Hasil untuk "Decorative arts"

Mostafapour Maryam, Abolfazl AbdollahiFard

Introduction: Iranian painting, especially in the early Islamic centuries, was not used independently to express or convey concepts. In the period of the Abbasid caliphate, the image was complementary to the text, and due to the formation of the Baghdad school of painting, this period is of great importance. In the early Islamic periods, the images were illustrated narratives, of a historical story or a religious anecdote, but not in the form of a continuous story with continuous images, each picture depicted the most important and familiar event of the story for the audience. In this period, the painter relied on imagination to illustrate an image that was a continuation of Sassanid art and was formed within the framework of the dominant worldview of society, influenced by the art of other nations such as Byzantium and the Mesopotamia. The main components of this research are two important artistic approaches from the period of the Caliphate of the Abbasids. One is the Baghdad school of painting, and the other is the decorative role of the Tiraz in textile weaving, which was considered as one of the most prominent art industries in this period due to the use of linear texts. The emergence of twisting and tangled lines is the most contemplated change in the evolution of Folds of Clothes in the pictures of the Baghdad school, which scholars refer to as the Folds of Clothes in the Baghdad school and consider it to be the most important distinction between the Baghdad and First Tabriz schools.Purposes & Questions: The purpose of this study is to investigate two simultaneous variables i.e. painting and Tiraz during the Abbasid Caliphate and the effect of one on the other. This research investigates the fold lines in the garments depicted in the paintings of the Baghdad school and compares them with the visual structure and social status of the Tiraz to answer these questions: 1- What is the process of the evolution of Folds of Clothes in the pictures of the Baghdad and First Tabriz schools? 2- What is the position of Tiraz weaving in the formation of winding and tangled lines in the paintings of the Baghdad and First Tabriz schools?Methods: This research was conducted using an explanatory- comparative method and with an analytical and comparative approach based on library studies. The analysis of the findings was done using a comparative method. The statistical population consists of works from the early centuries of the Islamic period, especially from the Abbasid Caliphate. In order to answer the questions, two artistic approaches – painting and Tiraz weaving – within the same timeframe, were first studied separately and finally, to show the effect of these two approaches on each other, the findings were analyzed and then compared. In the research process, at first six books from this time period were studied: four books from the Baghdad School of Miniature and two from the early Ilkhanid period (First Tabriz School). From these books, six images were selected according to the research approach and image quality, and after sorting them by date, they were examined. In response to the first research question, the overall format of clothes in the collected paintings was investigated and the method of depicting Chinese-style folds in garments and its evolution in the paintings of both schools were studied and compared with each other. Also, pictures from two books, one Kalila and Demneh, from the Baghdad School of Miniature and al-Baqiyeh from the first Tabriz school were studied. To answer the second question, Tiraz as one of the most prominent arts in the early Islamic period, was studied in terms of design type, the method of texture and its application on clothing. Then, visual cues extracted from both artistic approaches were compared. By analyzing the content of the paintings from the perspective of how different characters were used in clothing and adapted to the way they are, the final results were extracted in relation to the social categories of that period.Findings & Results: In this period, the complexity of lines was one of the most important features in Tiraz weaving and the painter had neither the opportunity to accurately represent it nor the necessity to depict it in detail, according to the philosophy of Islamic painting. The final conclusion is that the design of clothing lines in the paintings of the Baghdad school was simple and smooth, similar to the folds of garments in the First Tabriz school. The twisting lines that can be seen in the design of garments in some of the paintings of the Baghdad school have a decorative function and represent the influence of the Tiraz within the paintings.

Andrei C. Șerban, Samaneh Ostad

This article examines the Disneyfication of classic European fairy tales, focusing on how The Walt Disney Company has transformed the moral and aesthetic fabric of stories by the Brothers Grimm and Hans Christian Andersen. Through its adaptations of Snow White, Cinderella, The Little Mermaid, and The Snow Queen, Disney conceals the moral violence and existential suffering that characterized the original narratives, replacing them with sentimental optimism and a commodified “age of innocence”. The resulting films reframe tales of sin, punishment, and redemption into narratives of personal fulfilment and emotional reassurance. Therefore, beneath this surface of purity, Disney tends to over-aestheticize some taboo themes—death, desire, and transgression—, until altering the literary pattern.

Simon Ducros

The city of Arras, in the Pas-de-Calais department, was largely destroyed during the First World War. Thanks to its reconstruction, during the 1920s and 1930s, it became one of the North of France’s Art Deco laboratories, alongside the cities of Cambrai and Saint-Quentin. However, unlike these neighbouring cities, the fame of Arras is based today on its emblematic buildings, the cathedral, the town hall, the squares and the Saint-Vaast Palace. These were all reconstructed under the direction of one of the head architects of the national historic monuments administration Pierre Paquet (1875-1959). These monuments overshadow the city’s private Art Deco architecture but also give a misleading impression of a city rebuilt in identical form. The reality is more complicated, and the head architect took pleasure in re-reading, reinterpreting and rationalising the pre-war buildings. The historic monuments of the city become receptacles for plural and extremely rich artistic creation bearing witness to the development of Art Deco. The Saint-Vaast Palace integrates the monumental decoration of Gustave Louis Jaulmes (1873-1959) taken from the festival hall of the 1925 Art Deco exhibition at Paris and, for the restored cathedral, Pierre Paquet brought together a host of artists he had met during that event. Wall painting, sculpture, silverwork and copperware offer examples of the renewal of the decorative arts between the two wars. Dominated by the architecture, these creative productions give subtle overall coherence to the monuments which still today characterise the image of the city.

Mohammad hossein Halimi

The thoughts and ideas of artists and craftsmen, according to the way they perceive the manifestations of the world, are preserved in the form of works of visual arts, architecture and decorative crafts which are exhibited, as souvenirs of culture human. Aesthetics and art sciences introduce these works according to the change and transformation of human experiences, thus the precision and elegance “creativity” of artists throughout history, cultural value, dignity and validity of works of art are measured and determined. Today, given the new dimensions that have changed with technological progress and the production of new technical tools, the way of seeing the world and material effects has transformed and led to the creation of works of art more detailed and more complete. Paying more attention to (space) and creating new precise and comprehensive artistic dimensions is considered one of the modern achievements. The characteristics of design and creation of forms, which occupied the artist’s mind throughout the ages to see the world better and create better especially when he used “geometry”, he went through the exact terms of the world of senses and reason. Recently, some artists have paid special attention to the new common branch between mathematics, geometry and art called fractal geometry, which provides information about the common secret and harmony of the universe. Among them, modern architects and visual arts have created significant works in this regard.

Irina Podgorny

This article—which is mostly based on secondary literature following the questions suggested by a visit to the Victoria & Albert Museum—proposes how a decentering of the history of knowledge can be achieved by thinking with museum objects. I chose a particular Leitmotiv, distributed through international trade and scientific networks, which, in the longue durée, brought together a variety of people and connected the most diverse geographies. It follows the itineraries of the Mediterranean mermaid transformed in Latin America into a mermaid musician/guitarist, a character displayed in textiles, ceramics, and furniture and which is featured today in collections of popular culture, ethnography, and decorative arts. Using this example, this paper explores the cross-cultural transfers that shaped and cross-linked cultures to remind us that such objects were the result of multiple exchanges happening in several places and that, to understand them, historians have to cross national and disciplinary borders, languages, and, finally, those chronological periods that make us forget the centrality to history of change and continuity.

Ludmila Alekseevna Budrina

Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.

Sara Sadeghi, Ardeshir Javanmardzadeh, Manijeh Hadian Dehkordi et al.

Rock arts, especially pictographs, feature peculiar characteristics in the history of Iranian art. Most scholars regard them as a form of visual art. Given the long history of representation in rock art spanning the Paleolithic period up to the present, they have been considered from various archeological, anthropological, artistic, symbolic, and historical and decorative arts perspectives to pin down their themes, meanings, and date. The present work examines a series of pictographs from the Kuhdasht region of Lorestan using a combination of field, laboratorial, and library research approaches. Notably, this is the very first study in Iran addressing the pigments of pictographs at a rock art site. A popular local tradition holds that the ancient artists used a mixture of blood, oak syrup, and soot to prepare the paint used at the site. Hence, the motifs, rock types, and pigments of the Charta region were analyzed to characterize their chemical composition and the elements constituting the pigments. To this end, a Dino Light digital loop microscope was used, and point tests and petrography were then carried out using scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS). The elemental analyses revealed the nature of the red pigment. The motifs at Charta include representations of tools, geometric motifs, and human figures, portraying fighting or pre-fighting scenes. The chemical composition of the red pigment consisted of a high iron (Fe) content as well as smaller percentages of Ca, Mg, Al, and Si. The abundance of iron element detected in the elemental analysis of the specimen’s surface and the intensity of the peaks related to the composition of iron oxide in the FT-IR spectra might more strongly indicate the presence of these compounds in the pigment.Therefore, the pigments were mainly made of iron oxides, such as red ocher or hematite, magnetite, and magnesium. Thus, the artists invariably used highly durable and resilient mineral pigments, which based on the micrographs of the paint layer cross-sections were directly applied to the rock and, thus the absence of any sort of primer. No organic element was detected in the pigment composition.

Mohammad Reza Sartipi Isfahani

One of the (apparently) most well-known elements of architecture and urban planning is the wall, and much has been written about its features and characteristics. A physical-functional element that also has meanings and myths in its core, and in this respect, it can be seen from the examples of landscape; considered as an objective-mental phenomenon. The wall, especially in the architecture of Iranian buildings and gardens, is an integral part of the concept of these spaces and perhaps it is very difficult to imagine an Iranian garden or house without a wall. Adjusting the air and creating a microclimate, protection against adverse and harsh weather outside, wild animals and thieves, sacred protection against the entry of the devil, and other important features are the characteristics of this fundamental element of Iranian architecture. Sometimes these walls are made as clay for village garden alleys, and sometimes they form the high and stable walls of the Karimkhani Citadel, sometimes it is a simple wall without decoration, and sometimes it is decorated with all kinds of flower arrangements, brickwork, tiling, and other Iranian decorative arts (although In general, the wall in Iranian culture is simple and unpretentious, and if there is a decoration, it is mostly for the entry of the complex or building), sometimes they are rigid and impenetrable, and sometimes they expose the transparent with the function of Safavid-era Tajir gardens walls to the visitors. One of these characteristics, which is perhaps less discussed, is the potential of expressing the views of citizens. The wall is a “popular media” with a large audience on the scale of a city’s landscape, which is usually not paid attention to, or they express a specific point of view in society in a structured and structured way, and in this sense, they violate freedom of expression. Now the question that arises is why the wall in most cases (except for special times such as street protests), works incompletely if it can help the society in the direction of becoming more democratic.

Daniel Peptenatu, Ion Andronache, Helmut Ahammer et al.

Abstract The complexity in the styles of 1200 Byzantine icons painted between 13th and 16th from Greece, Russia and Romania was investigated through the Kolmogorov algorithmic information theory. The aim was to identify specific quantitative patterns which define the key characteristics of the three different painting schools. Our novel approach using the artificial surface images generated with Inverse FFT and the Midpoint Displacement (MD) algorithms, was validated by comparison of results with eight fractal and non-fractal indices. From the analyzes performed, normalized Kolmogorov compression complexity (KC) proved to be the best solution because it had the best complexity pattern differentiations, is not sensitive to the image size and the least affected by noise. We conclude that normalized KC methodology does offer capability to differentiate the icons within a School and amongst the three Schools.

Ismet Zaatov

In the articlean attempt is made to trace the course of the early medieval (Old Turkic) stage of Turkization process of the plain, foothill, mountainous, southern coast population of the Crimea. And also it follows the formation of artistic culture and decorative art of the Turkic ancestors of that period among the Crimean Tatars, preceding the appearance of the Kipchaks-Polovtsy-Kuman on the peninsula, as well as those occurring parallel to this process. Among the ethnic community of the descendants of the ancient autochthons of the peninsula, the Crimean mountainous people of the Tats, the common ancestors of the southern coast and mountain Crimean Tatars, as well as the ancestors of the Greco-Tatars – Urums of ethnocultural processes, who formed an ethnocultural whole with them.

Iris Moon, Caitlin Meehye Beach, Alicia McGeachy et al.

When visitors to the museum encounter carefully curated displays behind glass, the arrangements they see are the outcome of intense discussions, conversations, and dialogues, many of which span years. In an effort to open up the curatorial process to a broader audience, British Art Studies invited a group of curators and academics to participate in a round table discussion focusing on a case in The Metropolitan Museum of Art’s British Galleries containing Chelsea porcelain, which each discussant had seen in person. The display, which served as a case study for pondering the challenges of curating and interpreting race and empire in a decorative arts gallery context, is unusual in that it combines useful porcelain wares such as plates alongside sculptural forms made as art works. Such an arrangement is not typical of decorative arts displays, which tend to separate wares for the table from ornamental sculpture. Even prior to the opening of the British Galleries in the spring of 2020, the case proved particularly challenging to configure, given its location in the central axis of the space devoted to the eighteenth century. An earlier iteration featuring Joseph Willems’s (1715–1766) terracotta sculpture of a Black man holding a mixing bowl in the center of the case prompted questions for the curatorial team of how race figured in the broader narratives of the British Galleries. Save for Josiah Wedgwood’s antislavery medallion, the sculpture marks the only Black presence in the entire suite of galleries. Although the decision was ultimately made to pivot the figure so that it faced north instead of being on axis, the impact of such a slight change in the arrangement prompted a larger discussion about what role the placement of works and museum displays play in propagating or challenging narratives from the past. The coordination or disjuncture between object and label, case height, as well as the visual and spatial relationships established between works within a display became crucial factors in recontextualizing and generating new perceptions in a three-dimensional format. Following the round table discussion, each participant contributed a response to the case, which provided a rich “object” for rethinking the British decorative arts.

Imogen Holmes-Roe

The Whitworth has been making art useful since 1889. Originally founded in the memory of the pioneering engineer Sir Joseph Whitworth (1803–87), the gallery was built for ‘the perpetual gratification of the people of Manchester’. As the Whitworth celebrated its 130th year, the gallery hosted a major exhibition which explicitly explores and acknowledges the history of the Whitworth institute, gallery and park. A proponent of standardisation, Sir Joseph revolutionised precision engineering through his development of interchangeable parts in machinery. While he maintained a natural interest in technical education throughout his life, less is known about whether this support extended to the fine and decorative arts. Conversely, today the Whitworth is celebrated for its internationally significant collections of art and design and its contemporary exhibitions programme, but for many visitors the gallery’s association with the great Victorian mechanical engineer is less clear. This paper, which was presented at the Science Museum Group Research Conference 2019: The Place of Industry, reflects on research that was first carried out in preparation for the exhibition ‘Standardisation and Deviation: the Whitworth Story’ (14 December 2019–January 2022). It is not intended to be an original piece of research nor to provide a comprehensive history of the gallery. What follows is a reflection on some of the original source material and research papers that were consulted in preparation for curating the exhibition. Together they have been used to illustrate how the history of the Whitworth provides an object lesson in how art and technology unite.

Feng Shanxin, Wang Yurong, Simatrang Sone

Modular ceramic kiln can meet more than 10 kinds of ceramic firing technology, such as carburizing, wood burning, soda burning,Shinoya, oxidation firing, reduction firing, which adopt a full range of safety warning device, monitor and record the whole process of fire, guarantee the stability of the firing process, and provide reference data for the next fire. Modular ceramic kiln can meet various of ceramic kiln firing technology after physical kiln experiments, and has many advantages such as less investment, quick effect, broad use, etc. which can be widely used in the laboratory of colleges, universities and scientific research process.

Ibraheam Elkhateab, Rasha Zenhom, Ola Sabbah

The mashrabiyat is one of the prominent signs of Arab Islamic architecture, as its appearance represented a model of urban response to environmental changes and natural conditions, and the history of mashrabiyya in Arab Islamic architecture does not only reflect the relationship that the architecture woven with nature and geography, but rather provides an image of the construction and artist's treatment from the Abbasid era to the present with the figure. The aesthetic of the exterior and interior building, and the influence of other visual arts on architecture.The modern architectural vents are an extension of that artistic and cultural heritage in which the old artist was exemplified in originality while adding the spirit of contemporary through the materials and modern techniquesRepetition also revolves very important in those vents, it is this structural feature that transforms simple unity in the pattern into more units of aesthetic value, and repetition is a unique feature in Islamic art to escape from the void, and this has led to the repetition of decorative themes on Islamic buildings and artifacts noticeably Attention to a beautiful art style out of boredom.As for emptiness, it is considered a basic element in the architectural spaces, and it is a flat or sized space, sometimes it looks like a flat floor surrounding the shapes, and at other times it appears as voids that the shapes contain in different ways depending on their structural method. It is related to the nature of the place and affects the activities of the sizes and the relationship between them, as it is affected by the way of building the different sizes, and also varies between voids that surround the work or permeate it or execute from it or result from the assembly of its parts.Therefore, the research tended to study some of the vent glass units as a design study that relies on activating the feature of repetition, showing its importance in obtaining multiple design alternatives from repeating the same unit with multiple iterative methods

Heba Samir, Shadia Abdel Aziz, Gamal Ibrahim

its known that the Muslim artist is always a lover of rich decorative and artistic creativity in the diversity and the difference of decorative elements between the floral decorations and geometric shapes and inscriptions or drawings of living things, and this is evident throughout the Islamic ages and the artistic heritage is the best witness to this rich decorative, Islamic architecture or applied arts, not only that, but the Muslim artist used decorations with certain symbolic connotations, especially the "decoration of the crown," which is the subject of the research was not only used as an artistic and decorative element, but was one of the most important ranks s of the king, either as an independent decorative element, , And Luga logo Kingdom or personal to one of the ruling Monogram family. The period of Muhammad's family is one of the most important historical Islamic periods. It is a witness to the richness of this period , reflecting the social status, the luxury and the richness enjoyed by this family through an infinite heritage both in Islamic architecture and applied arts, especially tableware and special items. To the members of the royal family with their differences in terms of material, shape, function, or decorative element. In order to emphasize this unique richness and high social status, the decoration of the royal crown was popular, the most important of which was the decoration of the royal crown, whether alone or Kingdom or personal Monogram, not only but varied styles and forms of the same crown and this clearly shows in the light of the applied objects that would be addressed, specifically glass and ceramic objects. and This research aims at studying the styles of crowns mentioned in the ranks on some of the glass and porcelain antiques preserved in the palace museum of Prince Muhammad Ali in Menial. The crown was used as a rank of the king in the civilizations prior to the Islamic civilization. On various architectural or applied works of ceramics, glass, metal, textiles and others.

Marie-Ange Brayer, Rossella Froissart, Valérie Nègre

tahereh salimi, H. Azizi

<br />The design and role of Golfarang is one of the most popular designs in the field of traditional art and carpet design. The motifs called roses or flowers and bird originate from Western Art, and most scholars regard this motif as an ancient western motif. The Golfarang motif of the Safavid era has been brought to the Iranian art with the advent of westernization, and the Qajar era has been its peak. This motif comes from the very beginning in all artistic fields such as painting, layout, tile and plastering, but carpet art is the last area under the influence of westernization. Perhaps the reason for this is the continuity and sustainability of traditions in the design and texture of the carpet. The Qajar period shows itself in the design of Golfarang Kashan Carpet; it is initially used in combination with traditional designs. During the first Pahlavi Period, the variety of Golfarang increased and the principles of naturalism are also being considered in its design. In Qajar era, Kashan carpet weaving has been more influenced by Western Art, because the effects of westernization in Kashan are greater, and for this reason, Golfarang motif in Kashan, soon became a carpet design. Golfarang design and motif is one of the nineteenth designs in the division of Iranian carpet designs and motifs. The purpose of this research is to study the design and Golfarang motif in historical houses and carpets in Kashan in a comparative manner, and to examine their similarities and differences. The Golfarang design has been used more in Kashan. There are many resources, such as houses and historical buildings, including the Borujerdi House, Tabātabāei House, each of which is rich in variety of Golfarang motif, is one of the important reasons for the diversity of Golfarangs in this city. In fact, the existence of Golfarang in houses and historical buildings reflected the designs of the carpets of the time. Meanwhile, the role of skilled Kashani painters should not be ignored. Of course, in each of the historical periods of the Qajar, Pahlavi I and Pahlavi II, we have undergone changes that we examined. The type of research done is development (assessment) and descriptive-comparative-analytical, and the method of doing it is library and field. The statistical population in this research is the decorative images of Kashan's historical building architecture as well as the Golfarang Carpet of this city. Due to the widespread nature of the statistical population, selective sampling has been used. In addition, for the purpose of analyzing the results, a quantitative method has been used for the number of Golfarang designs, and the qualitative method has been used for discourse analysis. In this research, we tried to describe the comparative analysis of Golfarang (westernization) designs in carpet and rugs of Kashan using historical information (written sources) and documents and photographs provided by direct observation. In this research, we have two groups of statistical society. Historical houses of Kashan: Borujerdi House, Tabātabāei House, Āmeri House, Abbāsi House, Agha Bozorg Mosque and School and Sultan Amir Ahmad Bathhouse. The other statistical population is a sample of carpets in Kashan, which has Golfarang designs. Carpet weavers and designers could easily bring Golfarang design into the field of carpet design. As a result, Golfarang motif has become more common in Kashan carpets and westernization has created harmony with traditional arts in this city. The least influences of Golfarang motif in Kashan are related to the Safavid Era and most of them are related to the Qajar era. So that during Qajar period in Kashan, they used more Golfaran designs in carpets. In this period, the classic and traditional designs combined, for example, over horns on arabesque design. In general, Qajar Golfarang designs used in Kashan carpets are often a combination of Iranian and Western flowers, and they are usually light-weight, flat and simple, and lack shades of light. The colors used in Kashan's Golfarang carpets are mainly based on the color motifs used in Kashan carpets. Navy blue, dark and light red, yellow, golden, light cream, yellowish cream, light and dark blue, green, coral, are the main colors used in this carpet. Navy blue, red and in particular, cream, are the main colors used in these carpets. In Kashan, from the Qajar period, Golfarang designs in the carpet were used, and during the Pahlavi era, Golfarang designs used more than other designs had lots of variety. Golfarang were domesticated in Kashan and were mixed with classical designs. <br />

Aji Windu Viatra, Retika Wista Anggraini

Seni ukiran Palembang telah dikenal luas, seni kerajinan ukir kayu yang lazim disebut Ukiran Palembang. Adapun sentra industri seni kerajinan ukiran kayu Palembang berada di Kampung 19 Ilir, Kecamatan Bukit Kecil, sebelah Barat Masjid Agung Palembang. Kampung 19 Ilir, memproduksi berbagai bentuk perabotan, alat-alat rumah tangga, dan hiasan rumah dengan ukiran kayu khas Palembang. Kegiatan mengukir di Palembang sebelumnya memiliki hubungan erat dengan rumah tradisional adat Palembang, yakni rumah Bari atau rumah Limas. Rumah tradisional yang saat ini masih digunakan oleh masyarakat Sumatera Selatan, khususnya di Palembang dengan segala perlengkapan rumah tangganya. Pertumbuhan ukiran kayu Palembang mengalami pasang surut dengan kondisi sosial dan ekonomi di wilayah tersebut. Seni kerajinan ukiran kayu ini hanya diproduksi oleh keluarga-keluarga tertentu  saja,  masih  banyak masyarakat Palembang dan para perajin beralih mengandalkan penghasilan ekonomi dengan mencari profesi lain. Perubahan yang terjadi pada proses pengolahan bahan kayu yang semakin sulit digunakan, kreasi motif ukiran, dan teknik pengukiran telah bercampur dengan daerah lain seperti Jepara, dan negara luar India, Eropa dan China. Akulturasi ragam hias ini telah menghasilkan suatu bentuk, gaya dan cita rasa baru menambah khasanah ukiran kayu Palembang. Kajian utama penelitian ini dititik beratkan pada kontinuitas, perubahan dan analisis ragam hias pada motif ukiran kayu. Kajian ini menggunakan pendekatan multidisplin, yakni pendekatan sosiologi, dan estetika. Metode penelitian yang digunakan adalah metode kualitatif, dengan analisis deskriptif analitik. Penelitian ini bertujuan menganalisis dan mengidentifikasi perkembangan seni kerajinan ukiran kayu Palembang terhadap kehidupan masyarakat, terutama bagi pelaku budaya tersebut, mengkaji terjadinya perubahan dan perkembangan bentuk, motif ragam hias seni kerajinan ukiran kayu Palembang dan menggali pengetahuan secara mendalam mengenai kebudayaan Palembang. Woodcarving arts from Palembang are widely known and commonly referred ro Ukiran Palembang. The center of woodcarving art industry of Palembang is in Kampung 19 Ilir, District of Bukit Kecil, West of Palembang Grand Mosque. Kampung 19 Ilir, produces various forms of furniture, and home decoration with wooden carving typical of the Palembang style. Woodcarving arts from Palembang previously fostered a very close ralationship with the traditional homes of Palembang, known as the Bari or Limas houses. Bari or Limas houses are Traditional houses that are still used by the people of South Sumatra, especially in Palembang equipped with household accessories made in Palembang. The growth of Palembang woodcarving has experienced fluctuation relative to regional economic conditions Art craft woodcarving is continued only by certain families, as the economic situation of the region causes many craftsmen to search for employment in other industries and professions. Changes in wood processing procedures have caused materials to become increasingly difficult to use. Also, carving motive creations, and engraving techniques have been hybridized with other regions such as Jepara, and countries outside India, Europe and China. The acculturation of this decorative variety has resulted in new forms, styles and flavors adding to the treasures of Palembang woodcarvings.

Muhammad Andi Finaldi Nurtantyo

Desa Klepek memiliki kearifan lokal dalam aspek kehidupan sosial dan budaya. Aspeksosial budaya yang dimiliki sangat menarik untuk dibahas dalam penelitian ini. Aspeksosial budaya yang terdapat disana berhubungan dengan satu tempat sakral yangdijadikan pusat yaitu punden. Kepercayaan masyarakat desa Klepek menganggap pundensebagai titik pusat kehidupan sosial mereka. Hal ini terlihat adanya kegiatan tradisimasyarakat yang tidak terlepas dari keberadaan punden tersebut. Kegiatan tradisi yangterdapat disana yaitu nyadranan, barik’an dan tradisi sebelum hajatan. Fokus padapenelitian ini yaitu aspek kehidupan sosial dan budaya yang terdapat di desa Klepek.Metode penelitian ini menggunakan metode kualitatif yang didalamnya terdapat tentangdata deskriptif tertulis ataupun lisan dari sumber objek. Dengan hubungan antara aspekkehidupan sosial budaya dengan punden maka dapat menghasilkan data indentifikasiberupa keragaman aspek sosial budaya.

Sameh Zaki

"When Islam emerged in the seventh century the Arabs did not have provided anything noteworthy in the art of Painting But there were modest attempts taken directly from the other arts, The poetry is their first field, However, the Islamic faith has imposed a new reality because of its tremendous spiritual strength, The language of the Koran being strongly present, so   Arabic typography  has become a hallmark of Islamic art, and a tendency to abstract decorative, As Islam income of many Arab states and other countries have emerged new forms of art, especially with those countries which have an ancient civilization such as the Persians and the Babylonians, Egyptians. Islamic art is no longer the art of the State or specific people, it is art of civilization  was formed. painting is one of the aspects of Islamic arts which did not obtain wide acclaim like as architecture or Islamic ornamentation, Although it was the focus of attention of four artistic trends that represented in Arabic, Persian, Turkish and Mughal school. This research will address one of the most prominent symbols of this trend, Al- Wasiti, Islamic painter who belongs to the thirteenth century AD, and he illustrated the Maqamat  of al-Ḥariri, The 96 illustrations are of outstanding quality with fine composition, expressive figures. They produced  the 13th-century  life and are remarkably satisfying as storybook illustrations. and It was the first work in the Arab Paintings known by its creator.  "