Hasil untuk "Decorative arts"

Кudria Oksana, Nahorna Nataliia

The article defines methodological aspects of training students for project activities in the field of design and decorative arts. An analysis of the definition of the concept of "project activity" and the substantive characteristics of the project activity process was carried out. It is noted that project activity is defined as a way of achieving specific goals through planning, organization and management, which includes a clear structure and implementation methodology. The development of the methodology for the organization of project activities of future technology teachers in the field of design and decorative and applied arts is based on a clear understanding of the features of the educational components of this direction, the possibilities of adapting the educational process to practical tasks. It is noted that the use of project learning technology enables the involvement of student youth in project activities in the field of design and decorative and applied arts, and the educational components of the artistic direction allow for interdisciplinary interaction through the cooperation of students of various specialties, which contributes to the intensification of the educational process. The importance of supporting universities in the form of providing necessary resources, such as space for work and exhibitions, access to equipment, financial support, which ensures high quality of the educational process, is noted. A conclusion was made regarding the importance of professional training of future technology teachers for project activities in the field of design and decorative arts, as this not only affects the formation of future professionals, ready for the challenges of the modern world, able to implement art projects and involve young students in future professional activities, inspire students on creativity and innovation.

Rodica URSACHI

The article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have left a unique spiritual trail in their track record.

Ieva Rusteikaitė

In the early modern period, the relentless growth in the copies of printed books and the increasing competition between craftsmen meant that, since the invention of Gutenberg until the 19th century, European bookbinders were forced to look for cheaper and quicker binding techniques. Based on this assumption, the article focuses on some of the bindings of books printed from the middle of the 16th until the middle of the 17th century which belonged to the library of Vilnius Jesuit Academy. This study is part of a broader research on the bindings of the Vilnius Jesuit Academy Library, and the article is limited to two groups of sources: books printed in Italy and books printed in the Kingdom of Poland and the Grand Duchy of Lithuania (Polish–Lithuanian Commonwealth). The historical bindings are discussed by following the approach targeting the field of decorative arts and material culture studies, which is also well known as the ‘archaeology’ of the book or the bookbinding. It focuses not only on the decorative features of the cover of the book, but also on the structural features of the bindings which reveal comprehensively the work of the craftsmen of the past. This method of analysis is particularly useful for discussing not only decorated but also undecorated bindings which have so far received very limited attention in the research of the old Lithuanian book. As a result, the research revealed that the modest parchment bindings form nearly a half of all the examined bindings of the collection, and confirm the practical rather than the representational aspect of the Jesuit Library. According to the complexity of the technical execution and the number of operations involved in the process of binding, five binding techniques have been distinguished, ranging from the most complex to the simplest bindings, closely related with a retail bindings. What is more, a consistent number of parchment bindings are denoted by structural features, which is close to the Italian bookbinding tradition. The predominance of the latter in the group of Italian prints makes it possible to consider the possibility of already bound books entering the library of Vilnius Jesuit Academy. Moreover, the research has revealed certain binding features linked to the bookbinding traditions in Italy and the Polish–Lithuanian Commonwealth.

María José Martínez Ruiz

Ismet Zaatov

In the article an attempt is made to trace the stages of development of the process of the Kypchak-Tatar – Turko-Seljuk Turkization and the beginning of the process of Asia Minor–Central Asian Islamization of the population of the peninsula and formation of artistic culture and decorative art of the Crimean Tatars during the formation of the foundations of the Crimean Tatar statehood in the Black Sea uluses of the Golden Horde.

E. P. Canevese, R. Cuttini, I. Bertani

<p>The Superintendency of Archaeology, Fine Arts and Landscape of Friuli Venezia Giulia has recently launched various studies and projects for the reduction of seismic vulnerability and the restoration of the region’s historical architectural heritage which, according to the indications of the Ministry of Culture, must be implemented in an exemplary manner both from a methodological and executive point of view. For the Cathedral of Santa Maria Assunta in Cividale del Friuli (UD), innovative solutions were sought right from the preliminary study phases, as well as new methodologies and technologies also in line with the indications of the European Commission (work programme 2018-2020 - LC-EEB-02- 2018: design and development of “kits” to support BIM Authoring for restoration and interventions on existing buildings). The use of relevant technologies such as laser scanners highlights the limitations of solid and/or parametric solid modelling (BIM) processes when applied to the built environment. These limitations arise mainly because the reality of the built environment does not correspond to an ideal geometric model, but has variations and irregularities that are difficult to reproduce through traditional modelling techniques.</p><p>Within this context, it was essential to adopt innovative 3D modelling techniques, in order to meet the required accuracy of ≤5 mm and to catalogue - accurately and in advance - the architectural, structural and decorative elements present so as to obtain an effective and efficient 3D model. The aim of this work is therefore to present a successful experimentation that can open up new perspectives in the field of threedimensional reproduction of architectural heritage. In particular, the combination of the use of advanced technologies with preventive cataloguing and innovative techniques of participatory 3D modelling (crowdsourcing), in order to obtain advanced 3D models that are highly accurate and informative, as also indicated by the aforementioned European Commission directives.</p>

Yusfan Adeputera Yusran, Sri Utami, Siti Mar’atul Fadhilah et al.

This study aims to reveal the logical factors behind the cultural values of traditional house. Through an ethnomathematical study approach, this study reconstructs various patterns of Bugis house forms using photo documentation belonging to the KITLV institution published around 1880-1953. The Bugis vernacular house forms is often described as the embodiment of the basic knowledge of non-physical (intangible) in the form of culture, belief, and the principles of community life. However, when viewed from the building process, rules, and sizes, to the development of its form and typology, a Bugis house cannot be seen as a mere embodiment of the cosmological concept, but also an embodiment of form that implements scientific knowledge. This is indicated by the various patterns of Bugis' traditional houses formed from an ethnomodelling point of view as a result of humans knowledge to the context and the environment in which they inhabit.

Walid Ali Hussein Ali, Said Hassan abdel-rahman, Ashraf Hussien Ibrahiem

Egypt participates annually in many international tourist exhibitions, as this type of exhibition is one of the important means not only to promote the tourism product, rather, it is also an important means of civilized Promotion, as it is considered an important cultural event, in which countries compete to highlight their ancient and modern civilization, and the Egyptian Ministry of Tourism, through the Egyptian Tourism Promotion Board, which supervises on the design and implementation of the Egyptian booth in international tourist exhibitions, and the interior designer has the biggest and most important role in preparing the appropriate design and expressing of (Egyptian identity), which makes him look at his past and present, and does not find truer than the arts of ancient Egyptian civilization to express the identity of (Egypt), it is a very private arts (for Egypt) alone - no one shares them in it - it is also rich in decorative vocabulary and architectural elements, which was behind its formulation philosophical dimension and doctrinal thought of a human society that lasted for more than four thousand years believes the same mental perceptions and religious beliefs about the life of the world and the afterlife, beside of this, the arts of ancient Egyptian civilization have its own features, it is characterized by (humanity, stability and continuity, realism, the ability to abstract and summarize, as well as to symbolism).The successful design process of the Egyptian booth in the international tourism exhibitions is based on taking into account the good division of the components of the booth and providing the required spaces, with appropriate Area, that`s after a careful reading of all the vocabulary and elements of the interior design, where these elements become effective, efficacious and achievable for the functional aspect, considered for stability and durability factor, carries aesthetic values, and expressing of the Egyptian identity, which is achieved through the ability of the interior designer to deal with his design tools with creative thought through benefit and conscious study of the vocabulary and elements of the ancient Egyptian civilization arts until the Egyptian booth appears with a clear identity and undistorted.

Zhambaeva, T.I.

The author presents the concept of an exhibition dedicated to the tapestry art of ethnic Buryatia since its inception in the region, in the 1970s to the present day. For the first time, in one exhibition were presented the works of 15 authors, performed in different materials and directions. The purpose of the exhibition project is to show the creative achievements of artists, the variety of themes and plots that reflect the specifics of the region. During the preparation for the exhibition, both theoretical and empirical research methods were used: bibliographic sources were studied, meetings, conversations with authors were held in order to obtain a more complete and holistic idea of the concept of the works and the nature of creation. Combining rather disparate materials into a single exhibition concept is currently relevant for the development of modern decorative and applied art in Buryatia in the field of soft materials. As a result, the article presents a kind of artistic space of tapestry art, filled with an individual vision, united by the specifics of expressive means in the field of hand weaving.

Céline Ventura Teixeira

During the 16th and 17th centuries, Lisbon was to discover such novelties as precious stones from India, Sapi ivories from Sierra Leone, Chinese porcelain and Japanese screens. The spread of these artefacts led to the emergence of artistic repertories whose hybrid, recomposed forms materialised the encounter of the different visual cultures. Such diverse territories as Benin, India, China, Japan and Brazil were the theatre of artistic exchanges that rise to unprecedented aesthetic combinations. The understanding of these movements of individuals and objects calls for a shift in perspective in order to grasp the impact of such circulations on creative processes in Portugal and the territories overseas. In this essay, the decorative arts are thus placed at the centre of a comparative analysis of the existing literature on these issues.

Ferdiya Devika, Maretha Ika Prajawati, Basir. S

The to'-oto’ a tradition is an event held by the community to return bhubuwan's money (money given at weddings). Each implemented certainly has different perceptions of to’-oto’ that have been entrenched. This is the main problem that researchers want to know. This research uses a qualitative research method with a phenomenal research model to look deeper into the psychological meaning of an individual’s experience of the to’-oto’ tradition. The results showed that the tradition of to’-oto’ was perceived as a means of returning savings due to the necessities of life, a means of tightening the silaturrahim rope of both the head of the family in the village or outside the village, one form of “tasyakuran” (salvation) and as a form of tradition that the community runs

Annisa Yuniar

Banjarmasin is the capital city of South Borneo province which known as city of one thousand rivers. But nowadays the expansion of riverside localities of Banjarmasin are uncontrolled and almost all of the areas are slums. Slum areas riverside commonly formed by many unorganized building that exceed the river’s borderline and the riverside localities’ behaviors such as throwing the garbage and taking a bath at the river. Our government now focused on handling program to overcome the expansion of riverside slum areas by 100-0-100 movement which means 100% for the water service, 0% for slum area expansion and 100% for sanitation accessibility. Data analysis was descriptive qualitative method with case study approach. Data were collected with observation, questionnaire and interview. Sampling technique was simple random sampling for sample in research location. Result shows that the dominant factors of slum areas at Kelayan riverside are unorganized buildings, uncontrolled garbage and waste management.

Sergey Yevgenyevich Vinokurov

In Russian national art history, the evolution of art interrelation between East and West is often viewed through the prism of either the “East — West” or the “West — East” tradition, thus establishing a certain boundary between two artistic and, more generally, cultural paradigms. This border does not only limit the perception of the very specifics of such interactions to a certain extent, denoting only the format of borrowing, but also narrows the possibility of understanding the mutual influence of cultural and artistic traditions that are important for the art of the 19th century. Meanwhile, if we analyse individual artworks in the context of their creation, it will help reveal more complex mechanisms of artistic traditions relationship. In this article, the author examines a sample of Japanese decorative and applied art related to one of the most important stages in the history of the Land of the Rising Sun, i.e. the Meiji period (1868–1912). This item entered the collection of the Yekaterinburg Museum of Fine Arts in 2017. To attribute this item properly, it was necessary to examine its technological and stylistic features and identify its possible provenance. The research conducted makes it possible to review the peculiarities of interrelation between European and Far Eastern traditions in the second half of the 19th — early 20th centuries, based on cross-interest and indirect mutual influence on the emergence of new ideas and the art trends formation.

Zineb Bahji Bahji

The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.

Воронова, Мария Викторовна

Цель данной статьи выявление основных тенденций в развитии колористического начала в декорировании современной художественной керамики. Автор анализирует способы использования цвета в эстетических решениях художественных произведений декоративного искусства. Приводятся примеры как среди отечественных авторов, так и среди иностранных (применение в произведениях цвета в качестве определяющего элемента). Сравниваются выразительные возможности различных материалов, применяемых для декора керамических произведений, и их связь с современной ситуацией в этой сфере художественной деятельности. Вывод обозначает неуклонность нарастания значения колористического начала в современной художественной керамике как одной из черт ее творческого развития и как один из путей сближения отдельных региональных школ.

Maria Nikolaevna Tsybizova, Olga Vadimovna Nefedova

This article examines subjects and decorative sources of orientalism in Russian porcelain of the 18th and 19th centuries. It seems important to single out stages of the incremental development of orientalist motifs in Russian porcelain and describe their evolution. Additionally, the authors aim to clarify why orientalist motifs were chosen by porcelain collectors and buyers and what role they played in arts and crafts in Russian Empire at different times. The article presents a consistent analysis of the evolution of orientalist motifs in 18th–19th centuries Russian porcelain. This study employs methods of formal and stylistic analysis. The use of these methods allows the authors to study the stylistic origins of orientalist motifs answering the question regarding the framework of its stylistic tradition and why a fashion emerged for the motifs described in this research. Furthermore, the researchers use the historical-genetic method trying to trace the emergence and development of the phenomenon of orientalist motifs on the basis of literature, historical sources, and porcelain objects. By applying methods of historical analysis and cultural analysis, this paper investigates and highlights the historical background of the emergence and development of orientalist motifs in Russian porcelain. Additionally, these methods are appropriate to understand how the taste preferences of customers of porcelain in the Russian Empire between the second half of the 18th and the 19th centuries influenced the stylistic formation of orientalist motifs. The sources of the study are mostly porcelain items made between the 18th and the 19th centuries, albums of engravings and pattern books of porcelain manufactures, containing drawings and model designs for porcelain items. The authors refer to these sources in order to reveal models and patterns characterised by orientalist motifs. Relying on the same principles, the authors study periodicals of the 19th century in order to find references and facts concerning the emergence and development of orientalist motifs in porcelain production. They also consider it important to study and describe a number of works of literature with elements of orientalism which became the basis for painting in porcelain items. Traditionally, orientalist motifs have been generalised in the concept of exoticism in Russian arts and crafts. This research contributes to a new understanding of orientalist motifs in porcelain painting and decoration created in the 18th–19th centuries Russian Empire.

Roşca-Ceban Daniela

The aim of the research is developing of the CISA in FAD course. The acquired skills will enable the creative explanation, understanding of the current artistic principles and the achievement of quality creative products. The research problem is the indigence of the creative process, the mechanical combination and the intuitive reproduction of the students' plastic artists experience and the lack of creative imagination in the creative process.

Bożena Kostuch

Ceramic materials may have multifarious applications, the visual arts being one of them. Furthermore, they have been often used in architecture for decorative purposes. In Poland, the application of ceramics in architecture reached its peak of popularity in the post-WWII period. It was used in mosaics, reliefs, architectural and sculptural details, as well as combined with other materials, like glass or stone. Ceramics was applied for creating various small decorative forms but also large compositions that covered even several dozen or several hundred square metres, in buildings that served various functions, and were situated either indoors or on their external facades. Amongst these, there are buildings which were both important for local communities and became landmarks for particular sites, like modern hotels, railway stations, theatres, museums or academies. The paper is focused on compositions executed for such prestigious edifices.

Faezeh Rezaei, Mostafa Dehpahlavan

Mural painting is one of the decorative Arts in the Arsacid period. The mural paintings of Arsacid period is discovered from some pivotal sites. One of them is Dura-Europos. The paintings of Dura-Europos have been­ depicted on the walls of private homes and shrines. The main question of this study was to investigate the painting styles and cultural influences of shrines the gods of Palmyra, the Mithraeum, the church and the synagogue. In this note, Mural paintings have been comparative studied by library procedures and its main aim has been to compare this paintings with arts such as Arsacid, Hellenistic, Roman and Mesopotamian. For this purpose, each of paintings characteristics were been compared with discovered samples of Arsacids, Hellenistic, Roman and Mesopotamia arts. The paintings of Dura shrines and artistic elements used in them, showed some traces of local Mesopotamian art, peregrine Hellenistic – Roman and Arsacid Art. But certainly, western (Roman and Hellenistic) art has been had very little impact and more have been influenced by Persian-Arsacid art. Features of Arsacid art clearly visible in the paintings of this site. It has been determined according to the survey paintings of four the worshiping buildings in question, despite of the establishment of the Dura-Europos city in the seleucid period and the conduction it under the domination of Roman and Arsacids, from point of view artistic orientation and the artistic style that spread all over in the history of this city, it mostly has been influenced by eastern styles of the Persian-Arsacid.

Burak Yıldırım

Parks and gardens are always the important places for us. During our history, they have creatured the culturel communication environments, universalizing the artistic and aesthetic consciousness, enabling to develop the protecting awareness of the ecological balance, helping people getting rid from crowded cities and distressing mood and have enabled to stay cheek by jowl with the nature in this places, the designs entwined with nature and artistic works are now a days very important. We are able to see the use of the common and advanced form of parks and gardens from 1960 to the present and their examples made for various purposes in many countries of the world. Today, in our country and around the world, a lot of ceramic artists have been still producing realistic, stylizedor abstract sculptures, monuments, benches, wallboards, birdhouses, pools, fountains and waterjets on behalf of park-garden and these ceramics support contemporary architecture, interiordesign, landscape architecture, urban and regional planning areas and these are functional and decorative ceramics. In our country, compared to cities in other European countries, the production of the ceramics such as parks-gardens are insufficient except for big cities such as İstanbul, İzmir, Ankara. But in this context Eskişehir has a privileged place. Eskişehir is a city of art. Because the city has ceramic works, having been produced in the International Terra Cotta Symposium since 2001 and the city has been decorated these ceramic Works in many public gardens and parking area. This symposium has been arranged by Eskişehir Anadolu University Faculty of Fine Arts Professor Bilgehan Uzuner.