Hasil untuk "Decorative arts"

Tony Fouyer

The Buffon Museum in Montbard aims to soon reunite the two great naturalists, Georges Louis Leclerc, Comte de Buffon, and Karl von Linné. However, mention of the project raises the “complex” question of theories about humanity developed by scientists and reused, particularly by authoritarian regimes. While Buffon has relatively flown under the radar, Linnaeus was heavily criticized in both Sweden and England during the Black Lives Matter movement. The reason was his categorizing humanity into four varieties. These were quickly named and understood as “races,” making Linnaeus “the founding father of scientific racism” and therefore of “modern racial thought.” The Swedish debate in 2020 was intense and raised the question of removing statues of the country's most famous scientist. Buffon, however, did not receive such treatment, which was rather reserved for Colbert. So, what narratives can we develop around these two Enlightenment scholars without obscuring these aspects and without this polarizing the exhibition? Already seen as scientists who are complete opposites, objects of clichés and a merciless duel that the era is so fond of, we would like to show the reflections and systems developed by the two figures, including on humans. Whether we like it or not, we will contribute to the construction of a memorial story and the staging used, in each of the exhibition contexts, will participate in this.

T.-C. Wu, C.-S. Lee, J.-Y. Xu

In Taiwanese temple decorative arts, door god paintings serve not only religious purposes but also reflect the distinct styles of individual artisans. With the advancement of digital preservation, Artificial Intelligence (AI) offers new opportunities for identifying and preserving traditional stylistic lineages. This study investigates Pan-style door god paintings, a prominent artistic lineage, and proposes a classification framework combining image feature extraction and machine learning.Fuzzy Color and Texture Histogram (FCTH) is used as the primary image descriptor. Models are trained and validated using the WEKA platform with two supervised algorithms: J48 decision tree and Random Forest. J48 offers interpretable classification logic, while Random Forest improves overall stability and accuracy through ensemble voting.Experimental results demonstrate that Random Forest outperforms J48, achieving an average accuracy of 91.2% versus 85.6%. Feature importance analysis highlights edge texture and color saturation—particularly in red and gold—as key indicators of Pan-style characteristics, which typically feature rich coloration and symmetrical composition.This study confirms that AI-driven classifiers are effective for distinguishing Pan-style aesthetics in temple paintings and can support restoration decision-making. The methodology offers a scalable model for polychrome heritage classification and preservation, adaptable to broader cultural heritage contexts.

Sophie Guermann, Pascal Griener

This article examines the ideological factors that delayed the establishment of a museum of decorative or industrial arts in nineteenth-century France, to the benefit of the Louvre. It shows that under Napoleon III, the Galerie d’Apollon functioned as a substitute for such a museum within a political context marked by Caesarism, and that the Third Republic continued this arrangement without fundamentally challenging it. The study brings together the history of museum spaces and that of the objects displayed, considered as material and symbolic configurations whose staging generates new meanings. The reorganisation of the Galerie d’Apollon after 1861 thus provides a framework for understanding how certain museographic choices have had a lasting impact on the status accorded to decorative arts in France.

VICTORIA RODRIGUEZ SCHON, Chiara Colombi

The manuscript discusses the limitations of applying AI in trend research platforms for the fashion system. This analysis intends to take a position within the emergent research topic of AI. Considering its ethical implications, we explore the opportunities of implementing AI to support trend research from a design-oriented perspective, realising the relationship between fashion and trends, which is central in shaping the future. Examples of AI-powered trend platforms evidence how valuable their insights are for strategic innovation. The analysis focuses on platforms that provide tailored services using AI and expert interpretation. Virtue ethics of technology serves as a useful framework to examine this topic, proposing a new set of virtues that respond to technology’s shaping of behaviour and its disadvantages. The risks of applying AI are many-fold; the consequences perpetuate power imbalances and social inequality. Proposing guidelines for enabling a responsible practice explores how to forge ethics into AI, creating a pluralised practice.

Tianyi Min, Tong Zhang

Architecture is the stone book of history, and the evolution of architectural styles showcases a non-verbal history constructed through images. As an important part of China’s historical and cultural heritage, the architectural forms and styles of Tibetan Buddhist temples were initially modeled on Tang dynasty temple architecture and gradually evolved into the most significant architectural types in regions such as Tibet and Qinghai in China. Religious architecture has also played a significant role in shaping regional cultural landscapes. Existing research on Tibetan Buddhist temples is primarily focused on qualitative studies of individual temple buildings. This research takes the spatiotemporal evolution of architectural styles of Tibetan Buddhist temples as an entry point and, for the first time, employs ArcGIS technology to visualize the spatial and geographical distribution of Tibetan Buddhist temples from the 7th to the 18th century, establishing a comprehensive academic vision that encompasses both historical stratification and cross-regional spatial correlations. By analyzing the cultural symbolic features embodied in the construction styles of Tibetan Buddhist temples and the visual characteristics reflected in their decorative arts, we propose two spatiotemporal dimensions for the formation and transmission of Tibetan Buddhist temple architectural styles: “Westward Transmission” and “Eastward Diffusion”. Firstly, from the 7th to the 9th centuries, the architectural style and construction techniques of Tang dynasty Buddhist temples were transmitted westward along the Tang–Tibet ancient road, integrating with local Tibetan elements to form the Tubo architectural style, which was further refined into the “Sino–Tibetan Combined Style” with strong visual characteristics around the 13th century. Subsequently, along with the spread of Tibetan Buddhism, this temple architectural style underwent an eastward diffusion from the 13th to the 18th century, reaching regions, such as Sichuan, Qinghai, Gansu, Inner Mongolia, Hebei, and Beijing, presenting a spatial gradient from west to east in the geographical dimension. On this basis, in this research, we construct a historical evolution mapping of Tibetan Buddhist temple architectural styles based on bidirectional transmission, attempting to elucidate that the intrinsic driving forces are religious and the cultural identity that guided the bidirectional transmission mechanism of these architectural styles under the historical context of the formation and dissemination of Tibetan Buddhism from the 7th to the 18th century.

Maria Gravari-Barbas, Sandra Guinand, Yue LU

The former international concessions built by several Western countries in Chinese ports between the 1840s and 1940s have been experiencing since the last years of the 20th century the joint phenomena of heritagization and touristification (Gravari-Barbas et al., 2020). These developments are remarkable because of the history of the concessions described as semi-colonies and referring to a not very glorious past for China, marked by the domination of foreign powers.The buildings constructed by the different concessionary countries have often employed an architectural and decorative vocabulary of national inspiration: an Italianate style for the Italian concession (Marinelli, 2009) or a 'Beaux-Arts' style for the French concession of Tianjin for example (Alliance Française de Tianjin, 2013). Their recent touristification has tended to exacerbate these national architectural frames of reference, resulting in the creation of 'mini themed parks', dedicated to commerce, leisure or tourism (Lu et al., 2019). Several researchers have shown the thematization of urban spaces in European or North American cities (rehabilitated waterfronts, museumized historic city centers, etc.) (Davis, 1998; Sorkin 2000). Fewer works, however, highlight these phenomena in Asian cities and in post-colonial contexts marked, through tourism, by a reversal of positions vis-à-vis former colonial forces.This is the scope of this article, which focuses on the former French and Italian concessions in Tianjin. The article highlights the processes, actors and tools of the transformation of former concessions into thematic spaces. It shows that the heritagization of the former concessions was facilitated by their opening to tourism and by the creation of 'exotic' environments, featuring thematized lifestyles, gastronomy, products, and businesses.

الهه Panjehbashi

The art of court iconography is one of the main arts of the Qajar era and can be seen in various arts of this era. One of the arts related to iconography, the combination of painting and jewelry, is painted in the form of enameled medallions which are symbolic and have decorative features and are usually given to foreign representatives. The purpose of this research is to study the painted medallions of the Qajar period and to examine the examples from the period of Fath Ali Shah to the end of the Nasrid period; which have been presented in various auctions around the world. The main question of this research is: What are the structural and content-related characteristics of the painted medallions of the Qajar period in each Qajar period? The research method in the present study is descriptive-analytical and has been done using library resources. The investigations of this research show that the integration of art and politics in the medallions of the Qajar period can be seen through the use of symbols of power in the images, and the more we move from the period of Fath Ali Shah to the period of Naser al-Din Shah, the number of consumed jewelry decreases. The abundant use of images in all eras can be seen as an attempt to initiate the monarchy. Most of the medallions were made to be given to foreign ambassadors, and the beautiful art of painting on enamel and combining it with jewels was formed and attached to clothes. Some of these medallions have paintings on the back of the work, and some of them are simple and monochromatic on the back. The production is more in the first Qajar period, then the Naserid period, and it is the lowest in the Muhammad Shah period. During the period of Fath Ali Shah, jewelry was used the most in medallions compared to all periods. King’s portraiture develops from idealism to realism along the path of portrait painting of this era. The necessity and importance of research in this case is that the study of painted medallions of the Qajar period has not been conducted and investigated as an independent research. These medallions were created for the first time in the court of Fath Ali Shah, and they were prepared by the painters of the Qajar court by imitating foreign examples and influencing the rules of court portrait painting. The jewelry and the gold frame should be coordinated. This process continues in the following periods according to the iconography in each period. The importance of examining these jewelry medallions shows that the medallions in question are one of the propaganda tools of the government in the Qajar period, and we witness the combination of art and politics and the taste of artists in the medallions, which is a combination of the art of painting and jewelry making in this era. The nature of the obtained information is qualitative, and the analyses are also qualitative, and the classification of medallions is related to the aesthetics of iconographic features of each era. The images of painted medallions of the Qajar period constitute the statistical population of this research, and the number of examples of the examined medallions is seven jeweled medallions of the period of Fath Ali Shah, two of the period of Muhammad Shah, and seven of the period of Naser al-Din Shah Qajar. The images of the medallions were obtained from Qajar art auction sites such as Bonham's, Sotheby's, Christie's, etc. The analysis and investigation of the rules of court iconography and the visible characteristics of painted medallions during the Qajar period are analyzed in this research. These works have been analyzed based on the basics of visual arts and the visual structure of the medallions. Consequently, it is clear that the image of the king's face has political and artistic importance and value in every period, and the evolution of the painting of the images shows that the image of the king is presented as a political value in gifts, and painting on enamel and decorating it with jewels were considered by the Qajar kings. The features of large-scale portrait painting can be seen in very small-scale medallions as well, and it shows the evolution of portrait painting from idealism to photorealism and naturalism; influenced by European painting and photography. The transformations of court portraiture and portraiture from idealism to realism can also be seen in medallions.

F. Rojas, Peter Lista

Abstract This article presents a theory of contemporary art collectors. Using data from in-depth interviews with twenty-eight art collectors in the United States, Latin America, and Europe, recruited from art fairs and social media platforms, we describe the pathways into collecting and the types of social positions that collectors assume in the contemporary art field. Interviews describe three entry points into art collecting: purchasing art for decorative reasons; exposure to the art through attending college; and growing up in a family that participates in the arts. The interviews describe two ways that collectors interact with the art field. Sometimes, collectors are “hierarchically oriented” when they buy and sell art in ways meant to increase their status and financial position. At other times, collectors are “communally oriented” when they collect art that reflects personal relationships with artists and artist organizations. The discussion section addresses collecting as a lifestyle, study limitations, and avenues for future research.

Elena N. Maksimova-Anokhina

This article examines the forms and processes of its perception, as well as techniques for creating forms and shaping in works of art. The problems of understanding the form, its characteristics, touched upon in the article, are useful for studying educational material on the subject “Painting” and “Colour composition in jewellery and art products and products of decorative and applied art” for students in the direction of preparation: 54.03.02 “Decorative and applied arts and handicrafts” and 03.54.03 “The art of costume and textiles”.

M. Yusri

This Best Practice is the author's best experience in learning Cultural Arts. The background of this best practice problem is the existence of problems in the form of student complaints that students are sometimes lazy to create Decorative Arts in the form of exploration of Decorative patterns in the form of Static or Dynamic. This is the cause for students when they take Cultural Arts lessons, so students only learn to draw as they are. Based on this problem, the author tries to apply Cultural Arts learning which is the assignment of an Exhibition at the end of the Semester, which will be held in June 2020. The purpose of this best practice is to find out whether students are enthusiastic about participating in Cultural Arts lessons in the assignment of Ornamental Art Exhibition based on Dayak motifs. The formulation of the problem is whether the task of the Dayak Motif-based Ornamental Art Exhibition in class X can increase their enthusiasm in participating in Cultural Arts learning. The results obtained by applying Cultural Arts learning in the form of an exhibition of Decorative Arts works based on Dayak motifs in class X turned out to be very active and enthusiastic in participating in the exhibition which was held for 3 days. This is evident from the results of learning Arts and Culture in the form of enthusiastic exhibition assignments, and reaching a percentage of 82.86%, far from the standard level of completeness set by the school which is only 75%. The conclusion of this best practice is that the Cultural Arts learning model in the form of Exhibition assignments is proven to be able to improve student achievement in Cultural Arts Lessons for class X SMKN 3 Balikpapan. ABSTRAKBest Practice ini merupakan pengalaman terbaik penulis dalam pembelajaran Seni Budaya. Latar belakang masalah best practice ini adalah adanya permasalahan berupa keluhan siswa bahwa siswa terkadang malas berkarya Seni Ragam Hias dalam bentuk eksplorasi pola Hias yang berbentuk Statis maupun Dinamis. Hal ini menjadi penyebab pada siswa saat mengikuti pelajaran Seni Budaya, sehingga siswa hanya belajar cenderung menggambar apa adanya. Berdasarkan masalah ini penulis mencoba menerapkan pembelajaran Seni Budaya yang bersifat pemberian tugas Pameran pada akhir Semester, yang dilaksanakan di bulan Juni 2020. Tujuan best practice ini adalah untuk mengetahui apakah siswa antusias mengikuti pelajaran Seni Budaya pada pemberian tugas Pameran Seni Rgam Hias berbasis motif Dayak. Rumusan masalah adalah apakah tugas Pameran Seni Ragam Hias berbasis Motif Dayak pada kelas X dapat meningkatkan antusiasnya dalam mengikuti pembelajaran Seni Budaya. Hasil yang diperoleh dengan menerapkan pembelajaran Seni Budaya dalam bentuk tugas Pameran karya Seni Ragam Hias yang berbasis motif Dayak pada kelas X ternyata siswa sangat aktif dan antusias mengikuti Pameran tersebut yang dilaksanakan selama 3 hari. Hal ini terbukti dari hasil pembelajaran Seni Budaya dalam bentuk tugas Pameran yang antusias tersebut, dan mencapai prosentase 82,86% jauh dari tingkat standar ketuntasan yang ditetapkan oleh sekolah yang hanya 75%. Kesimpulan dari best practice ini adalah bahwa model pembelajaran Seni Budaya dalam bentuk tugas Pameran terbukti dapat meningkatkan prestasi belajar siswa pada Pelajaran Seni Budaya kelas X SMKN 3 Balikpapan.

David Tschirschwitz, Franziska Klemstein, Benno Stein et al.

Filomina Dwi Cayarini, Ema Yunita Titisari, Respati Wikantiyoso

Nowadays, the high development of technologies and the density of the population demands high housing necessity. If there is no balanced between them and the environmentally concept, it will certainly cause problems to the next generation in the future. The sustainability concept in architecture is one alternative way which can be used to overcome this problem. Based on the prior theory, the traditional house applies the concept of sustainable architecture. Osing Traditional House from Osing Tribe also uses the concept. The Osing traditional house is located in Banyuwangi City. This study aims to prove the truth of the theory of sustainable architecture concept in traditional houses, especially in the Osing Traditional Houses in Banyuwangi and identify spatial patterns, structures, materials and other parameters that are considered to sustainable aspects. In the study, it was found that the Osing Traditional House includes aspects of topography, spatial patterns, structures and building materials as well as other parameters that contain to sustainable aspects.   Keywords:     Sustainable Architecture, Osing Traditional House, Sustainable Aspects

Emily C. Burns

C. Colantonio, L. Clivet, É. Laval et al.

Volodymyr Khyzhynskyi, Mykola Lampeka, Valerii Strilets

An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. The research methodology was chosen, in accordance with the specific factual material, the goals and objectives set in the work, developed on the basis of a systematic approach and the principle of historicism, using the method of complex art analysis, synthesizing the research capabilities of comparative historical, functional, typological research methods. The principle of consistency assumed the consideration of certain issues, in accordance with the sequence of processes that took place in such a popular variety of professional decorative applied art as art ceramics. Due to this approach, the authors tried to focus on a detailed elucidation of the ways of building professional creativity in an inextricable relationship, taking into account the characteristics of a certain material, the needs of appropriate material support, and the establishment of technological processes. Furthermore, such a presentation of the paper material has provided a clearer indication of the possibilities and prospects for the development of the artistic ceramics art. In the process of work, the authors were aware that all the problems related to the art of the first half of the 20th century, including the development in the production of art ceramics in Halychyna, are only at a certain stage of thorough study. That is why this work is one of the stages on this path. In this regard, this study was interpreted by the authors not as one that should finally exhaust the chosen topic, but on the contrary – the work should create an opportunity for further more detailed study of individual phenomena, the work of artists, or the analysis of groups of specific pieces of art.

Sani Syauqi Azmi, Novi Sunu Sri Giriwati, Sri Utami Aziz

Ranu Pane Village is an enclave village located in the Bromo Tengger Semeru National Park area. This village still maintains the traditional Tengger culture, which has natural potential in Lake Ranu Pane and Lake Ranu Regulo. Its located in a national strategic area of 10 priority tourist destinations; Ranu Pane village is direct to become a tourist village. Tourism development in the perspective of local independence embodied a community order that was carried out independently. Community participation is very decisive in the development of tourist villages so as notto be separated from the cultural values of the local community and the decline in environmental quality so that tourism management will be able to create a prosperous society together with nature conservation. This research is a qualitative descriptivestudy with direct observation techniques and library data collection. The purpose of this study was to determine the participation of the Ranu Pane village community in the development of a tourist village. Through SWOT analysis, obtained a strategy for the development of tourist villages. In general, it is necessary to increase the participation of the village community.

Julia V. Borovitskaya

The article highlights the theoretical, methodological and practical aspects of students’ ethno-cultural competencies formation in the system of institutions of additional education in study clubs, trade shops as well as during creative master classes. The purpose of the study is to define the relevance and significance of folk crafts revival as a factor of students’ ethno-cultural competencies formation. The main works of Russian authors in the field of research of folk and art crafts are presented. Methods. A comparative analysis of the historical situation that reflects the content and importance of folk crafts, as well as its current state is presented. During the study the following methods were applied: analysis of Russian literature, legal acts, conversation with students and teachers, content-analysis of creative activity outcomes. The study was carried out on the basis of the institutions for additional education and culture of the Svetloyarsky District in Volgograd Region, among masters of decorative and applied art of Volgograd and members of the club of masters "Remaliya". The role of masters of decorative and applied arts in the system of additional education, as well as the main types of presentation of folk crafts products is described. The experience of interaction between universities, schools and institutions of additional education with masters of decorative and applied art, areas of joint activity of various age groups is outlined. Moreover, the article reveals the main directions in which the revival of folk crafts and traditions in the modern system of culture and education (study clubs, studios, trade shops) is implemented. At the same time, the author analyzes the main points of folk crafts revival regulation, including legislative ones. Research result. The article highlights the importance of forming ethno-cultural competencies in students in the context of working with their parents as carriers of traditions and customs. It is concluded that students’ ethno-cultural competencies formation in the context of the revival of folk crafts is a complex multi-component and step-by-step process, into which many subjects are involved.

Irina F. Lobasheva

Kazan Art School is a famous Russian educational institution that became an art educational center in the Volga-Kama Region and the Trans-Urals. In 2020, the school represented by N.I. Feshin Kazan Art College celebrates its 125th anniversary. It was opened under the direct tutelage of the Imperial Academy of Arts (1895) on the initiative of the Academy graduates, natives of the Kazan Region N.N. Belkovich, G.A. Medvedev, H.N. Skornyakov, I.A. Denisov, and Yu.I. Thyssen with the assistance of the city authorities. The historical walls of the school are marked by the teaching and pedagogical contribution of such legendary personalities as N.I. Feshin, P.P. Benkov and B.I. Urmanche, A.M. Rodchenko, P.A. Radimov, P.M. Dulsky, D.D. Burliuk, V.K. Timofeyev and other famous masters of the Russian art. The collection of the State Museum of Fine Arts of the Republic of Tatarstan contains the main artistic heritage of the school of the pre-revolutionary period and the first years of Soviet history (1895–1920s), which is considered in the given article. Conventionally, this legacy consists of three main parts. The main part includes works by the founders, teachers and students of the Kazan Art School. It is a fairly extensive collection of several hundred paintings and graphic works, as well as a small number of sculptural exhibits. The collection gives an opportunity to get acquainted with typical examples of the creative manner of the main representatives of the school. All of them are characterized by a special individuality of the visual language, but a diverse visual range is united by a common culture of vision. The collection is also particularly valuable due to the fact that it presents rare famous examples of the work of such artists as Yu.I. Thyssen, L.F. Ovsyannikov, F.P. Gavrilov, N.I. Mikhailov and others. An art museum operated at the Kazan school, which was created with the active involvement of the Academy of Arts.The museum operates at the school in a transformed form up to the present day. The collection of the Fine Arts Museum of the republic contains the bulk of the works of this collection, which gives an idea of the scale of the Academy of Arts activities to support the school with donated works. There are about 80 of them in total. The names of many are well known in the history of Russian art: I.E. Repin, I.I. Shishkin, A.P. Bogolyubov, K.E. Makovsky, V.V. Mate, A.F. Gausch, F.S. Zhuravlev, A.A. Kiselev, R.F. Franz and others. The museum collection also contains works by the most famous student of the Kazan Art School – Nikolai Ivanovich Feshin (1881–1955), who later was an equally famous school teacher (since 1909). The largest collection of Feshin's works in Russia, including painting, graphics, sculpture, decorative and applied art of the master (over 180 works) is kept in Kazan.

Šopák Pavel

Adapted version of the text presented at the colloquium organised in Prague on 12 November 2019 by the Institute of Art History of the Czech Academy of Sciences (CAS) on the 85th anniversary of PhDr. Karel Chytil’s death. The text deals with the institutional and cultural political aspects of Chytil’s career as an art historian, museologist, and lecturer.

prof.Sameh Fakry Albanna

The Museum of Islamic Art in Cairo preserve a unique copy of Laila and Al Majnoun manuscript, with registration number 14895, which has not been published before, and What takes attention about this copy, however it is small, that it contains the traditional book arts of binding, inscriptions, gilding, paintings, and there are many reasons for studying this manuscript and its arts, the most important are the following: - Study and publication of selected examples of the book arts for this manuscript for the first time. - The date of the manuscript, as this one is undated, and this is through the industrial and decorative method of the two bindings of this manuscript, as well as based on comparative studies between the miniatures, two bindings, and the inscriptions of this manuscript and others that have the same decorative features, and then the researcher through those studies can extrapolate the history of the manuscript. - The study of the two bindings of manuscript and examples from its miniatures will undoubtedly give a model for the binding and paintings technicians and their industrial and decorative features for the period in which the manuscript was copied. - Studying some patterns from the attached inscriptions of the manuscript miniatures, the main study and translating some of them as to know how the core of the inscriptions is connected to the miniatures as well as knowing the art of calligraphy. The researcher will address this study through an introduction, three sections, and a conclusion as follows: Introduction: It addresses the importance of the topic, the reasons for selection, and the research methodology. -The First section: an archaeological artistic study of the two bindings of Laila and Al Majnoun manuscript as a pattern for the art of binding. -The Second section: an archaeological artistic study of selected patterns for the writing and gilding arts of Laila and Al Majnoun manuscript. -The Third section: an archaeological artistic study of selected patterns from Laila and Al Majnoun manuscripts as a sample of the photography art. The study ends with the conclusion that includes the results of the study, and the appendix of the forms and paintings, which the most of it are published for the first time in this study