Hasil untuk "Decorative arts"

Pascal Griener

In the German states of the 19th century, the slow movement towards unity made history a key scholarly discipline and accorded major importance to national history, not only for scholars but for the population as a whole. Museums thus contributed massively to an awareness of the local and national past. In Europe’s first decorative arts museums, the period room played an educational role, that of teaching the history of the decorative arts to those now producing industrial goods. Gradually, it came to contribute to cultural history as well. Although this process drew on French and English models, the period room in the Germanic territories became a tool for the museums to analyse and characterise the past in a very discerning way that had no equivalent in other European countries. As an immersive space, moreover, it was also a place for social interaction.

Bárbara Zubieta Jarén

Oscar Wilde’s society comedies are reconsidered through the lens of material culture and theatrical craftsmanship. By treating Wilde not simply as a dramatist but as an artisan who fashioned identities through objects, I argue that props, costumes, and stage conventions in Lady Windermere’s Fan, An Ideal Husband, and The Importance of Being Earnest function as agents of subversion rather than decorative accessories. Far from being ornamental, objects in Wilde’s theatre become central to the destabilization of gender, morality, and social truth. Wilde’s contemporaries often failed to recognize the radical implications of this dramaturgy, dismissing his epigrams and props as trivial. Yet these very devices anticipate modern theories of performativity and the agency of things. By situating Wilde’s comedies in dialogue with contemporaneous figures such as Ibsen, Shaw, and French melodrama, as well as with later critical traditions, this study demonstrates how Wilde’s artistry transcends the limits of Irish and British literature. His plays remain crucial not only to theatre history but to broader interdisciplinary debates on aesthetics, identity, and cultural performance. In this sense Wilde’s dramaturgy speaks in dialogue with contemporaneous figures such as Whistler and Beardsley in the visual arts, Ruskin and Morris in debates on craft, and with later theorists from Benjamin and Barthes to Latour and Butler. His works, like theirs, show how objects and surfaces become philosophical problems as much as artistic ones.

Martina Motta, GIOVANNI MARIA CONTI

The pandemic has altered human attitudes affecting common gestures: hugs, kisses, hands shaking, all the human behaviors related to touching have become dangerous, generating what scientists called “touch hunger”. If with touch we define ourselves as our form of being in the world we are in front of complex touch-related costs that make people today feel lost and distant. Starting from this premise, the research team in the knit design of ***affiliation*** has been working to relate scientific data and innovative design languages to help people in redefining and rediscover the human attitudes that connect us with others. Exploiting digital technologies, innovative materials, and tactile surfaces belonging to the world of knitwear and textiles, researchers designed an emotional and sensorial journey to guide participants in overcoming the fear of touching, finding new possible ways of being together.

Andriy Pavliv, Mariia Hereha, Inna Petrova et al.

Em tempos de mudança global e de desenvolvimento da economia criativa, o potencial intelectual e criativo do indivíduo é de grande importância. As consequências da pandemia da COVID-19 e da agressão militar em grande escala contra a Ucrânia levaram à transição do sistema educativo de um modelo de ensino tradicional para um modelo de ensino à distância. O conceito de educação artística envolve a integração das ciências físicas e matemáticas com a arte, o que permite o desenvolvimento de várias soluções alternativas para um problema. Uma pessoa com uma educação artística é capaz de analisar os problemas de forma abrangente, encontrar soluções e compreender as mudanças transformadoras no país. O sistema de ensino superior das artes forma uma pessoa criativa com pensamento crítico. As abordagens sócio-histórica, axiológica e inovadora, além de outras, são utilizadas para analisar a relação entre o ensino artístico e a digitalização, a tecnologização e a preservação de valores.

Conny Aerts, Geert Molenberghs, Joris De Ridder

Gravito-inertial asteroseismology saw its birth thanks to high-precision CoRoT and Kepler space photometric light curves. So far, it gave rise to the internal rotation frequency of a few hundred intermediate-mass stars, yet only several tens of these have been weighed, sized, and age-dated with high precision from asteroseismic modelling. We aim to increase the sample of optimal targets for future gravito-inertial asteroseismology by assessing the properties of 15062 newly found Gaia DR3 gravity-mode pulsators. We also wish to investigate if there is any connection between their fundamental parameters and dominant mode on the one hand, and their spectral line broadening measured by Gaia on the other hand. After re-classifying about 22% of the F-type gravity-mode pulsators as B-type according to their effective temperature, we construct histograms of the fundamental parameters and mode properties of the 15062 new Gaia DR3 pulsators. We compare these histograms with those of 63 Kepler bona fide class members. We fit errors-in-variables regression models to couple the effective temperature, luminosity, gravity, and oscillation properties to the two Gaia DR3 parameters capturing spectral line broadening for a fraction of the pulsators. We find that the selected 15062 gravity-mode pulsators have properties fully in line with those of their well-known Kepler analogues, revealing that Gaia has a role to play in asteroseismology. The dominant g-mode frequency is a significant predictor of the spectral line broadening for the class members having this quantity measured. We show that the Gaia vbroad parameter captures the joint effect of time-independent intrinsic and rotational line broadening and time-dependent tangential pulsational broadening. Gaia was not desiged to detect non-radial oscillations, yet its homogeneous data treatment allow us to identify many new gravity-mode pulsators.

Joni Driessen, Joost de Kruijf, Joachim Arts et al.

A Line Replaceable Unit (LRU) is a collection of connected parts in a system that is replaced when any part of the LRU fails. Companies use LRUs as a mechanism to reduce downtime of systems following a failure. The design of LRUs determines how fast a replacement is performed, so a smart design reduces replacement and downtime cost. A firm must purchase/repair a LRU upon failure, and large LRUs are more expensive to purchase/repair. Hence, a firm seeks to design LRUs such that the average costs per time unit are minimized. We formalize this problem in a new model that captures how parts in a system are connected, and how they are disassembled from the system. Our model optimizes the design of LRUs such that the replacement (and downtime) costs and LRU purchase/repair costs are minimized. We present a set partitioning formulation for which we prove a rare result: the optimal solution is integer, despite a non--integral feasible polyhedron. Secondly, we formulate our problem as a binary linear program. The paper concludes by numerically comparing the computation times of both formulations and illustrates the effects of various parameters on the model's outcome.

Arne Duyver, Wouter Groeneveld, Kris Aerts

This study explores the influence of an interdisciplinary intervention on creative problem-solving skills. Literature deems such skills as vital for software engineering (SE) students in higher education. 39 SE students and graphic design (GD) students were randomly paired to work on an open-ended creative coding assignment in p5.js, an online JS-based Processing editor that makes it easy for novices to quickly and easily code visual webpages. Three categories were formed: the test group SE+GD (18 students), and control groups SE+SE (10) and GD+GD (11). A mixed methods approach was taken to gather and interpret results: Amabile's Consensual Assessment Technique provided a global creativity score for the finished product, the Creative Programming Problem Solving Test assessed three dimensions of the creative process (Ability, Mindset, Interaction), and 9 semi-structured follow-up interviews provided context and revealed underlying themes. The results indicate that, while the creativity of the end product initially takes a hit, the SE+GD groups' socio-interactive creativity levels increased. We also observed fixed mindsets towards creativity ("design students are more creative than we") that call for future work.

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

We study the frustration properties of the Ising model on a decorated triangular lattice with an arbitrary number of decorating spins on all lattice bonds in the framework of an exact analytical approach based on the Kramers--Wannier transfer matrix method. Expressions for the entropy, heat capacity, and spontaneous magnetization of the lattice are obtained, including the residual (zero-temperature) entropy and residual (zero-temperature) spontaneous magnetization of the system. The existence of magnetic frustrations in such a model and their influence on the behavior of the thermodynamic functions of the system are shown. The new and most important result of our study is related to the description of the possible coexistence of frustrations and long-range magnetic order in partially ordered spin systems.

I. Cabria, A. Lebon, M. B. Torres et al.

In the quest of new absorbent for hydrogen storage, we investigate the capacities of slit pores formed by two BC3 sheets decorated with Li atoms. Their hydrogen storage capacities are determined using density-functional theory in conjunction with a quantum-thermodynamic model that allows to simulate real operating conditions, i.e., finite temperatures and different loading and depletion pressures applied to the adsorbent in the charge-delivery cycles. We show that the capacities of the adsorbed hydrogen phase of Li-decorated BC3 slit pores are larger than those reported recently for graphene and Li-decorated borophene slit pores. On the other hand, the usable volumetric and gravimetric capacities of Li-decorated BC3 slit pores can meet the targets stipulated by the U.S. Department of Energy (DOE) for onboard hydrogen storage at moderate temperatures and loading pressures well below those used in the tanks employed in current technology. In particular, the usable volumetric capacity for pore widths of about 10 Å meets the DOE target at a loading pressure of 6.6 MPa when depleting at ambient pressure. Our results highlight the important role played by the rotational degree of freedom of the H2 molecule in determining the confining potential within the slip pores and their hydrogen storage capacities.

Heba Hamed Abdel Hamid Mahmud

The city of Istanbul was a cultural center with its buildings and arts that embody the greatness and capabilities of the ottoman sultans, distinguished the buildings of the (13 AH / 19 AD) century influences European whether it was the baroque, Rococo or the renaissance which the turks accepted in their buildings, the facades and entrances palaces and pavilions in Istanbul served as an open museum crowded with various architectural and decorative elements which prompted me to choose this topic in order to highlight the artistic value of these multiple elements,first,introducing the architecture of the subject of the study, Dolmabahçe Palace ( 1262- 1259AH/ 1843- 1856AD) in Beşiktaş, pavilion Abdulmajid at Topkapi Palace, Ihlamur pavilion, pavilion Abdulmajid at beykoz (1261AH/1845AD)(1270AH/1854AD),pavilion Tophane (1269- 1270AH/1852- 1853AD), Küçüksu pavilion (1272AH/1856AD), beylerybi palace ( 1278- 1282AH/ 1861- 1865AD), ciragan palace (1279- 1280AH/ 1862- 1863AD), mayben pavilion on yildiz palace (1283AH/1866AD)- secand,the architects such as Garabet Balyan, Nigoğayos Balyan, Sarkis Balyan, Hagop Balyan.- third, building materials,such as stone, marble,wood,metal,- fourth,decorative methods such as: high relief, gilding-fifthy, the architectural elements, such as: Columns (Ionic column, Corinthian column, composite column), arches, corbels, frontons, staircases, windows, balconies, vaults, towers- sixth, decorative elements such as , floral decoration, acanthus leaves, flower curtains, Pine ,anthemion,interlaced floral motifs, flower vases, geometrical decoration such as: Egg and dart, Shell, Radiant motifs, star plate, panel, volutes, Inscriptions, Architectural decorations, and scenes of animals and birds.- search results, followed by a number of maps, figures and plates.

Pipiet Arini Putri, Ema Yunita Titisari, Respati Wikantiyoso

This research takes a case study of traditional architecture in Lampung Province with the material and method used is descriptive qualitative by taking data and analyzing it deductively. The data was obtained from secondary data in the form of books, journals, and other sources related to the traditional architecture of Lampung. The analytical technique used is descriptive exploratory with the results of the analysis of the Kenali traditional house showing a broad understanding of space and adaptation to the environment. The form and system that supports the building are one of the community's efforts to complement and explore its natural and cultural potential. In terms of structure, construction, and connection system, this traditional house also has local wisdom that can be developed and can be used as an alternative for construction completion and natural disaster management to date.

Sakineh Khatoun Mahmoudi, Alireza Baharlou

The Qajar dynasty came to power in 1785 and ruled until 1925. During this last phase of traditional Persian history, succeeding shahs tried to change the isolationist stance of the country by expanding cultural and economic interchange with the West. The 19th century was marked by continual unrest, caused by tribal groups competing for power. Foreign encroachment also contributed to conflicts. By mid-century, Persia had again become a crossroads to the East, because European colonialism demanded short routes to the Orient for explorers, archeologists, soldiers, scholars, pilgrims, tourists, writers, painters and photographers. During the long reign of Naser al-Din Shah (1848-1896) the desire for reformist policies and the continuing need for new funds led to the awarding of licenses to foreign concessionaires from Russia, Great Britain, France, Italy and Austria. It was during the reign of Naser al-Din Shah’s father, Mohammad Shah (1834-1848) that the first cameras came to Iran through Russia and Britain. Photographers in Iran can be divided into three broad categories: first, those belonging to the European documentary and geographic tradition, who explored cultural and physical differences throughout the world; second, indigenous photographers, who experimented with the new technical discoveries for enjoyment, without a defined mission; and third, commercial photographers, who discovered that images could be sold. The earliest practitioners of photography in Persia were Europeans from France, Austria and Italy. They were instructors at Dar al-Fonun, the well-known Tehran polytechnic established by Naser al-Din Shah in 1850 to train officers, civil and military engineers, doctors and interpreters. Photography was introduced into the curriculum after 1870. The Frenchman, Jules Richard who taught French at Dar al-Fonun was probably the first among the foreigners to print images on paper treated with silver nitrate. Photography in Qajar Iran was first at the court’s service or for documenting official events, but it gradually adopted some artistic and popular approaches. This medium in that time would provide the artists who had become familiar with modern European techniques of painting with some fresh, useful tools to try realistic imagery. However, the impact of photography on Qajar painters was not restricted to oil painting or watercolor, but it exerted its sphere of influence in a wider domain, including lacquerwork, particularly pen boxes. Under the Qajar dynasty the best miniature painting is usually found not in the illustration of manuscripts, as in the earlier periods of the art, but in the decoration of objects in lacquered papier-mache. This art reached a high state of development under Fath Ali Shah, but the best works produced under Naser al-Din Shah in the middle years of the 19th century were perhaps even finer. During this century lacquerwares were one of the most important forms of decorative art produced in Iran. Their importance is reflected in the sheer quantity of items that were made, and in the dynamism with which the decoration of lacquerwares developed. Actually, early Qajar lacquerwares look very different from those in later times throughout the whole century, especially from the Nasseri period on. It can hardly be doubted that the lacquerwork of the early Qajar period was to a large extent a continuation of the traditions established in the late Safavid, Afshar and Zand periods. The repertory of 18th century lacquer decoration included figural, floral and flower-and-bird themes, illumination and calligraphy; however, this visual tradition inclined towards more realistic subject matters with an emphasis on portraiture, most specifically depicting the portraits of kings, princes, officials and dignitaries. The present article aims at studying the impact of photography on the visual evolution of the lacquerwork in Qajar art and it tries to answer the following questions: How did photography exert influence on the development of visual arts and portraiture in Qajar period? How can we evaluate such impact on lacquerwork, especially pen boxes? The results demonstrate that photography had a considerable effect on visual arts, especially portraiture, in that period, and such a movement can be traced in other art media such as lacquer pen boxes, mirror cases, etc. Artists and artisans active in making pen boxes and other lacquer artifacts would use photographs in two ways on their artworks: first, by precise copying of portraits and other elements in pictures, and second, by just pasting the ready photos as labels under lacquer. Pen boxes with Qajar portraits usually contain the realistic paintings of rulers, courtiers, statesmen, the nobility and women within an oval frame in a Westernized structure. Such portraits are mostly depicted in the central panel in larger dimension than other adjacent ones. The dignitaries painted in here are officially dressed and are represented in vertical visual composition. This gradual development in the visual tradition of this era could be considered as a result of the introduction of photography into Qajar Iran, particularly from the middle 19th century onward, and it continues right into the end of this dynasty, with a decline in quality.

Jasper Ginn, Sebastian Mildiner Moraga, Emmeke Aarts

Spurred in part by the ever-growing number of sensors and web-based methods of collecting data, the use of Intensive Longitudinal Data (ILD) is becoming more common in the social and behavioural sciences. The ILD collected in this field are often hypothesised to be the result of latent states (e.g. behaviour, emotions), and the promise of ILD lies in its ability to capture the dynamics of these states as they unfold in time. In particular, by collecting data for multiple subjects, researchers can observe how such dynamics differ between subjects. The Bayesian Multilevel Hidden Markov Model (mHMM) is a relatively novel model that is suited to model the ILD of this kind while taking into account heterogeneity between subjects. While the mHMM has been applied in a variety of settings, large-scale studies that examine the required sample size for this model are lacking. In this paper, we address this research gap by conducting a simulation study to evaluate the effect of changing (1) the number of subjects, (2) the number of occasions, and (3) the between subjects variability on parameter estimates obtained by the mHMM. We frame this simulation study in the context of sleep research, which consists of multivariate continuous data that displays considerable overlap in the state dependent component distributions. In addition, we generate a set of baseline scenarios with more general data properties. Overall, the number of subjects has the largest effect on model performance. However, the number of occasions is important to adequately model latent state transitions. We discuss how the characteristics of the data influence parameter estimation and provide recommendations to researchers seeking to apply the mHMM to their own data.

Ferymon Mahulette, Yoin M. Matulessy, Eifan B. Pattiasina et al.

Indigenous people in Moluccas consumed sago flour as a main food. It is extracted from the pith of the sago palm (Metroxylon sp) by traditional and modern processing. Sago flour can be processed into various local food products which are local wisdom of the Moluccan. These products are produced by a very diverse community. In addition, stalks and leaves of sago tree can also be used for building construction. This study aims to describe the processing techniques and utilization of sago palm in Central Moluccas. This research was descriptive qualitative. Data was collected from direct observations and documentation from volunteers in several villages only in Central Moluccas, i.e. Hila village (Ambon), Tuhaha and Ouw villages (Saparua), Kamarian and Iha-Luhu villages (West Ceram), and several villages in Geser and Gorom islands (East Ceram). The results showed that sago processing in Central Moluccas was done manually (traditional) or machinery. The processing technique these plants was relatively the same but the processed sago products vary greatly in each village. Sago processed products such as papeda, sagu lempeng, sagu tumbuk, serut, sagu buksona, sagu lakar and sagu fitrah. Besides it flour used as food, stalks and leaves of sago tree are used to build traditional houses, baileo and worship houses. This research was expected to conserve of the pukul sagu tradition and sago processed products to support the tourism in Central Moluccas

Reginaldo Christophori Lake, Yohanes Djarot Purbadi, Herman Florianus Harmans

The purpose of this paper is to describe the uniqueness of spatial arrangement of Wajo traditional villages in Nagekeo district, which is designed based on local wisdom. Traditional settlements in Indonesia have a spatial concept that has the potential to become the basis of contemporary architecture. The spatial arrangement of traditional settlements of Wajo village is interesting to disclose the principle and its constituent elements as one of Indonesia's architectural properties that maintaining local culture. The problem under study is the dominant (important) aspects underlying the spatial concept of traditional village settlements Wajo custom. The method used is to study literature in various writings on the spatial layout phenomenon of traditional settlements, as well as the elaboration of physical theories (structuring principles) and non-physical theories (identification and orientation) to find the dominant relationships that form the spatial layout of the Wajo traditional village. The analysis is based on Schulz's phenomenological paradigm and Salura's design principle theory. From the results of the analysis, it was found that the spatial concept of the Wajo traditional village is a relation of the perception of the surrounding environment, site, shape, figure and natural-cultural cycle influenced by dominant factors namely the top-down orientation (sacred and profane) and physical adaptation of the topography of the place, as well as elements binding (datum) in the form of tribal order (the existence of mosalaki), cultural symbols (customs), and spiritual (ancestors).

Muchi Juma Ameir, Agus S Ekomadyo, Cahyo Septianto Hutomo

Most of the community in Northen part of Semarang especial in Kampung Bandarharjo that is 1.5km distance to Kota Lama Semarang they are surrounded by Kali Semarng and the Kali baru that is has been the reason of flash flooding disaster and (rob) tidal flood from seawater, currently they are still live in prone areas to disasters such as tidal floods and land subsidence, they have their own ways to adapt and survive into their context relating with what type of disaster they face and what mitigation culture they have so as to adapt with the built environment. This means of survival could be interpreted as indigenous knowledge that has been transferred in many generations and represents people’s lifestyle. The methods they used for culture mitigation can be also interpreted in architectural form based on their local understanding and their surrounding environment, it comprises on skills, credentials, manners and knowledge. These terms will rely on the Cultural Capital from Forms of Capital by Pierre Boudier Concept. These skills while they have improved can be utilized in other areas of the same context and same structure of community. Indigenous knowledge, as a local knowledge has been gathered and passed through generations of living in a specific location, belongs to and is sustained by communities. Indigenous knowledge also involves of thoughts, experiences, practices and material that have been created locally or produced elsewhere, but have been transformed by local people and incorporated into the local way of life.

Ekaterina O. Kunyaevа

The relevance of the topic under study is caused by changes in the sphere of legal regulation of higher education, which require deep thinking from all participants in the educational process. The article analyzes the state educational standards and federal state educational standards in the direction of the preparation “Folk Art Culture”. The purpose of the article is a comparative analysis of the content, as well as the specifics of state educational standards and federal state educational standards; analysis of changes in the requirements of state educational standards and federal state educational standards of higher education for the training of professionals in the field of decorative and applied arts. The main approaches to the study of the problem are: a systematic approach, methods of analysis, synthesis, comparison, communication, theoretical, comparative analysis. The results of the article: a comparative analysis of the specifics of state educational standards and federal state educational standards in the field of arts and crafts is presented. The theoretical significance of the research lies in the fact that the results obtained can serve as a basis for new scientific ideas about modern requirements that apply to the professional training of students enrolled in the field of “Folk Artistic Culture”. The practical significance of the study consists in focusing its results on improving the readiness for professional activity of students in the direction of “Folk Art Culture”, taking into account the dynamics of the development of modern legislation and the sphere of decorative and applied arts in general. The article is of great interest for teachers of vocational training, graduate students and undergraduates.

Junianto, Rosalia Niniek Srilestari, A. Tutut Subadyo

The Patirtan site is a legacy of the ancient Singhasari kingdom in Malang, has a high historical value. The existence of the Patirtan site is related to the source of holy water (amerta), and is considered sacred by the community. The use and development of the Patirtan site has tended to be partial and contrary to the concept of conservation. The revitalization of Patirtan site in Malang is the use of historical heritage in the form of bathing pools, for religious self-cleaning activities. Spiritual tourism activities, as a form of human relations with God, through traditional rituals, occur at the sites of temples and Patirtan in Malang, East Java. Spiritual tourism actors in several Patirtan sites in the Malang region are the preserver of the Nusantara culture, originating from Java and Bali. This revitalization study, carried out by descriptive method, through fact-finding with proper interpretation of people's attitudes, people's spiritual behavior and phenomena on the Patirtan site. There are three cases of Patirtan site in Malang, which is quite significant to be used as a spiritual tourism destination, namely Sumberawan Temple, Patirtan Watugede and Widodaren water source. Through historical studies, exploring ritual activities at Patirtan sites in Malang, then analyzing the physical character and function of Patirtan's sites, the concept of revitalization was then formulated.

F. Ghaemi Manesh

<br />The spiral pattern has been used as a valuable and important decorative element in the ornamentation, referred to as "Arabesque". The spiral or arabesque movement was not just for decorating different types of building surfaces, but also had sacred signs. Next, we look at the symbolic meaning of this pattern in Islamic Art. In this paper, the author concludes that the manifestation of this pattern in Islamic art, which is also Arabesque, can also be a kind of environmental art because it is used in three dimensional environments and more importantly, Islamic artists inspired by nature have created this pattern. However, in the eyes of the Islamic artist, it was not objectively likeable and had a tendency for subjective truth, so, by stylizing the design, they came up with a pattern that lost any resemblance to nature. Also, the Islamic artist, like the environmental artist by choosing the environment as the context of the artistic work, has been a return to the original human way of creating human work and the long-standing relationship with nature, so these meanings have led to a commonality between environmental art and Islamic art. In this article, based on the works of contemporary ground artists and Islamic art and examining different examples, their common views on the use of spiral motif are studied and analyzed. "Spiral" is one of the forms in nature that has many mysteries within itself. There are lots of spirals in the nature such as plants, galaxy and atom that have spiral shapes. Human beings have always paid attention to this symbolic and mysterious element, and make a sacred meaning for this shape. Art, like life, approaches the spiral, and the artist, inspired by nature, uses this symbolic element to create his work. Art has always strived to base its truth on nature, which is why every artistic creation is a symbolic aspect of the truth of nature. Naturally, it manifests itself in artistic creations. As mentioned earlier, the origin of the spiral pattern goes back to nature. The artists of Islamic art were inspired by the curved lines in nature and created the Islamic design. Western artists' thinking about art and beauty is sensory-ideal imagery and blends nature with feeling and myth. Nature has always been a reference point for Western art, and especially in environmental art, the land, as the space and the place familiar with human is the bed of artistic work. While Eastern imagination is subjective-intuitive it conceives of beauty and truth in the abstract nature beyond the earth, and of the latent and subjective, and the extrasensory, which is naturally the origin of the art of the East. There is, of course, a common denominator that both of these arts have always linked earth proportions and celestial abstractions with curved lines, which is the spiral pattern. In this article, the semantic and formal connotation of the "Spiral" is expressed in a comparative way between Islamic art and environmental art, as well as the relationship between the beauty of the spiral and the common point established between the art in the East and the West and its symbolic meaning in these arts. By study on the works in environmental art, such as the Robert Smithson’s “Spiral Jetty”, and in Islamic art, which is "Arabesque" as a kind of environmental art, it was concluded that "Spiral" is a common motif between Islamic art and environmental art, and it ultimately leads to unity in the meaning and form. The balance, tranquility, dynamism and harmony of this motif have made artists use it to achieve the concepts of holiness, unity and beauty in their work. The type of this research is qualitative and research method is descriptive-comparative. Also Theoretical framework of research is based on the views of traditional philosophers. <br />

M. Elderova

The article considers the pedagogical support as the technology of development of artistic and creative abilities of pupils in studio of carpet weaving art in system of additional education of the Republic of Kalmykia.