Hasil untuk "Decorative arts"

Сангаджиева, Д.В.

Исследование посвящено анализу художественного наследия сценографа Владимира Доржиновича (Дмитриевича) Ханташова (1932–2001), заслуженного деятеля искусств Калмыцкой АССР, члена Союза художников СССР. Материалом послужили произведения из собрания Национального музея Республики Калмыкия и частных коллекций. Деятельность Владимира Ханташова как художника театра, а позже и как режиссера, мало изучена, поэтому требует внимания исследователей. Мастер был первым представителем калмыцкого народа, получившим художественное образование в Ленинградском институте театра, музыки и кинематографии, а также окончившим обучение на Высших режиссерских курсах при ГИТИСе (РАТИ). В статье рассматривается влияние элементов композиционного и колористического решения, характерных для калмыцкого народного изобразительного искусства, на проекты художественного оформления спектаклей сценографа В.Д. Ханташова. На основе музейных и частных коллекций, архивных источников в статье впервые восстановлена хронология творческой биографии, изучен ранний период жизни художника, отмечен значительный вклад в историю развития сценографии и театрально-декорационного искусства в 1960–1990-е годы в Калмыкии. С применением системно-исторического подхода и сравнительного художественно-стилистического анализа произведений в статье доказывается, что изобразительный язык сценографии В.Д. Ханташова базируется на синтезе традиций российской школы театрально-декорационного искусства с элементами буддийской иконографии, принципами декоративно-прикладного искусства калмыков, знанием калмыцкого устного народного творчества и ойрат-калмыцкой письменности «тодо бичиг». В активной художественно-выставочной деятельности Владимир Ханташов как автор станковых живописных произведений проявляет интерес к маркерам национальной идентичности, делает визуальные акценты на народном костюме и орнаменте. В статье впервые вводятся в научный оборот ранее не опубликованные эскизы декораций и костюмов из музейных и частных собраний.

Sónia Moura

The Batalha cinema in Porto, designed by the architect Artur Andrade (1913-2005), is considered by architectural historians as a paradigmatic work of the Modern Movement in Portugal. Opened in 1947 after the end of the Second World War and in the context of a politically repressive dictatorship, the building comprises solutions characterised by their surprising formal audacity, showing that Portuguese architects were perfectly up to date in their mastery of the codes of the international Modern Movement. Its modernity is apparent above all in the use of new materials and new techniques and has its symbolic corollary in the immense glazed curve of its façade, offering an emblematic public image of visual power that is as surprising as it is dynamic. Associated with this modern technique, the cinema also incorporates a decorative grammar infused with the Art Deco values, to be seen in the hierarchical composition and in the stylistic choices of an ornamental nature. The plastic and playful potential of noble materials is underlined by the detailed design of the furnishings, the flooring and in a more apparent way, in the treatment of surfaces where various plastic interventions compose an exuberant scenography, realising the Gesamtkunstwerk (total work of art) that the avant-gardes advocated, and that the critical revision of the Modern Movement proposed to recover. The tendency to take great care in design and to pay attention to the slightest detail came from the teaching methods used in the Beaux-Arts school of Paris and applied in the fine arts schools of Portugal, where Artur Andrade was trained. The Batalha is thus an incarnation of the coexistence between, on the one hand, the desire to apply the modern lessons to which Portuguese architects subscribed and, on the other, the persistence of academic values in their training. Based then on this example of the Batalha cinema, this article is a reflexion about the way Art Deco aesthetics impregnated the earliest works of the Modern Movement, but with local variations. The aim is to contribute to an enlargement of the discussion about the reception of modernism in peripheral countries.

Jennifer Van Horn, Natalie E. Wright

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.

M. A. Essuman, D. Adom, Isaac Asare-Aboagye et al.

In Ghanaian culture, our predecessors' perception of symbols and meanings hold profound significance, reflecting the rich cultural traditions and beliefs embedded in the society's heritage. The perception of symbols in Ghana's cultural traditions depicts the visual language communicating history, values, and identity. Symbols in Ghana are generally perceived to be merely decorative and not recognized as carriers of deep meanings, handed down through generations, encapsulating stories, proverbs, and spiritual beliefs. There is a need for indigenous communities to be involved in the creation and interpretation of cultural symbols, especially those inspired by Adinkra symbols in Ghana. This study aims to describe the meaning of symbols rooted in Ghana's rich cultural traditions by creating designs and meanings based on inspirations from Adinkra symbols. The study employed phenomenology and creative arts-based research methods under the qualitative research design. Personal interviews and focus group discussions were used in data collection, and participants were purposively sampled based on their experiences with the newly created Ghanaian cultural symbols. The study results showed the perceptual gap between the actual meanings of the symbols and what the respondents meant by interpreting these symbols through the lens of their cultural upbringing, historical knowledge, societal values and the new symbols as a continuation of Ghana's rich cultural heritage, bridging the past with the present.

S. Azizah, Hikmah Maulani

This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values ​​and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.

X. Tian, Xiaodan Liu, Cheng Lu

Abstract: This study employs grounded theory methodology, utilizing open coding, axial coding, and selective coding techniques, to conduct a systematic analysis of Pang Xunqin’s “Chinese Decorative Pattern Collection.” A theoretical framework is constructed to explore the fusion of traditional Chinese patterns with modern decorative art design. As a pioneer in this domain, Pang Xunqin’s oeuvre not only bridges historical gaps in Chinese decorative arts, but also offers innovative insights for the progression of contemporary Chinese art and design. The coding analysis of the study reveals the adept integration of traditional patterns into modern design practices by Pang Xunqin, thereby enhancing cultural identity and artistic vigor. Additionally, a dynamic model is introduced, charting innovative pathways for the modern evolution of traditional patterns and fostering their global cultural dissemination and innovation. This model enriches our comprehension of the amalgamation of tradition and modernity and presents a novel perspective for the observation and application of traditional culture in contemporary settings.

Martin Zach, J. Tauber, P. Dohnal et al.

Using modern methodologies in the sectors and subareas of industrial design, where they currently find only marginal application, brings a potential for interrelating technology, the arts, and fine arts. To illustrate this, we present model procedures and options for designing a versatile storage cube that integrates magnetic structural components facilitating easy and quick assembly. In addition to being an item of real furniture, portable and readily convertible into a table or soft stool, the cube supports children’s creative games and helps to develop their overall skills in the present-day household and in pre-primary and primary education. The basic material rests in birch plywood, and the joint edges between the individual walls are covered with smooth plastic guards manufactured via additive 3D printing from corn fodder-based filament. Thus, an interesting structural detail, namely, plastic edges, is generated, reinforcing the entire product. The walls comprise decorative, multicolor, polyurethane foam-based elements that can be removed and reinserted. Regarding the manufacturing technology, CNC machining and laser shaping are widely employed on the main parts, and the plastic edges are 3D-printed. In terms of the original idea, the product responds to customer requirements within a specific design project. The robustness and stability tests have proved that the cubes fully satisfy the relevant standards.

Dea Dwi Atika, Mita Atiiqah Br Ginting

The art of calligraphy has become an integral part of Islamic art and architecture, reflecting the richness of cultural and spiritual values in Islamic society. This research aims to explore the influence and role of calligraphy in shaping Islamic cultural identity through art and architectural design. In this study, we conducted a comprehensive literature review on calligraphy as an Islamic cultural art and architecture. The results show that calligraphy is not only a decorative element, but also a means to convey religious and philosophical messages to Muslims. The use of calligraphy in Islamic architecture creates a spiritual atmosphere and distinctive visual beauty. Calligraphy also plays a role in strengthening Islamic cultural identity and enriching the heritage of Islamic fine arts. It is hoped that this research can be a valuable reference source for researchers, artists, and architects in understanding and appreciating the richness of calligraphic art in the context of Islamic culture and architecture.

A. Mangieri

The Athenian vase painter Exekias, on his gaming amphora in the Vatican (Musei Vaticani 16757), embellishes the cloaks of Achilles and Ajax with stars, rosettes, swastikas, and other motifs. Although long admired, these historiated textiles have been overlooked by scholars as merely decorative rather than iconographic. But analysis of Exekias’ textile decoration yields new insights on a well-known vase and offers a case study for a poetics of dress in vase painting that transforms our understanding of ornament and storytelling in Greek art. Mapping the place of the cloaks’ adornment within the genealogy and context of such imagery in epic poetry, elite traditions, magical practices, and Near Eastern and Italian art reveals how Exekias’ decorative idiom conveys meaning and enhances his portrait of the two heroes. This article explores how Exekias’ fictive dress ornament evokes epic traditions, appropriates the authority of Near Eastern luxury arts, reflects knowledge of textile traditions in Italy, activates knowledge of the cosmos, and conjures magical associations. Ultimately, Exekias employs the decoration of dress to expound on the characters and fates of Achilles and Ajax and to offer an exegesis on the nature of the hero.1

Uliana Shcheviova, Karol Wysznacki, Alexander Serafin

The special role in shaping the entrance spaces of buildings, their artistic expressiveness belonged to decorative art, as architects used such materials as artistic wood, artistic metal, artistic glass, artistic ceramics, artistic paintings, sculptural forms, decorative stone and other elements for decorating entrance spaces. Sometimes, one motif could be the main focus in the decor of entrance spaces, echoing with artistic paintings, decor on ceramic tiles, etched pseudo-stained glass, supraports and wrought ironwork of stair railings according to the principle of interaction of arts. However, there are cases of staircases, artistic paintings or stained-glass windows that are not continued in the patterns of ceramic tiles, decor of walls and ceilings, railing enclosures, or artistic solutions of entrance gates. In such cases, these decorative elements act as an accent in the interior. Natural studies allow to systematize the typology of doors based on a number of characteristics: material of manufacture, stylistic execution, principles of decorative solution, location of artistic decoration, type of ornament of wrought iron grilles and so on. However, alongside negative examples of the state of entrance spaces, there is also positive experience of their preservation and restoration.

Ghada Bouzguenda

Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of sustainable installation from the word. Therefore, peer-reviewed articles and online resources were used to analyze sustainability, awareness, and environmental values associated with eco-public art and sustainable installations in order to inspire other directions, such as a dialogue between art and the public, landscape architecture, and environmental sustainability through public art. Despite landscape architecture studies are often focused on sustainability; however, there is little research on how to create durable installations through the synergy between art, design, and architecture. Based on the analysis of selected projects using a combination between art, design, and architecture concepts, to create an eco-installation in the urban space, it was highlighted that, during the early phases of promoting the green city concept, Eco-Public Art promotes visual support, tools, and the form of knowledge. All the analyzed sustainable projects were developed to demonstrate the best approach to public art because of their attitude and behavior toward the major issues.

Nova Rina Wati, B. Parmadie, Pebrian Tarmizi

AbstractThis study aims to describe the process and decorative drawings on a wooden cutting board in class III B Public Elementary School 04 Bengkulu City. The types and methods are qualitative research and descriptive methods with participatory observation techniques. The subjects in this study were students of class III B Public Elementary School 04 Bengkulu City, totaling 30 people. The research instrument is a human instrument. Data collection techniques using observation, interviews, and documentation. Data analysis is performed by analyzing the data then displaying the data, data condensation and drawing conclusions. Data analysis of the work is discussed by looking at the elements of fine arts and the principles of art. The research results obtained by researchers are that of the 15 students' work there are plant motifs, animal motifs, stylation motifs, and geometric motifs. The process of making decorative artwork on a wooden cutting board by students begins with preparing tools and materials, giving basic paints, making design motifs, and coloring the motifs as a solution. The works of decorative drawing on wooden cutting boards have used fine arts elements and fine arts principles. but the dark light element is not used. Kata Kunci: Descriptive study, Decorative drawing, wooden cutting board.

Ulya Ainur Rofi’ah, Dewi Safitri, Nur Khotimah

This research discusses the implementation of decorative drawing activities in the context of developing AUD creativity. Creativity is an important aspect of children's development, and visual arts, especially drawing, has been recognized as an effective means of stimulating their creativity. This study uses the literature study method to collect and analyze various sources of related information. The results of the analysis show that decorative drawing activities make a significant contribution in improving children's abilities in creative thinking, developing fine motor skills, increasing self-confidence, and expanding their social and emotional abilities through interaction in groups. Practical implications of this research include further integration of visual arts activities in AUD education curricula, adequate training for educators, collaboration with parents, and continued research to deepen understanding of the benefits of arts activities in child development. Thus, this research provides a strong foundation for improving AUD education through a holistic approach oriented towards developing children's creativity.

F. A. Kassan-Ogly, A. V. Zarubin

In this paper, we performed the comprehensive studies of frustration properties in the Ising model on a decorated square lattice in the framework of an exact analytical approach based on the Kramers--Wannier transfer matrix method. The assigned challenge consisted in finding rigorous formulas for residual entropies of all possible frustrations without exception and elucidating the influence of frustrations on the behavior of the thermodynamic functions of the system under discussion. The accomplished results turned out to be very rich and intricate, especially in comparison with the original undecorated square lattice, in which frustration properties are completely absent. Such an abundance of properties is due to the multiparametric problem of decorated lattice with four exchange interactions $J_{x}$, $J_{y}$, $J_{dx}$ and $J_{dy}$ taking on arbitrary continuous values and different signs: positive (ferromagnetic) and negative (antiferromagnetic), as well as with two discrete variables $d_{x}$ and $d_{y}$ (multiplicities of decorating spins in both lattice directions), corresponding to infinite natural series of numbers.

Diaa E. Habibi, Gert Aarts, Lingxiao Wang et al.

The probability distribution effectively sampled by a complex Langevin process for theories with a sign problem is not known a priori and notoriously hard to understand. Diffusion models, a class of generative AI, can learn distributions from data. In this contribution, we explore the ability of diffusion models to learn the distributions created by a complex Langevin process.

Ghulam Hazrat Hassas

The craft and art of plastering has played an important role in internal and external spaces of historical and modern constructive components. This elegant industry is always flaunted on walls and ceilings to take part in decoration of the monument. Plastering is another field of decorative, which is used along with other kinds of decorative arts such as tile, sculpture and woodcarving, that are often over seen in modern and classic buildings nowadays. Goal: The assessment is on cornice engraving methods and its designs in Herat Buildings and complexes. This article stated various methods of engraving on gypsum, as well as designs applied by this art and craft in Herat buildings in a clear and comprehensive way. The research method is based on library and field studies. In library methods the focus is on using of authentic scientific reference books and field studies methods is an emphasis on observation and taking photos of gypsum decorations by the researcher, applied on modern and classic buildings of Herat. And finally the results of the study show that art and craft of plastering in Herat buildings and complexes has been applied in various positions by different methods while containing variable decorative elements.

Marloes Arts, Jes Frellsen, Wouter Boomsma

After the recent ground-breaking advances in protein structure prediction, one of the remaining challenges in protein machine learning is to reliably predict distributions of structural states. Parametric models of fluctuations are difficult to fit due to complex covariance structures between degrees of freedom in the protein chain, often causing models to either violate local or global structural constraints. In this paper, we present a new strategy for modelling protein densities in internal coordinates, which uses constraints in 3D space to induce covariance structure between the internal degrees of freedom. We illustrate the potential of the procedure by constructing a variational autoencoder with full covariance output induced by the constraints implied by the conditional mean in 3D, and demonstrate that our approach makes it possible to scale density models of internal coordinates to full protein backbones in two settings: 1) a unimodal setting for proteins exhibiting small fluctuations and limited amounts of available data, and 2) a multimodal setting for larger conformational changes in a high data regime.

Tommi Tommi, Acep Iwan Saidi, Thirathep Chonmaitree et al.

In utilizing the Halodoc application, there is a communication gap between direct speech communication and communication through the application. Through Roland Barthes' semiotic method, this research attempts to examine this problem and propose an alternative solution in the form of emoji humanization. Heidy's emoji structure is indeed synonymous with the Halodoc logo. Meanwhile, according to the connotative analysis, you can see the emoji visualization whose characters are identical to today's human characters. This character is characterized by expressions and facial expressions that look cheerful and friendly. This study concludes that there are a number of indicators of success in composing humanist emojis and still referencing the main logo identity. In the principle of emoji design, structurally it must be dominated by a shape similar to the original logo. The addition of mimics, expressions, limb movements, and body movements itself must represent the true expressions of humans who provide health ordering services. Thus, emojis are more attractive, interactive, and communicative. As confirmed by various studies, this intimacy between users and emojis that looks humanist has proven to strengthen customer trust in services.

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

The artists of Islamic civilization excelled in the art of architecture in all its forms, because they understood well the models of architecture and interior design in previous civilizations and then developed them in proportion to their doctrine and religion, and then, they created their own Islamic model, Perhaps the exterior and interior design of the palaces architecture, derived from the arts of Islamic civilization in all its historical ages, was and still is a distinctive mark and a prominent value appreciated by every artist, historian or even an ordinary man who loves the arts such as Prince "Mohamed Ali Tewfik", this prince who loved art and made his palace (Al Manial Palace) a masterpiece and real living image, free from any distortion for artistic and architectural models that`s we not contemporary for it, but it moved to us, so all the Palace components were characterized by artistic and aesthetic characteristics that truly expressed the aesthetics of the philosophical thought of Islamic arts.The artists of Islamic civilization have provided different aesthetic solutions, that differ from the aesthetic ideas prevailing in previous civilizations, which can be considered a fundamental and radical change of aesthetic thought, That thought which came as a rise in creativity inspired by the doctrine of monotheism, and through the forms of units and architectural and decorative elements (geometric and natural) which came abstract and even not abstract from them was subjected to formulations and was Integrated into formations that do not target the direct form in the creation of the design, but It targets the underlying abstract system expressed by this design.From this point of view, the aesthetic evaluation for elements of the interior design in the reception hall (Fountain Hall) in the residence compound of Prince "Mohamed Ali Tawfik" in the palace indicates, that this void contains the following aesthetic values ) repetition - rhythm - abstraction - unity and diversity – color - proportions and proportionality - formal stability - contradiction - diversity and pluralism ) which characterized Islamic arts.