is a number of factors, that led to the crisis in its environment and corresponding transformations of the organizational structure. It is analyzed the current situation of Trinitarians in particular the staff, number, as well as the geography of the chains of its cells. It is traced the process of revise by the members of the order an established view of the main purpose of the activity. Nowadays it is spiritual “redemption” of captives of various forms of modern enslavement and addiction. It is emphasized, that in view of modern global crises, and accordingly, permanent threats to human safety, the activity of the order of the Trinitarians continues to be relevant.

Mohamed Elsbban

The formal singularity is one of the most important elements of the most complex design, and a key element for building the artistic work on which it is based, and it enters into formulations that vary in the diversity of the idea, the building plan, the artist's vision and his experience, which contributes to the work of alphabets that differ in different artists, and the vocabulary of African art has been derived from the surrounding environment The artists' daily lives or beliefs thus came to deeply express the African personality and culture, and their design for the formal singularity is often subject to the outcome of societal thought achieved in a decorative image that confirms the clarity of their abstract thought in isolating the phenomena and connotations of things. An examination of these phenomena and connotations does not come about as a partial case, but through its general and comprehensive characteristics and with a constructive essence that is consistent with the concepts of the perceptual vision of community communication. The research deals with the African heritage vocabulary because of its intellectual and philosophical content and design format that should be highlighted and its concept defined to contribute to deepening the cultural content that can be presented to the student and the plastic art connoisseur. The artistic vision from the research perspective does not stop at the limits of knowing the rules and foundations of artistic work only. It extends to facts, information and contents that help to realize the value of artistic work in all its elements and their importance in communication and knowledge of the heritage and arts of our African continent.

Bogaychuk Liudmyla , Borisyuk Zinaida, Kovalchuk Tetiana

The study highlights the methodological approach to organizing the creative process of future specialists in decorative and applied arts of a higher pedagogical educational institution under conditions of the modern education system of Ukraine. The purpose of the study was to present the content of special methodological work on how to organize the creative process aimed at forming students' understanding of the decorative image features. The problem is how to achieve a high result of creative tasks, students' works, along with the development of technologies for painting fabrics (batik), which together will help a future specialist to become a professional in the future. The methods of the study were: theoretical – the analysis of scientific sources on the problem related to the formation and determination of its formation signs in students; practical – the analysis of pedagogical experience – in order to highlight effective forms of work with students within the educational environment of a higher education institution, which contributes to the formation of students' understanding of the organization of the creative process. The professional literacy of the future specialist majoring in 023 "Fine Arts and Decorative Arts, Restoration" is based on his/her ability to build activities according to aesthetic laws (to understand contemporary fine and decorative arts, folk art); it consists of a system of special knowledge and skills. It is substantiated that folk art is our self-identification, we need to know the traditions of our people, modern fine arts; it is important to revive them in original modern forms, to promote the development of experimental trends, to work creatively with folk paintings in the process of teaching the disciplines of the course "Decorative and Applied Arts", to show how promising it is today. The article describes the methodological approach to the organization of the creative process in solving the thematic tasks within the academic course "Fundamentals of Fabric Painting". One of the ways to renew assignments of the academic disciplines "Fundamentals of Fabric Painting" and “Decorative and Applied Arts" has been presented. It is shown that on the basis of the conducted pedagogical experiment and its results, the creative activity of understanding and creating a decorative image as a holistic process that improves professional skill and competence is confirmed. We see the prospects of scientific research in the extension of the study of the necessary modern methodology which develops students' interest in various types of activities, including scientific, research-centred, artistic and creative, as well as in the increasingly extensive implementation of methodological findings in the process of studying Decorative and Applied Arts.

Nahed Osman, Walid Onsy, Mostafa Abdalrihim Mohamed

African art is a distinct art by itself and has its own character like other arts, and it was influenced by the pioneers of modern art such as Picasso and Braque. African arts have combined a set of intertwined ideological, material and symbolic values using various materials closely related to pagan rituals.And African arts bear all the qualities and ingredients of a good artistic work of expressive, organizational, linear, color and symbolic values, and among the characteristics of these arts are exaggeration, deletion, flatness, abstraction and the use of symbols in abundance - as each tribe has a special totem - and repetition had a clear impact as the African artist enjoys repeating unity, and repeats it again After the time, creating an aesthetic formation that enriches the surfaces, and one of the characteristics of these arts is direct expression without making an idea or prior planning, which gives it vitality to the artwork, and all these values were performed simply, but they reflected the units and decorative elements in the African environment, where the belief of placing some animals In the formation, such as the crocodile, for example, a clear effect, as well as the manifestations of the universe from the sun, moon and stars. These characteristics included most or all of the arts, making it a sweet source that can be used in forming or reshaping glass.African art lacks the art of glass in terms of painting, coloring and shaping it, but in the current era, some artists have implemented models of African art on raw glass, whether by painting on it, by melting it, or by carving on glass and other well-known glass techniques

Nadica Maksimova

Noha Gamil

The period of the 13th - 14th A.H / 19th -20th A.D centuries is one of the most important historical periods in which the textile industry flourished embroidered or printed , which is famous for many cities of Uzbekistan , where the research includes models of traditional costumes in Uzbekistan Museums of fine arts and the Museum of prince Timur in Tashkent K the Museum of Bukhara " Star Mahi palace private " where these museums contain a rich collection of clothes through which we can learn about the industrial and decorative styles of clothes. The research dealt through the pieces ,the theme of study of underwear & outer wear for men with what is available in those museums , which is considered the best aid to study the history of textile art in Uzbekistan as well as knowledge of traditions in clothing and art of sewing , and try to know the differences between public and rulers clothes of the state and knowing the raw materials used in the fabric and the the use of metal threads for decoration and knowledge of the names of clothes and types , most of the pieces theme of study belong to the historical periods of 13th – 14th A.H l 19th – 20th A.D centuries which was characterized by decorative richness and diversity of decorative styles that show the ability and ingenuity of artists in the execution and embroidery of these garments , I selected the theme of selected models of men's clothing in Central Asia during the centuries (13, 14 AH / 19, 20 AD) in the light of the museums of the Republic of Uzbekistan for several reasons, including: lack of foreign studies dealing with men's clothing in Central Asia in addition to the large number of museums And its high artistic value, and great diversity in the types of clothing and different functions, which makes us identify in the light of the most important features of men's clothing in the period 13-14 AH / 19-20 AD .

Shoichiro Sendai

Abstract This paper clarifies Le Corbusier's (1887‐1965) spatial composition of standard cabinets as “equipment,” and it discusses the notion of “decor” in the 20th century. In his private house projects, Le Corbusier experimented with the standard cabinet as a partition separated from walls. However, he also examined cabinets incorporated into walls. Le Corbusier's realization of standard cabinets as expanded to both poles created a new notion of a “wall” and this was continued as methodology in the decorative arts.

Budi Tri Wijaya, Jenny Ernawati, Herry Santosa

The city of Batu is one of the colonial cities with enormous historical significance. There are several heritage objects in the past that have become the city's cultural heritage. Jalan Panglima Sudirman is one of the corridors having the most heritage, namely in form of historic buildings. The appearance of historic buildings often gives an interesting visual impression on a street corridor. This study was to determine the effect of visual elements on the facade of historical buildings based on people's perceptions. Using quantitative methods, data was collected through field surveys combined with questionnaires. Respondents were randomly selected in the street corridor. Based on public perception, it has been shown that the appearance of the facade of a historic building is moderate to good. The architectural style and shape of the of historical buildings’ facade are the most influential elements playing an important role. These results were expected to be able to help the community and government in the effort to develop the historic area.

Atefeh Shekofteh

Khorasan’s architecture is famous for simple forms in the early Islamic period of Iran. In fact, from the 4th century AH decorations and Stucco decorations flourished; after simplicity of the Khorasan’s school, came an important decoration part in buildings of Iran. Stucco decoration, which was used in khorasan’s monuments, was a basic decorative element in the monuments such as the Seljuq-era Robat Sharaf and Faryoumad mosque that is attributed to the Saljuq, Khwarazmian and Ilkhanid periods. The similarities and differences of the decorations of these two monuments in the Great Khorasan have always been appealing to the experts. In this research, I tried to answer the questions regarding the similarities or differences of the stucco decorations in Robat Sharaf and Faryoumad in terms of types of decorations and their compositions. In this study, features and changes in stucco decorations from the Seljuq to the Ilkhanid periods are investigated using descriptive-analytical methods as well as comparative analysis of two monuments in the Greater Khorasan. Literature review and field survey were the methods of data collection. Due to the importance of these two monuments from Khorasan; those are selected as criteria and indicators of changes occurred in the decorative style of the Khorasan school. Comparative studies indicated that stucco decorations in Robat Sharaf are almost formed in “low relief” and “medium relief” while Faryoumad has “high relief” decorations. A combination of bricks and stucco motifs covers most parts of Robat Sharaf, in contrast, stucco is the common technique used to cover interior surfaces of Faryoumad. In fact, in Faryoumad the bricks had been covered with gypsum. Also, Faryoumad has muqarnas which has been decorated by stucco with different patterns in each “Tas”. “Ajed-e Kari” or honeycombed pattern was a common technique in the Seljuq and Ilkhanid stucco decorations, but there is merely one place that was decorated by honeycombed patterns in Rabat Sharaf, in contrast, this technique has been used in a great extent in Faryoumad stucco decorations. In terms of design, vegetative patterns covered a great extent of surfaces of Robat Sharaf which were designed in spiral compositions. In comparison, wavelike composition of vegetative patterns, or a combination of the wavelike and spiral patterns, including arabesque and “Ḵatāiee” (floral motifs resembling blossoms) motifs were used in Faryoumad. These combinations are symmetric in two or three layers in Faryoumad, but Robat Sharaf’s vegetative patterns, except one case, are in one layer and mainly include arabesques. Overall, comparison of motifs indicate that arabesque decorations are widespread in Robat Sharaf and there is one complicated geometric pattern, but sophisticated geometric patterns and inscriptive ornaments are widespread in stucco decorations of Faryoumad. In fact, geometric patterns in Robat Sharaf’s decorations, known as “Kaluk-band”, were mainly used between the bricks. They were simply designed and dressed with arabesque patterns in some spaces. In contrast, geometric patterns were elaborated and dressed with floriated ornaments (mainly Ḵatāiee motifs) of great variety in Faryoumad stucco decorations. Stucco ornaments in Robat Sharaf include knotty inscriptions in Kufic in mihrabs as well as one Thuluth inscription in the southwest Ivān. In contrast, Kufic and Thuluth inscriptions were used in various forms in Faryoumad including arabesques and floriated ornaments behind the inscriptions (in two or three layers). On the whole, Faryoumad has more than 12 different inscriptive ornaments which make it unique in this regard and in terms of stucco decoration. The colors used in two monuments are not completely intact and most of them have deteriorated. Considering the remaining colors on the surfaces, three colors including blue, white and black are commonly used in both buildings. These colors were used in similar areas, for example, blue was used in backgrounds to induce greater depth while white was used in upper areas to intensify the relief. In addition, yellow color was only observed in Robat Sharaf, while red and green colors have been used in Frayoumad. Results show that stucco decorations of Robat Sharaf and Faryoumad are similar in terms of techniques, patterns and motifs, but differ in some details, which represent the advancement and development of stucco arts throughout the above-mentioned centuries. In Faryoumad Jame mosque, high relief stucco has been added to the remaining Seljuq techniques. In the Seljuq style of decoration, brick and stucco were used in combination, but in the Ilkhanid art the method changed and gypsum became the main element for covering the bricks and decorations. Motifs are commonly vegetative in Robat Sharaf’s stucco decoration, while in Faryoumad, a combination of vegetative and geometric motifs were mainly used, meanwhile combination of geometric patterns with inscriptions gained more prevalence. The geometric knot is one of the prevalent patterns in Ilkhanid stucco decorations as well. In conclusion, motifs in Faryoumad are more complicated and more delicate than the motifs in Robat Sharaf, thus motifs in combination with decorated inscriptions have created more enriched, multi-layered surfaces.

Heba Basiony

The Islamic art was influenced by the Iranian art and industry after the Islamic conquest of Iran. It is known that the Sassanid era in Iran is one of the most exciting times in which arts and industries reached a great deal of progress thanks to the patronage of kings. In this case, the researcher has decided to study a number of Iranian Islamic paintings and to use their decorations in the work of decorative designs to embroider the white wedding scarves in different colors. The wedding scarf was chosen because it is one of the most important additions to the bride's dress. The wonderful appearance of the bride on her wedding day is not complete without it. The researcher is keen to present something new that adds aesthetic value to the bride's wedding scarf through this research by means of embroidery with different color combinations.

Valeria Viola

Through the analysis of the Town Museum of Baranello we will observe the phenomenon of the industrial arts museums, that developed during the second half of the 19th century in the main Italian and European towns following the example of South Kensington Museum in London. These museums hosted collections made by samples of decorative art manufacture, that before then had been excluded by all conservations mechanisms; also, such structures were linked to a network of professional training schools in industrial design, addressed to the serial production of art objects obtained by industrial automation processes. The Museum of Baranello represents a smaller example of its category due to the lack of an adequate industrial tissue on the territory; it will nonetheless serve the purpose of recording the differences between the local features versus the national features, and in particular the Neapolitan context where Giuseppe Barone operated. Given the middle position between arts and training, the reference production belongs to both the historical-economic and historical-artistic frameworks. For a profile analysis of Giuseppe Barone and the Museum that carries his name, we drew from the papers and the library kept therein.

Bulatova Svitlana Olehivna

Tableware for beverages of the Belarusian nobles of the Grand Duchy of Lithuania and the tradition of serving the table were considered based on the materials of the manuscript by Nikolai Mlechko from the Khreptovich collection, deposited in the funds of the Institute of Manuscript of Vernadsky National Library of Ukraine. The types of Old Polish tableware for beverages, common in the fi rst quarter of the ХVІІ century, as well as the specifi cs of their use by the nobles in the daily and ceremonial way are analyzed in the context of the Baroque culture. Traditions and peculiarities of use of the ancestral table silverware, decorated with heraldic symbols, in the Mlechko manor are considered on the base of the documents of tableware inventories. When comparing in the descriptions the elements of silver products, it was established that they are typical objects of Baroque jewelry with their inherent decorativeness and pomposity. Attention is also paid to the use of fashionable glassware for beverages, which got wide popularity in European countries in that period. The sources of receipt and transportation of various types of bewerage tableware to the Mlechko’s Kholopenichi estate, as well as their contacts with the Baltic trade and cultural centers have been analyzed. Inventory lists of bewerage tableware contained in the manuscript of N. Mlechko are a multidimensional source for research. The data recorded in them make it possible to identify innovations in the decorative and applied arts of the Baroque and their reception in the everyday culture of the Belarusian nobles (as exemplifi ed by its representatives the Mlechko) of the Grand Duchy of Lithuania in the ХVІІ century. At the same time, the lists contain valuable heraldic and historical-genealogical information regarding the Belarusian and Lithuanian aristocratic families who lived in this period in the Grand Duchy of Lithuania.

Sari Mawaddahni

Kampung sebagai salah satu jenis permukiman, merupakan manifestasi dari aspek sosialbudaya dari masing-masing kelompok masyarakat tersebut. Pada umumnya, suatubudaya diwariskan oleh leluhur secara turun temurun dari satu generasi ke generasiselanjutnya. Mengacu pada tiga unsur kebudayaan menurut Koentjoroningrat,permukiman Kasepuhan Sinar Resmi merupakan bentuk dari kebudayaan fisik.Mangunwijaya mengungkapkan, manusia memandang sebuah rumah tidak hanyasebagai tempat tinggal dan tempat bernaung, namun terdapat dimensi citra yangmenyebabkan adanya pemaknaan pada bangunan serta ruang tempat tinggalnya.Kasepuhan Sinar Resmi merupakan salah satu kasepuhan yang termasuk dalamKasepuhan Adat Banten Kidul. Bertitik tolak pada Genius Loci kawasan permukimanKasepuhan Sinar Resmi yang penuh makna, maka dilakukan kajian mengenaitipomorfologi kawasan permukiman tersebut dengan identifikasi elemen ekistics. Dalamkajian ini, perumusan permasalahan mengenai kajian tipomorfologi pada pemukimanKasepuhan Sinar Resmi adalah bagaimana tipologi dan morfologi kawasan permukimanKasepuhan Sinar Resmi, ditinjau dari tatanan massa dan bentuk bangunannya secaramakro, meso maupun mikro. Dari hasil kajian didapatkan empat buah jenis bangunanyang terdiri dari bangunan rumah tinggal dan fasilitas umum. Morfologi yang terjadisecara mikro, turut mempengaruhi identitas kawasan permukiman. Hasil kajiandiharapkan dapat menjadi pertimbangan bagi pemerintah untuk upaya pelestariansebagai kawasan cagar budaya.

Su dad Mashaan Hawas

The plant decorative arts field full of decorative Baltnoat from diversity in the design structure of vocabulary and whether units sepals, vase Aogsnah or written and what their catalog decorative hearts in Kadhimiya holy threshold of diversity in shapes and measurements and sizes.It is during the field visit of the researcher found that there are variations in the overall appearance and internal padding and this researcher has formulated the discussion by asking the following problem:(What is the diversity of designs decorative hearts in Kadhimiya holy threshold?)The importance of research in it:Research contributes to open the horizons of knowledge for researchers and scholars concerned with the teaching of the decorative arts, as well as promote closer cultural heritage and decorative facades Kadhimiya holy threshold.The research aims to:Reveal the diversity of designs decorative hearts in Kadhimiya holy threshold.As determined search internal and external interfaces as the current 1433 e 2012.This included the theoretical framework on the following topics:History sacred threshold of Kadhimiya, and the formal organization of the decorative hearts in Islamic art in terms of the diversity of the general appearance and internal padding diversity and color treatments.The researcher followed in their procedures descriptive approach to reach the results achieved its goals and solve the problem. The sample was selected in a way that Alvsidih if numbered (3) of the total sample (85) model and design tool (Form) and presented to the experts to make sure their validity, and the achievement of the Millennium.The search found results including:Accrediting divisions cadastral asymmetric and the emergence of hearts decorative Bhaoh formality with a dual function literacy, ornamental, as well as construction decorative according two methods (omnidirectional Omzdug) and varied movements including spiral and Lhalrkh rotational flipped, and showed finishes processing color antagonism hearts decorative between form and ground

Marc Bayard, Marie-Hélène Dali-Bersani, Pierre Frey et al.

When markets were opened up by globalization, the more traditional sectors of the European economy, such as textiles, were plunged deep into crisis. Entire regions saw their industries and skills disappear, and with them a social fabric that was in some cases centuries old.However, the last few years have brought a resurrection of traditional skills and a new expansion of industrial and artisanal manufacturing. This upturn is clearly apparent in garment production, interior decoration, architecture and the transport industry (on land, air and sea). So old production tools and skills that might have seemed a burden just a few decades ago now increasingly appear as the drivers of a revival.The opportunity this represents has been only recently understood and places the various actors in a relationship to time and heritage that goes beyond simple issues of production costs. The contributions of three very different individuals engaged in contemporary textile creation in the field of the decorative arts enable us to demonstrate here that heritage is key to the creative process. Marie-Hélène Dali-Bersani, Production Director of the Mobilier national (Manufactures nationales des Gobelins, de Beauvais, de Savonnerie et des dentelles du Puy et d’Alençon) clearly shows how the tradition of weaving, a process unchanged since the establishment of the Garde-Meuble in the 17th century, can serve contemporary artists. Sophie Mallebranche uses period production tools to create new textures in woven metal. Meanwhile Pierre Frey, Communications Director at Maison Pierre Frey and grandson of the founder, explains that designers adapt more effectively to changing fashions in decorative fabrics when they can draw on the heritage of the firm. So heritage is about far more than simply managing the legacy of the past; it has become the driver of modernity and renewal.In their relationship to time (in terms of both manufacture and heritage) textiles are no longer regarded solely as material to cover or dress an object. Their traditional or innovative esthetic characteristics give them greater legitimacy. They are not simply industrial products, but can be elements in an art of living or components of social distinction. This development notably occurs through a new importance given to their historic dimension, known as “storytelling” in marketing circles, in which a particular product is intertwined with history. So it is that time and history seamlessly combine and work together in the service of contemporary design.

Leonidas Cheliotis

<p class="AbstractTxt">This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with ‘decorative justice’ – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.</p>

Nebbia, Margherita

During the 19th century decorative arts, literature, architecture and other fields of cultural production were inspired by previous ages. Byzantium was rediscovered too, and its art was considered a fashionable style in decorative and figurative arts. However its case is different from the most of historical revivals, because it was tightly connected to contemporary society. Decorative arts at the Italian exhibition of the second half of 19th century (1861-1902) are an excellent example for this problem. Critics defined as Byzantine objects according to their manufacturing techniques or their Catholic message rather than their adherence to historical Byzantine art standards. This doesn’t mean Byzantium art was unknown to Italian studies. Pietro Selvatico and Camillo Boito outlined the Venetian history of architecture, with particular attention to Byzantine buildings, underlining the importance of this style as a link between Late Antiquity and Middle Ages.