Hasil untuk "Decorative arts"

Erica Halverson, Keith Sawyer

In this special issue we argue that the arts are central to our understanding of learning and knowing and therefore of crucial importance to the learning sciences, even though our field is primarily known for its studies of learning in STEM fields. We see the origins of importance of the arts beginning about 20 years ago, when STEM education policy increasingly began to emphasize creative thinking. The increasing interest in STEM creativity is connected to the perceived economic need to foster creativity and innovation in graduates (e.g., OECD, 2008). This shift has provided a fruitful context to re-insert the arts into conversations about what counts in education as more than just decorative add-ons to make STEM learning more appealing to students. In fact, the arts can transform STEM teaching and learning by highlighting creativity, innovation, and problem solving as core practices (Stewart, Mueller, & Tippins, 2019). This special issue brings the arts to our learning sciences colleagues through a focus on creative practices both for their own sake and in how they connect to more familiar STEM learning outcomes. The four articles and the concluding commentary make intellectual contributions that bring together recent research developments related to creativity and the arts, including articles that analyze visual arts (in school classrooms), dance (in out-of-school learning environments), and architecture design (in a museum) as valued sites for learning. The arts play a large role in our goal, as learning scientists, to reimagine teaching and learning. Taking up Gloria Ladson-Billings’ call for a “hard reset” on education (2021), this special issue puts forward the bold claim that arts practices can serve as new models for learning that align with the latest learning sciences research. Arts practice provides us with new ways to advance cognitive, social, cultural, and historical perspectives on learning, showing ways to redesign learning environments that work for all children. We assembled this special issue in the spirit of

Sasha Rossman

A pietra dura table manufactured at the royal Gobelins workshops (Paris) in 1684 will serve as a case study for considering the historical dimensions of borders and how they take particular aesthetic forms. The table pictures a map of France, made out of a mosaic of differently colored pieces of marble. The map is traversed by representations of boundaries, between provinces and states as well as a five-part bounded frame that encircles the map. In this object, borders appear as both a lens through which one can learn about the world and control it, while simultaneously presenting boundaries as an embedded part of the material world: a delimited France as a figure that is also a (stone) ground. Considered in its historical dimension, however, the term “border” is insufficient for explaining the types of changes (political, scientific, and cultural) that produced this object. Indeed, during this period, the nature and vocabulary of borders was developing in new ways, just as the image of the state was slowly transitioning from a subject-based (monarchical) to a territorial-based concept of statehood. I argue that by examining the materiality of this particular table, as well as comparing it to other products of material culture from the period (including cartographic atlases and pedagogical lessons), we can recall how borders signified and assumed a particular form at a given historical moment. I propose that, in this context, borders took on specific visual and material forms that aimed to facilitate a kind of collaborative practice of understanding the world, and one’s place in it, in terms of bounded perimeters. The aim of reproducing this historical moment in border production is to encourage us to examine the historical determinants of borders today, both in their epistemological and aesthetic dimensions.

Yamato Yuya, Taisei Osada, Pindo Tutuko et al.

Resident participation is an essential part of community development. In order to reflect residents' opinions, it is considered necessary to conduct workshop. We apply the community development guidance method (hereinafter, CDGM). The CDGM is a method that allows the replacement or deregulation of some of the regulations of the Building Standard Law by the agreement of the residents of a certain area. However, it takes a deal of time and effort to build consensus among residents, and the CDGM is to obtain their consensus. Therefore, this study is to examine effectiveness of an immersive planning support system for architectural rebuilding using virtual space and the CDGM. We believe that an immersive planning support system in a virtual environment is effective because it allows residents to enter and experience the street after the plan has been updated, making it easier for them to imagine the street. As a result, we confirmed the applicability of this technology to community briefings.

A. Azis, S. Lubis, G. Kartono et al.

: This research aims to develop teaching materials in the form of digitalisation of Toba Batak Ethnic Decorative Variety with p-book and e-book-based procreate media that are valid, practical, and effective in the Fine Arts Department. This research method uses research and development with the 4-D development model (Four-D Models), namely define, design, develop, and disseminate. This research instrument uses a questionnaire with a Likert scale, while the data analysis technique consists of analysing the validity, practicality and effectiveness of teaching materials. The results of this study indicate that: a) p-book and e-book-based teaching materials with the title of the book/module/teaching material "Gorga Batak Toba", with the acquisition of a category that is quite valid with an average score of 78%, b) teaching materials are quite practical to be used by students in the North Sumatra Ethnic Decorative Variety Course (RHESU) with a score of 77%, and c) teaching materials fall into an effective category where students from four categories such as reading teaching materials, asking questions, answering questions, and completing assignments given by lecturers, can be observed in the learning process and student learning outcomes are 83.26%. So, from the scores and test results of the research results above, it can be said that the teaching materials are quite valid, quite practical, and effective to be applied in learning the North Sumatra Ethnic Decorative Variety Course (RHESU) at the Department of Fine Arts, Faculty of Language and Arts, Universitas Negeri Medan.

Rostyslav Shmagalo

The aim of the article. To find out the current theoretical and terminological activity caused by the nostrification of artistic and educational processes in Ukraine and the world using educational administration. It is noted that schematics and unification come into conflict with the historically formed terminology in the field of methods of art and design education, which have become the historical image of schools. The global civilizational changes that radically weakened the resistance and ability to self-development of authentic varieties of art are considered. The loss of immunity from unification affected the field of terminology, which is a kind of indicator of changes. The starting position of novelty is the understanding that art is not a resource bound in artificial terminological schemes, but a self-sufficient value. Practical significance. Considering the old and new paradigms, building your system of values is recommended, which are concentrated in the field of terminology. Based on the analysis of a large block of literature, it is recommended to preserve the educational programs "Aesthetics", and "Philosophy of Art" as fundamental in Art Academies of modern Ukraine. The conducted analysis of the literature draws attention to the terminological developments of the Faculty of History and Theory of Art of the Lviv National Academy of Arts, which require systematic continuation. Main results. It has been observed that the obsessive juxtaposition of classical and non-classical vectors of creation, as well as "old and new" terminological systems, psychologically traumatizes artists. Contrasting and unifying involuntarily distorts the truth, and thus harms the art itself. During the periods of Ukraine's statelessness, the enemies politically "justified" the new terms as "relevant" and interpreted the national terms as "obsolete". It is recommended that artists-pedagogues and art historians establish the mission of interpreters and "talismans" of the primary and newest values of fine, applied art and design. The need to correlate artistic and administrative-educational terminology in one's language has been put forward as a major problem. In particular, using the example of fine and decorative arts, it is proposed to use the existing administrative and terminological division of specialties "by default". However, the content-conceptual part of educational programs should be enriched with a historically verified spectrum of terms and concepts with their inherent local connotations. It has been observed that in the historical-artistic and sacral-morphological sense, the term "applied art" is not the same as "craft". The relevance of the commonly used by leading Ukrainian art critics of the 19th and early 20th centuries has been proven of the term "applied": that which is "in life", "in use". It is emphasized that global civilizational changes have radically weakened the resilience and ability to self-develop authentic varieties of applied art. The loss of immunity from administrative unification hurt the field of terminology, which is a kind of indicator of changes

Huali Lan

Abstract There are many classic traditional arts incorporated in modern design patterns design. These traditional arts embody China’s profound national art in modern decorative patterns, making the organic combination of modern and traditional national art, thus realizing the promotion of traditional national art and providing more classical excellent elements for the development of modern decorative art. At the same time, modern decorative pattern design draws on traditional art from five aspects: composition, perspective, image, color, and allegory, and applies its advantages and strengths completely to the modern design process. The most important thing is that modern pattern design has a strong sensory impact on people’s visual perception. Therefore, modern decorative pattern design cannot be separated from the integration of traditional ethnic groups, and even more so from the inspiration and reference brought to it by traditional art. The article analyzes the dynamic changes of higher-order aberrations over time in the near-eye and ortho-eye groups from a design perspective by using the generalized additive mixture models (GAMMs). The threshold effect analysis is used to find the turning point of the dynamic change of higher-order aberration. The interaction analysis method compares the differences in the dynamic changes of higher-order aberrations between the two groups, analyzes the application of modern design to decorative patterns, combines ancient and modern design elements, and studies the impact of the combined product on human senses.

Giulia Arcidiacono

This research explores the figurative culture that flourished in Sicily during the 12th and 13th centuries, focusing on the interplay between artifacts of different types, materials, techniques and uses. Paintings, sculptures and objects that share a common visual language are analyzed with the aim of highlighting recurring motifs, mutual influences and related sources. The main focus is on the decorative apparatus of the Sacramentary Ms. 52 (Madrid, Biblioteca Nacional de España), one of the most famous illuminated manuscripts from Sicily. The date, origin and patronage of this luxurious liturgical book have been the subject of intense scholarly debate. In order to shed light on these controversial issues, this study re-examines the various hypotheses considered by scholars, taking into account the historical events that affected Sicily from the end of the Norman to the beginning of the Swabian era. This analysis also shows how the decoration of the manuscript fits into the wider dynamics of cultural exchange that characterized Sicily and the Mediterranean during this transitional period.

Amy Goldin

When I agreed to write about women’s traditional arts I didn’t know where the topic would lead me. Some women artists would want to identify traditional women’s arts with decoration, so that the artistic challenge and freshness of the decorative arts could be claimed as historically feminine territory. That, I knew, wouldn’t wash. In ancient times, jewelry and architecture were the major carriers of decoration, and both had been made by men. The Greek potters and vase painters whose names we know were male. There was no way decorative arts and traditional women’s arts could be made to coincide, particularly if one included things like cooking and midwifery among the latter. As soon as I started reading other problems appeared. Just to begin with, I had taking pottery and weaving as traditional feminine arts. I soon found that they were not so feminine as one might suppose. In West Africa all the weavers are men; in Tokugawa Japan (1603-1838) the weavers of ordinary cloth for household use were ordinary women, bit the finest quality of cloth was produced by male specialists. In Guatemala, both sexes weave, but men use wide foot-looms and women use narrow hand-looms. In eighteenth century Japan both sexes embroidered. Only women did embroidery in eighteenth century France, but the patterns were bought from professional male designers – how should that be counted? Women’s participation in the craft guilds of Europe and England was pervasive, but generally informal and unspecialized except in a few cases. The embroidered cap-makers of Paris, for instance, were all women. In India and China, a lot of so-called “craftwork” was produced in large workshops. There as in the West’s cottage industry system, the workers owned neither the tools nor the materials they worked with and they executed segments of a

S. Abdullaev, Dilshod Mamatov

This article examines the pedagogical foundations of folk applied arts of Uzbekistan in the training of teachers of fine arts and some of the issues of art education. The use of decorative folk - applied art as one of the aspects in the ethical - aesthetic education of future artists - teachers. The importance of fine art in general and folk arts and crafts in particular in aesthetic education and art education of future teachers of fine arts is also described. Specifies the general requirements for a specialist, a teacher, which have already been tested in modern pedagogical science and have received official recognition.

Nahed Osman, Mostafa Abdalrihim Mohamed, Walid Onsy

The Amazigh culture has preserved an ancient decorative art, and this ancient decorative art is reflected in the weaving of carpets and ceramics, as it takes the form of geometric drawings that often use the “Tifinagh” alphabet, and the craftsmanship of gold, silver and other elements is another element that cannot be ignored This culture, and indeed one of the mediums with which it began to be known at the global level.The culture of the Berbers has two parts, one of which is their own, which is their first inherited asset; Some of its elements are semi-frozen and still preserve the forms on which it was first established in ancient times, such as architecture and decoration in carpets, ceramics, tattoos and building facades; Some of them may have evolved through the ages, but nonetheless retained their distinct Amazigh character, such as language, oral literature, dance, singing, social and political traditions. the cultures themselves.Therefore, the "Amazigh" made an important contribution to the construction of the pillars of the great civilizations and cultures that followed on the shores of the MediterraneanStarting from the middle of the first millennium BC. As for the reason for their self-culture being isolated, it is twofold, or in fact it is two reasons. The first is their Bedouin lifestyle, and the second is that no book was revealed in their language. It was never served by a religious motive, just as it served the Hebrew and Arabic religious motives, and to a lesser extent Greek and Latin. Amazighs have always been an open culture that is not closed in on itself, which, with its special character, contributed to the construction of the pillars of great civilizations and cultures, which in turn affected all kinds of plastic arts. Also, this art had a great impact in the field of applied arts, which can be used in the field of artistic glass design.

Maria Antonietta Sbordone

Pursuing change in complex production areas requires attention and foresight that invests design research with advanced perspectives attentive to the fundamental balance between the artificial and the natural. The attitude or posture of contemporary design acting in actuality takes its cue from a strong impulse for multidisciplinarity that evolves into intricate trajectories that foster the grafting of knowledge and practices. In a field like Fashion, design culture and critique of the current model result in a radical future prediction; digital technologies at the encounter with new logics of making, far from the goals of productivity, prefigure a radical reversal of the current model. The paradigm of the organic meeting the digital and the latter expressing mutualistic behavior builds a solid perspective to drive change.

W. Sari, Lintang Kironoratri, N. Bamiro

This research is motivated by the creative abilities of students who tend to imitate what is done by the teacher. So that students need to learn his potential for creativity. Therefore, the teacher helps and facilitates various skills to develop students' creativity through active learning, one of which is project-based learning. This research aims to describe the results of students' decorative work creativity in project-based learning arts and culture in class IV SD 5 Gondangmanis, Kudus Regency. The method used in this study is a qualitative narrative approach with data collection techniques through observation, interviews, and documentation. The results of this study indicate that the process of creativity in project-based learning is included in the outstanding category. The student creativity indicators consist of fluency, flexibility/flexibility, originality, and elaboration, which are included in the excellent category. Through project-based learning, students can develop their creativity in making decorative works.

Iryani Abdul Halim Choo, Mohd Sabrizaa Abdul Rashid, Kartina Alaudin et al.

Rumah Limas Bumbung Perak (RLBP) is one of the traditional Malay houses of Perak that can be seen in Perak Tengah. Perak Tengah is one of the regions in Perak with a rich collection of historical remnants such as traditional houses, tombs, and arts and crafts. The cultural heritage value it has is highly potential to be highlighted that can help boost the area's rural tourism. However, the lack of heritage interpretation due to limited research has disabled the effort to promote the rural heritage of Perak Tengah. Therefore, this research aims to understand and interpret the roof decorative architectural components of one of the traditional Malay houses of Perak, which is the RLBP, as part of the tangible heritage of Perak Tengah. Data collection was conducted using multiple case studies. A total of 20 roof decorative architectural components of RLBP have been analysed in the data analysis. The findings of this research contribute toward establishing the character and identity of the decorative architectural components of the RLBP as one of the tangible heritage values of Perak Tengah, thus enhancing the heritage interpretation of the area.

G. Zeng

Ceramics, from the initial practicality to artistry, has a profound impact on social life and its value is unique. Tracing back to the origin of Chinese ceramic art, the application of decorative patterns is legendary. These decorative arts with national and cultural characteristics have distinctive characteristics of the times. Traditional culture is embedded in decorative patterns, which are dominated by the spirit of traditional culture. It is a profound historical accumulation of national traditional culture. Looking at the decorative patterns of ceramic art, these patterns are melting the collision of thoughts, reflecting the ceramic decorative patterns of the light of Chinese civilization for thousands of years, and are also the profound embodiment of the cultural and artistic values of Chinese civilization. This article mainly takes Ganzhou Qilizhen kiln ceramic design as an example to interpret the application of traditional culture in ceramic decorative art. A curve fitting technique based on adaptive genetic algorithm is proposed. The process of curve fitting using adaptive genetic algorithm and curve tools is described in detail, and the comparison results are given. The research shows that the adaptive genetic algorithm can effectively reduce the original iteration times by 30.14% compared with other algorithms. At the same time, this method is applied to the process of pattern design.

Ivana Bruno

Nel panorama della storia, critica e tutela dell’arte del Novecento un posto di rilievo occupa Maria Accascina (Napoli, 1898 – Palermo, 1979), storica dell’arte proveniente dalla scuola di Adolfo Venturi, che ha ricoperto importanti ruoli tecnico-scientifici nell’ambito dell’amministrazione  delle ‘belle arti’. La sua notorietà è in particolare legata ai suoi studi sull’oreficeria e sulle arti decorative siciliane, grazie all’instancabile attività di Maria Concetta Di Natale che ha portato avanti i suoi studi e ha ideato e promosso in suo onore un Convegno internazionale nel 2006 e, subito dopo, la nascita di un Osservatorio delle arti decorative in Italia, tuttora pienamente operativo. Il contributo pioneristico di Maria Accascina ha riguardato anche il campo della museologia e offre numerosi spunti per riflessioni sul “sistema delle arti” del secolo scorso. L’intervento, sulla base di documentazione d’archivio solo in parte nota, intende mettere in luce gli aspetti innovativi dell’allestimento del Museo Nazionale di Palermo, risalente al 1930, e delle mostre più significative da lei curate tra gli anni Quaranta e Sessanta del Novecento, in rapporto agli orientamenti museografici che emergevano dal dibattito internazionale del tempo.   In the panorama of history, criticism and protection of twentieth century art, Maria Accascina (Naples, 1898 - Palermo, 1979), an art historian from the school of Adolfo Venturi, who has held important technical-scientific roles in 'scope of the administration of the' fine arts'. Her notoriety is in particular linked to her studies on Sicilian goldsmithing and decorative arts, thanks to the tireless activity of Maria Concetta Di Natale who continued her studies and conceived and promoted an international conference in her honor in 2006 and , immediately after, the birth of an Observatory of decorative arts in Italy, still fully operational. The pioneering contribution of Maria Accascina also concerned the field of museology and offers numerous ideas for reflections on the "system of the arts" of the last century. The intervention, on the basis of archival documentation only partially known, intends to highlight the innovative aspects of the setting up of the National Museum of Palermo, dating back to 1930, and of the most significant exhibitions she curated between the 1940s and 1960s. of the twentieth century, in relation to the museographic orientations that emerged from the international debate of the time.

Alina OSTAPOV

With the end of Joseph Vissarionovich Stalin’s governance, the period of totalitarian Stalinist architecture ended. From monumentalism, aesthetics and unique buildings, architecture was oriented to industrialization, prefabrication, project-type and economy, characteristic of the reign of Nikita Sergeyevich Khrushchev. After the monotony, it was passed to the architectural plasticity, brutalism and Soviet modernism characteristic of the time of Leonid Ilyich Brezhnev’s rule. Creative ambitions change with the succession of Soviet political leaders. Later, the arts did not know so many political “conductors”, the architecture developing more freely and diversified. The research focuses on the analysis and detailed descriptive study of ornaments on some components of “Stalinist” buildings in the Moldovan Soviet Socialist Republic. The author presents for the first time the original sketches of the architects. The images are a collage of past drawings and current photo fixations. Such an approach allows a visual comparative analysis between what was proposed by the author and what was achieved. The architects’ sketches allow the correct “reading” of the decorative elements, because today the buildings no longer keep the original version. Unfortunately, the decorum of socialist classicism has not been preserved over the years and it has been mutilated or even intentionally removed.

Tita Amalia, Syarifuddin, Supriyanto et al.

Cultural diversity inherited from every previous generation creates what is often called local wisdom, giving the area a unique socio-cultural identity. It cannot be any truer with Palembang with its many cultural wealth, one of which is a form of headdress or headband called Tanjak. This study investigates the existence of this culture from how it first got into the people of Palembang to today where even the city governmenthas a mandate of making it an obligatory uniform for city officials on Fridays. to carry out this investigation, this study uses the descriptive qualitative method. The data to be analysed come from personal interviews (with experts on the matter) and literature or documentation studies. Initial results show that the government's move was to preserve and further develop tanjakas a part of Palembang's cultural wealth and educate the people regarding the need to guard and preserve their local wisdom

Mohammed Jassim Al-Obaidi

The art of Islamic ceramics is considered one of the main pillars of the art of ceramics in the plastic arts, as his knowledge of what is presented in the Islamic arts intertwined in a special way. And the Islamic ceramics are indications of fertility and the rekindling of religious ties, controversy over them, and interpretation as additions to their vocabulary. Studies in the plastic arts began to empty the knowledge towards this direction, especially its relationship to the Arabic calligraphy and specifically the Islamic decoration, which derived the first aesthetic values from calling the artist Muslim pottery and potters to inviting the Arabic letter and Islamic decoration to indicate within the theory of "displacement" the aesthetic values of it, in order to advance the "displacement" role The real thing is in the construction of the word and the decorative text, at a time when many studies have been absent from showing the individuality of Arabic crafts and Islamic decoration with the plastic art system, specifically Islamic ceramics. Accordingly, studies have become, and it is more appropriate for them to examine the concept of beauty occurring in the circle of conditions that were demonstrated by the linear and decorative displacement in ceramics, thus creating the artistic profile. And enriching it with a high poetic sense of the high melody of the component performances, as it breaks and breaks all the patterns of tradition and rules, so that Islamic ceramics, through letters and decorative additions, become full of reading consisting of the spirituality of the Muslim artist, which transcends it to the world of Arabic crafts and Islamic decoration. And since the decoration of ceramics, the geometry of Arabic calligraphy, the determination of the dimensions of the letters and the vocabulary of the decoration, which depend on according to certain proportions and derives their aesthetics from their geometrical creation, to give us the basis of the final form of the Kufic font, in its final form and its presence on the surfaces of pottery or ceramics that need a proportional scale, and here the work becomes formal form From the images of letters, but "displacement" began to produce the method that came with it and to complete everything related to this type of Arabic calligraphy and its decoration to announce that there was no fixed scale when adding it to the arts of ceramics. Especially the Islamic one.

Delphine Jacob

In 1946, after the Second World War, the general State planning commission (le commissariat général du plan, CGP) was created by General de Gaulle to manage economic and social planning and projects for the urban development of the country. This policy favoured rental accommodation for the social sector, resulting in the massive construction of huge social housing complexes in the form of bars or tower blocks. In this context, Pierre Guariche, an interior designer, became involved in the realisation of major public projects of interior design. With these large scale urban projects, the State provided this designer with many opportunities, the planning policies of the Fifth Republic constituting a favourable economic situation for Pierre Guariche, who was able to orient his work towards new architectural projects of economic prosperity, such as prefectures. In the mid-1960s, André Malraux, minister for the arts, commissioned the architect Guy Lagneau to design the prefecture of the Essonne department. On the architect’s suggestion, Pierre Guariche with his collaborator Alain Marcot, handled the interior fitting-out. They were faced with an original architectural challenge, which they responded to by creating different zones and working on their flexibility. With these spatial principles, they designed modern areas which reflected the authority of the State. This project was part of the ‘1 % artistic’ programme, with a legal obligation of giving public constructions decorative elements. In his interior fitting-out Pierre Guariche marked the prefecture with signs of the State’s decentralization policies. It also became a showcase for the power of the State as a patron of arts, thanks largely to two original programmes initiated by the workshop of research and creation (ARC). This workshop created original designs especially for major public administrations, helping maintain the arts of furnishing and the decorative arts. This national support also offered an opportunity to explore new technologies and new materials. The thirty-year boom after the Second World War, with all its public institutions to modernise, offered Guariche the opportunity to fit out areas frequented by the general public, promotional showcases for culture of the Fifth Republic. Thus, the prefecture of Essonne represented for Pierre Guariche an opportunity to collaborate on an original programme for his agency, and also to benefit from the workshop of research and creation (ARC) of the Mobilier national. Art enabled him to remove the sacred aura of this State institution which henceforth had to be open to all French citizens and to improving their living conditions.

Elizabeth Pergam

With the discovery of the register for Sir John Charles Robinson’s sale, held at the Hôtel Drouot in Paris 7–8 May 1868, it is now possible to shed light on the dispersal of this Victorian curator’s early collection of paintings and drawings. By examining the objects in the sale, who bought them, and how they were written about, we are able to correct earlier misperceptions of Robinson and his career at this moment, as well as draw broader conclusions about the role of the curator, the art market, and cross-channel relationships. Robinson stands as an exemplar of the recognition of curatorial expertise in the connoisseurship of paintings, drawings, and decorative arts at a period of rapid museum growth and concomitant shifts in the market for works of art both in Britain and the Continent.