Hasil untuk "Decorative arts"

Zhongwei Wang, Ruyue Zheng, Jian Tang et al.

Traditional Lingnan gardens, one of the three major types of Chinese garden design, have evolved over nearly a millennium, embodying the distinctive craftsmanship and aesthetic sensibilities of the Lingnan region. The architectural elements of doors and windows in these gardens serve as key expressions of regional cultural identity. This study focuses on four renowned Lingnan gardens (e.g., Yuyin Garden in Guangzhou, Liang Garden in Foshan, Qinghui Garden in Shunde, and Ke Garden in Dongguan) as primary case studies to examine the typologies, decorative characteristics, and aesthetic qualities of their doors and windows. Based on aesthetic imagery, the research elucidates both the functional and structural principles governing these designs, while also exploring their aesthetic resonance with traditional Chinese arts, such as calligraphy, painting, and poetry. By deepening the theoretical understanding of the formal and artistic features of Lingnan garden doors and windows, this study contributes to advancing the scholarly discourse on traditional garden architecture and supports the ongoing cultural preservation of this important heritage.

Nawal Abdulrahman Alghamdi, N. Al-Ashwal

This study explores the sustainability of Islamic decorative arts by examining the symbolic, cultural, and spiritual dimensions of botanical decorations in Makkah’s architectural heritage. Grounded in Carl Jung’s theory of the collective unconscious and Lamya Al-Faruqi’s philosophy of Tawhid, the research uncovers the profound psychological and spiritual meanings embedded in these motifs. Employing a qualitative methodology, the study integrates symbolic analysis, cultural interpretation, and historical documentation, supported by digital design tools, to assess the relevance of these decorations in contemporary urban contexts. Findings reveal that botanical motifs, such as palm trees and pinecones, reflect universal archetypes of resilience and growth while symbolising divine unity through abstraction and harmony. The research highlights their integral role in architectural structures and their potential in cultural tourism and educational initiatives. However, challenges such as urbanisation necessitate urgent documentation and innovative preservation strategies. This study offers valuable insights into sustaining Makkah’s architectural identity by bridging psychological and philosophical perspectives. Its recommendations align with Saudi Vision 2030 and global sustainability goals, advocating for the revival and integration of these motifs into modern urban design to ensure the continued appreciation and recognition of Makkan architectural heritage.

Andrii Tarasenko, Olga Tarasenko

The study aimed to reveal the individual interpretation of Lesya Ukrainka's drama-feerie in the painting by R. Petruk “Forest Song”. Hermeneutical, comparative, iconographic, iconological, historical and cultural methods were used. The correlation between the content of the drama and the mythopoetics of the pictorial image was analysed. The panel painting was studied concerning the theme of earthly and heavenly love in world art. The study analysed the nature of personification of images of natural elements; the conventionality of pictorial and spatial solutions; and the role of attributes in the creation of artistic images. The importance of the heritage of Ukrainian Baroque and world monumental, decorative and easel art in the creation of the personal style of the work was investigated. The compositional and plastic solution of the canvas was analysed. The creative method of R. Petruk was studied in the context of the school of M. Storozhenko and the National Academy of Fine Arts and Architecture. The study revealed the relationship between the metaphysical nature of Mr R. Petruk's painting “Forest Song” and the nature of Volyn. The innovative approach to creating a synthetic image of a drama-feerie by visual means was demonstrated. The individual nature of perception and interpretation of a literary work was highlighted. The traditions of national and world art, on which the artist relies, were revealed. The key role of the flute in the symbolism of the panel painting was demonstrated; the leading role of music in the harmony of the universe was determined. The author revealed the deep interconnection of the images of Lukash, Mavka, and Lesya Ukrainka with the mythological hero Orpheus. The study traced the common features of Mr. Petruk's painting with the theatre curtain and the Baroque iconostasis. The study emphasised that the peculiarity of R. Petruk's composition is the monumental and decorative mode. The study results are relevant for teachers and students of artistic educational institutions, in lecture courses on the history of Ukrainian art and music culture; for artists, cultural critics and art historians in creating a history of contemporary monumental and decorative art.

Zulkifli, Wahyu Tri Atmojo, G. Kartono et al.

Abstract The Malay ethnicity in North Sumatra is rich in artistic traditions, including visual arts. Malay aesthetics, encompassing high aesthetic values, are commonly expressed through applied arts such as decorative motifs, traditional attire, and everyday objects. These Malay artistic expressions serve as the basis and reference for the creative exploration of North Sumatran painting art. This article examines how aesthetic transformation is revealed in the efforts to preserve Malay visual cultural forms. The socio-cultural approach is presented descriptively and qualitatively, emphasising the appreciative aspect. The methods employed include observation and creative endeavours, with the inventive method referring to Graham Wallas’s theory of creativity. Aesthetic evaluation from audience responses was obtained through observation. The conclusions drawn from the study are as follows: 1) Malay ethnicity, as a traditional identity, is manifested in the aesthetic transformation of its visual culture, transitioning from functional aesthetics (applied art) to pure expressive aesthetics (fine art); 2) Aesthetic transformation gives rise to new values through elements of concept, form, utility, and iconography; and 3) Aesthetic transformation impacts the strength of North Sumatran painting art and contributes to the resilience of local culture.

Mufti Riyani, Hanafiah Hanafiah, Dian Kusumawati

The low level of students' knowledge and understanding of their social and cultural environment, as well as their historical identity, necessitates a concerted and collaborative effort. One indicator of this limited knowledge and understanding of Aceh’s historical and cultural identity is the inadequate awareness among both teachers and students regarding their region’s decorative arts. In the partner schools, this is evident through the limited creativity displayed by teachers and students in producing the Projek Penguatan Profil Pelajar Pancasila (P5) with a local wisdom theme. Furthermore, schools face challenges in comprehending the steps required for P5 implementation, alongside difficulties in integrating technology within the project. This Community Service initiative aims to address these issues by integrating a conservation model of Acehnese decorative arts with the application of Batik Samudra technology in the P5 theme at SDN Alue Buloh, East Aceh Regency, aligning with the specific challenges faced by partner schools. The method used is training and mentoring The steps undertaken in this community service project adhere to the stages of P5 implementation within the school setting, which include: 1) Introduction or conceptualization, 2) Contextualization, 3) Action, and 4) Reflection. The outcomes of this initiative are not only the creation of Batik Samudra derivative products but also the enhancement of teachers' understanding and skills in P5 implementation. Additionally, there has been notable improvement in students' understanding and appreciation of Acehnese decorative motifs and batik as part of world cultural heritage. This Community Service has had an impact on the ability of partner schools to implement the Strengthening Pancasila Student Profile Project ideally, especially with the theme of local wisdom. The ability to identify and explore local decorative varieties is an indicator of P5's contextualization ability, while Sigeupah Buloh batik work is a skill and ability in the action and reflection stages.

Élisabeth Caude

While Josephine’s (1763–1814) passion for the decorative arts, fashion and furnishings is well documented, her taste for furnishing fabrics is less so. It is therefore interesting to analyze the textiles chosen for Malmaison, a private residence on the outskirts of the imperial residences: falling outside the scope of orders from the Garde-Meuble Impérial, the textile deliveries reveal more about the personal taste of the mistress of the house, Josephine. Throughout the successive furnishings, woollen sheets and cassimere – references to antique and military sobriety – predominate. The silks and silk velvets, which were less numerous but took pride of place, were reminiscent of the pomp and etiquette displayed by the imperial couple in Crown residences. While cotton and its combinations (coutil, toile, basin, nankin and percale) evoke a hierarchical simplicity throughout the château, muslin, so much appreciated by Josephine, can be seen as a reminder not only of the Antilles but also of femininity.

Ligia Ciornei

This article offers an epistemological and performative reflection on mixed reality (MR) as an emergent language uniting art, technology, and cognition. Expanding on David Nelson’s notion of MR as a site of shared agency and ethical co-presence, it contrasts “unimodal” and “transmodal” universes through examples from cinema, immersive theater, and humancomputer interaction. Drawing on research from the USC Institute for Creative Technologies, the study situates MR as a dramaturgic environment enabling empathic adaptation. Ultimately, it proposes MR as a new expressive grammar–an evolving “language-system” redefining narrative, perception, and presence at the intersection of aesthetics and ethics in the digital age.

Natalya I. Voronina, Irina L. Sirotina

Introduction. The article explores the phenomenon of the ethnocultural identity space in the Erzya village of Podlesnaya Tavla, located in the Kochkurovsky District of the Republic of Mordovia. The village’s natives have embodied their “Tavlian identity” in various forms and types of artistic practices. While the works of individual Tavlians have been featured in exhibition reports and occasional publications, no comprehensive study has yet been produced to holistically present the cultural layer of creative endeavors by Tavlian artists, musicians, and woodcarvers. The aim of this research is to examine the uniqueness of Podlesnaya Tavla as an Erzya village, which lies in its preservation of ethnic cultural traditions and meanings. Materials and Methods. The study was conducted at the intersection of cultural studies and art history (incorporating data from ethnography and psychology). The research follows a comprehensive interdisciplinary approach, examining the “Tavlinsky color” in the realm of folk art through cultural paradigms and categories, employing a semiotic framework. The article is based on the principle of systematicity, which determined the selection of relevant research methods (descriptive and explanatory, methods of systemic analysis and comparison in working with ethnographic sources and artifacts). The study also employed general scientific methods, including phenomenological, integrative, comparative-historical, and axiological approaches. Results and Discussion. As part of the study on the forms of creative activity among the natives of Podlesnaya Tavla, markers of their ethnocultural identity were identified. The research revealed the forms of artistic products, materials, manufacturing techniques, and foundational principles in wood carving; melodic and genre features of Mordovian songs performed by the ensemble Torama were determined; and the distinctive style and artistic works of painters living in Podlesnaya Tavla were analyzed. Their art is rooted in the poetic representation of Tavla culture and their native Erzya ethnicity. For the first time, the article highlights the diversity of Tavla’s cultural color within the broader Mordovian region and traces the transcriptions of ethno-identity in the works of Tavla artisans. Conclusion. In the works of contemporary Tavla artists, a transition from a folkloric worldview to a professional mindset is evident, which is reflected in the emergence of new creative trends – ethnosymbolism and ethnofuturism. The conclusions drawn by the authors contribute to the development of national humanitarian thought and to the understanding of ethno-identity and the unique character of artistic ethnoculture. The materials of the article can be used in conducting semiotic research across various fields of visual and decorative-applied arts.

A. Hamoud

This study investigates the artistic characteristics in the works of the ornament designer Riqqat Qunt .The research problem is framed around a central question: What are the defining artistic characteristics in the works of Riqqat Qunt? The primary aim is to examine the most prominent artistic features in her creations within the field of Islamic ornamentation, with a focus on identifying the technical attributes of the compositional systems and formal structures employed in her decorative practice. The findings are anticipated to offer valuable insights for ornament designers, calligraphers, and scholars of Arabic calligraphy and Islamic decorative arts. The theoretical framework addresses several key themes: the essence of decorative art; the conceptual design approach in constructing ornamental compositions; the diversity of techniques and materials evident in Qunt body of work; and the formal organizational strategies she applies in the execution of her designs. Methodologically, the study adopts a descriptive–analytical approach, examining a research population of (20) works produced by Qunt across a range of materials. From this population, (2) purposively selected samples were analyzed in detail.

Valentyna Molyn

Vasyl Dutka in the Contemporary Cultural and Artistic Space. The article examines the artistic activity of Vasyl Yakovych Dutka — Honored Artist of Ukraine, member of the National Union of Artists of Ukraine, and Associate Professor at the Department of Fine Arts and Academic Disciplines of the Kosiv State Institute of Decorative Arts. The year 2025 marks a significant milestone for the artist and educator, as Vasyl Dutka celebrates his 60th anniversary, accompanied by substantial creative achievements. For over three decades since graduating from the Lviv State Institute of Applied and Decorative Arts, Dutka has consistently advanced along his artistic trajectory. He represents both the Kosiv State Institute of Decorative Arts and the Kosiv Regional Organization of the National Union of Artists of Ukraine with distinction within the national and international art arenas. The aim of this study is to analyze the artistic oeuvre of contemporary Ukrainian artist Vasyl Dutka as an important component of the modern cultural and artistic process. The article outlines the principal directions of Dutka’s creative practice (painting, sculpture, and graphic art), identifies the thematic dominants of his work, reviews his long-term pedagogical activity, and examines his participation in the cultural life of Ukraine, as well as his notable contribution to the development of Polish–Ukrainian cultural relations. Particular attention is paid to his artistic collaboration and achievements in fostering cultural exchange between Poland and Ukraine, specifically those associated with Jan-Ignacy Paderewski, the renowned Polish composer of Ukrainian descent. The research methodology relies on systemic analysis, methods of systematization and generalization, and art-historical analysis. The article traces Dutka’s involvement in international art projects and national exhibitions, as well as his organization of numerous solo exhibitions, which testify to his dynamic exhibition activity. Dutka continues to work actively as a painter, depicting the life, everyday practices, and distinctive cultural identity of the Hutsul community. His large-scale canvases, marked by expressiveness and decorativeness, have become a recognizable artistic signature at solo exhibitions in Ukraine and abroad (Poland, France, Greece, the United Kingdom). Dutka’s sculptural oeuvre includes monuments, multi-figure compositions, sculptural busts, and memorial plaques with bas-reliefs dedicated to prominent figures of Ukrainian culture. Throughout his artistic and pedagogical career, Vasyl Dutka has produced several series of graphic works executed in diverse techniques. The article presents his latest series of graphic pieces, «Our Students — Defenders of Ukraine.» The scholarly novelty of the research lies in its comprehensive presentation of Dutka’s multifaceted artistic legacy and in the identification of his role within the contemporary cultural and artistic space. Future research prospects include systematic analysis of his sculptural works.

L.I. Nekhvyadovich, A.S. Neborskaya

The article analyzes the unique collection of decorative and applied arts of the National Museum of the Altai Republic named after A.V. Anokhin, formed in 1918. The collection is based on the acquisitions of the Karakoram-Altai District Council under the direction of artist G.I. Choros-Gurkin. The collection includes both integral complexes and separate ethnographic collections covering the various aspects of material culture of the peoples of the Altai Republic, including clothing, household items, ceramics and jewelry. Special attention is paid to the artistic features of the belt buckle collection, which are considered important artifacts reflecting the aesthetic and cultural codes of the Turkic peoples of the region. The authors of the article analyze the basic techniques and materials used by the craftsmen in the manufacture of belt ornaments, as well as the symbols and cultural meanings embedded in these products. The variety of shapes, ornaments and decorative elements is investigated, which makes it possible to identify the characteristic features inherent in the Altai culture. Belt buckles are considered as part of the complex of women’s jewelry of the Turkic peoples, created at the beginning of the 20th century. They not only perform a functional role, but also represent significant cultural artifacts reflecting the aesthetic preferences and identity of the Turkic peoples. Artistic features of belt buckles include simplicity and logical shapes, as well as expressive ornamentation represented by floral, geometric and zoomorphic types of decoration. The buckles are characterized by symmetrical shapes and harmonious proportions, which gives them visual integrity and completeness, emphasizing their importance in the context of the study of decorative and applied arts and cultural heritage of Altai.

Lingxiao Zhang, Tao Shen

This study confronts the ambiguous concept of sustainability within contemporary art and design, seeking to define and operationalize it through an interdisciplinary lens. By synthesizing philosophical, technological, and artistic methodologies, this research utilizes qualitative analysis and detailed case studies to evaluate the sustainable attributes of modern decorative arts. Focusing on the integration of nature and technology, the investigation spans various artistic disciplines, critically assessing their contributions to sustainable practices. The results indicate that an innovative use of materials and avant-garde design approaches significantly advance sustainability, highlighting the role of contemporary art in promoting environmental consciousness and sustainability in policy-making. Conclusively, in this paper, a paradigm shift in art and design education and policy is argued for, advocating for a proactive engagement with sustainability that extends beyond traditional artistic boundaries, thus providing a framework for future sustainable development strategies in the arts. This study offers a comprehensive model for understanding and implementing sustainability that could influence future artistic and educational practices globally.

Nieta Hidayani

Traditional weaving has long been an integral part of Indonesia's cultural heritage. However, over the years, this art form has not only been used to make traditional clothing. However, it has also been applied in various other fields. This research aims to understand the history and cultural context of the art of weaving, examine the techniques and materials used, encourage sustainable use, bridge between generations, and identify threats and challenges facing the preservation of traditional weaving arts. The method used in this research is qualitative research, where the author observes local weavers at Penenun. The ages of these weavers range from teenagers to adults. This is then continued with a study of social theory and a literacy study of related phenomena regarding traditional weaving arts which are applied not only to clothing as part of efforts to preserve the nation's cultural heritage. This article analyzes how weaving can be applied in various fields, such as decorative arts, interior design and other products. This shows the flexibility and relevance of weaving in a modern context. The conclusion of this article reflects hope for the future of traditional weaving arts.

Gregorius Neonbasu, Reginaldo Christophori Lake, Pilipus Jeraman et al.

This study aims to discuss the role of an anthropological perspective in architecture as well as structural reflection on the dynamics of architecture in relation to society. An anthropological lens can be used to study architecture as a manifestation of human culture to understand betterthe complex interactions between humans, the environment, and social structures. This research takes an anthropological approach to understanding architecture and investigates the dynamics of architecture as a cultural product influenced by social, technological, economic, and political changes. An analysis of the physical structure of architecture that reflects social structure, symbolism, and representation in architecture as a reflection of society is used to explain structural reflection. Case studies encompass vernacular, religious, colonial, and sustainable architecture. Understanding architecture from an anthropological standpoint allows humans to recognize the significance of cultural identity, the preservation of traditions, and their relationship with the physical environment as an art form in development.

Guoxing Chen, Vanvipha Suneta

Abstract The monument, or the memorial, as a place of memory and emotional support, has been the focus of scholarly attention. Although existing studies have explored its space’s materialization, identity, history, and memory content, the materials about its design transformation have yet to be deeply excavated. Based on the relevant theories of place and place-making, the researchers constructed a knowledge system of the place-making model, the spatial vector pattern, and the worship behaviors of monuments. On this basis, a qualitative research methodology is adopted. Through case studies and participant observation, the design transformation of the monument/memorial is interpreted in the following five dimensions: function theme, morphology style, spatial relationship, visitor experience, and symbolic meaning. The results of this study show that the monument/memorial tends to promote in-depth public reflection and critical engagement with history, reflecting changes in how society perceives historical events. This research provides new perspectives for understanding the multidimensionality of the monument/memorial but also emphasizes the need to continue exploring its interaction with the socio-cultural context.

C. Emilia

Introduction The new type of postmodern art can be interpreted from the point of view of self expression polarized between: art - art-therapy, ludic, occupational therapy - religion. The computer becomes the new medium after the impact of television, and by integrating computers into the network, their communication function has become more prevalent than that of data processing. Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. Multimedia and mixed media technology, which has evolved into meaningful visual representations, incorporates the science behind human perception and knowledge. Objectives The purpose of art in art-therapy, in this context, is not an exercise of the already acquired knowledge upon the artistic material, but a discovery of the yet unknown. Art-based therapies, as nondirective methods, attempt to visualize past traumatic experiences and harmonize the individual with himself and with others. Methods In the preventive activities, we include all activities involving nonverbal communication and holistic engagement of people in creative activities, specific to visual arts (plastic, decorative design, and multimedia).”Beneficiaries can create their own images with which they want to interact, to arrange their environment…We experiment with art-specific ways to make interdisciplinary exchanges and cultural interferences using the universal language of visual arts along with intercultural elements and religious ecumenism” . The child expresses various issues related to his feelings, like the search of his identity, the generated anxieties, the family and professional environment, the situations of neglect and abuse. For the same purpose, as a complement to activities in nature camps, where education/art therapy takes place in the artist’s studio, special care must be taken to create an evocative and stimulating work environment. Results We detect hidden capacities through the specific means of the visual arts with the aim of providing the freedom to follow one’s own destiny, encouraging the joy of creatively manifesting at multiple levels of difficulty in any activity. Harmonizing cultural differences develop self-esteem, tolerance, resilience, and necessary adaptation to the conditions of a multiethnic society. Image: Conclusions There is an equidistant trialogue and circular relations between art, religion, and science, without any specific supremacy. This can offer up from the start the possibility of a lasting harmonization, of information transfers and professional enhancements to support new developments, uplifting the human being through positive reorientations and beneficial recoveries. Disclosure of Interest None Declared

Albina Khayrullina-Valieva

Information about the art and design of Tatar footwear, revealed in different historical records, travel diaries, and descriptions of museum collec- tions, is of great importance. It allows us to assume a strong traditionalism of leather mosaic in the Tatar folk decorative and applied arts. This assumption is also supported by the stylistic uniformity of a large number of decorative mo- tifs, the similarity of principles in composition and colour solutions identified with the comparative analysis of leather mosaic and other traditional types of national applied art. The development of style and technical methods of leath- er mosaic can be assessed by retrospective comparison with later monuments. Wise selection of innovations has always been a wizard of classical folk art. Folk craftsmen had an amazing intuition and only features suitable for adaptation and standardisation were included in the traditional art set. Due to the histor- ical succession, the art of leather mosaic stepped over the centuries, perfecting and improving its distinctive features.

Jurij Biriulow

This article is an attempt to analyse the stylistic changes in Lviv's religious monumental painting between 1890 and 1914. The best religious buildings of the capital of the Kingdom of Galicia and Lodomeria are characterised by an intense interaction of spatial arts. Lviv painters demonstrated their ability to solve a complex artistic problem - the creation of an architectural-painting ensemble. Their decorative works were characterised by an organic connection with the tectonics and function of the buildings. Decorating the interiors of large sacred buildings with the means of mural painting concretised their purpose. Lviv’s monumental painting, often associated with sacred architecture, was caught up in the patterns of academism of the time. In competition with Academism and Historicism, Art Nouveau in the works of Stanislaw Debicki, Kazimierz Sichulski, Marian Olszewski, Modest Sosenko and other artists, along with the Neo-Byzantine school of Mykhailo Boychuk, soon began to assume the function of the avant-garde.

Bogaichuk Lyudmila , Oros Ivan , Kovalchuk Tetiana

The article highlights that in the space of modern design and artistic and creative education, in particular decorative and applied arts, the importance of paper is growing as both a creative material for modelling and for creating artistic products, and at the same time, the paper is simultaneously one of the most accessible art materials both from the viewpoint of ease of use and cost, and paper craft is an important basis for students' perception and creation of more complex artistic forms of professional art. It is noted that despite various editions, this disparity does not allow fully revealing paper-making as a conceptual whole – in the diversity of its connections with project culture, creative laboratory and design methodology in design. The purpose of the article is to reveal paper-making in the space of decorative and applied arts as well as to identify its theoretical and methodological foundations and to substantiate the role of paper-making in modern design for the formation of students' creative thinking alongside the formation of their artistic and pedagogical skills. These methods were applied and used to reveal the problem: general scientific (analysis, synthesis, generalization, systematization); scientific and specific: historical, artistic, pedagogical, psychological and approaches: systemic-structural, structural-functional, comparative, with the help of which the opinion regarding the phenomenon of paper-making is generalized, its essential content is clarified in the plane of decorative and applied arts, in modern design, and methodical methods are specified principles to the problem regarding the development of creative thinking of students specialized in artistic and pedagogical mastery. In the main content, it is noted that on the basis of methodological provisions and basic principles of traditional craftsmanship, the creative and essential foundations for decorative and applied arts are manifested, which ensures the formation of components of artistic competence and, at the same time, requires the use of students’ creative and figurative thinking. The idea of the key figurative-essential basis for paper-making is provided and it is noted that mastering the specifics of artistic imagery forms students' aesthetic ideas as well as a valuable act of understanding the world. It is highlighted that "paper plastic" also reflects the specificity of the author's approach to the study of compositional, constructive, structural and technological regularities of the work with material. In the content of the Methodological recommendations for conducting practical lessons, it is emphasized that the result should reflect the student's mastery – from the initial sketch through full-scale sketches to the design of the idea in the material. It is justified that in addition to the traditional methodical principles of education, there is a need to use certain art technologies. It is emphasized that the implementation of the developed "Conceptual Technology" in the teaching space of paper-making contributed to the decision-making process regarding the means of creating an artistic image. In the conclusions, it is noted that paper-making as a type of activity occupies an intermediate position between learning and playing and meets the conditions that ensure the effectiveness of the development of creative activity. Learning and practical work in the technique of papier-mâché using papier-mâché is important for the formation and development of abstract, associative, combinatorial, logical thinking, in the process of learning "paper-mâché" the creative thinking of students is formed and the skills of stylization and generalization are acquired, which involves the acquisition of practical experience for figurative reproduction. In the perspective of further research, it is important to consider the need to research, develop and create a model for the development of the future designer’s artistic and creative competence.

Sigit Purnomo Adi, Pande Made Sukerta, Martinus Dwi Marianto et al.

The proliferation of contemporary cafes in the Surakarta area and its surroundings has added to the increasing wheel of the economy. It is recognized that during the Covid 19 pandemic these efforts were somewhat dimmed, but after or after the Covid 19 pandemic, these efforts continued to increase. Contemporary cafe businesses, especially those that open coffee shops, mostly require something artistic, it can be in the form of decoration, appearance in arranging the room to other things. Decorations or cool language, aesthetic elements are needed to make these cafes more attractive to visitors, especially young people. Young people or children today need places to gather or hang out as well as places for selvi or making stories. Seeing this very promising business opportunity makes the author quite intrigued by this problem. Business opportunities, especially those engaged in making aesthetic elements on the walls of contemporary cafes. Based on the experience gained by the author as a graphic artist, it encourages the author to find suitable partners to be trained in the creation of graphic art works in the form of aesthetic elements, especially those using high and mini-sized printing techniques. The author finally chose the Makmur Graphic Community. This community is a community engaged in graphic studios, exhibition venues and also a place for graphic art work. The purpose of this PKM is to train and assist the Makmoer Graphic Community so that they can produce high-tech graphic art products in a mini format, as an aesthetic element in contemporary cafes in the Surakarta area and its surroundings. The choice of the Makmur Graphic Community as a partner is because this community is inhabited by very young members, besides that this community is already very present in the graphic arts arena, especially in the Surakarta area and its surroundings. Many events have been held both online and offline, it's just that this community has shortcomings, especially in the products produced. For the methodology, Asset Based Community Development (ABCD). The impact is clear that the Makmur Graphic Community is now not only able to produce works of graphic art as a medium of expression, but can also produce decorative works or aesthetic elements. The second clearly produces a significant impact in the economy because the demand for these crafts from time to time has increased. And this is very supportive of the theme of this national seminar, namely the role of universities in community empowerment in supporting progress after the Covid 19 pandemic.