Hasil untuk "Decorative arts"

V. Mykhalchuk

The purposes of the research are the identification of the distinctive features of artistic interpretations of Kyiv in painting, graphic arts, and decorative-applied arts of the late 20th – early 21st century and to analyse contemporary art practices that reflect on the Ukrainian capital as a cultural, symbolic, and spiritual space. The research methodology is based on the application of a systematic approach to the study of the defined issue and a combination of the following methods: art-historical, analytical, and comparative ones. The scientific novelty of the research is the comprehensive analysis of artistic interpretations of Kyiv within the context of contemporary art practices, combining both traditional and experimental forms of expression. For the first time, the work systematises approaches to understanding the urban space of the capital as a phenomenon of cultural memory and spiritual experience, and identifies trends in the interdisciplinary interaction of visual, decorative-applied, and social arts that shape a new urban identity of Kyiv. Conclusions. The artistic interpretations of Kyiv in contemporary art demonstrate a profound evolution from traditional landscape representation to complex conceptual forms of the visual urban space. Kyiv emerges not merely as an architectural or cartographic object, but as a cultural and spiritual phenomenon where historical memory, individual experiences, and collective identity intertwine. The Traditions of watercolour and painted depictions of the city have provided the foundation for early 21st-century innovations, when artists began actively rethinking the visual language through installations, art projects, and decorative-applied art objects. Contemporary artistic practices combine diverse techniques, materials, and media, creating a field of interdisciplinary interactions in which the urban space becomes a laboratory of artistic experience. In the creative concepts of modern artists, Kyiv is understood as a living environment of memory that preserves traces of the past while simultaneously responding to current events and transformations. Themes of destruction, revival, and spiritual renewal gain particular significance amid wartime and socio-cultural challenges, forming a new vision of the city’s symbolic imagery. Thus, contemporary art focused on Kyiv functions as a dialogue between tradition and experimentation, the material and the metaphysical, the personal and the collective. Within this dialogue emerges a new visual language of the capital – reproducing its urban identity, spiritual meaning, and cultural resilience in a changing historical context.

Diana Nechit, Véronique Parisot

Bernard-Marie Koltès occupies a singular place in contemporary theatre: at once poetic and political, his work interrogates the human condition through questions of space, language, and otherness. Every staging of his texts draws the director into a delicate dialogue with the absent author: how to represent without betraying? How to adapt without distorting? This article examines the ethical and legal issues that surround the staging of Koltès, through the analysis of several emblematic cases (Chéreau, Touré, Bident) and by articulating notions of moral rights, artistic fidelity, and poetic responsibility. It aims to explore the fragile balance between memory and invention, between the letter of the text and the living pulse of the stage.

Sara mostafa El daposy

The current research introduces Islamic geometric lattices by presenting them with a new color vision that invests in the chromatic rhythm derived from the transformation of color in some elements of nature, as many of the researches concerned with the study of Islamic art dealt with Islamic geometric decorations in terms of both linear and formality only and the study of its structural and decorative construction, such as studying patterns of repetitions of geometric spaces And the installation of geometric lattices from different star plates and the types of ribbons and geometric friezes used in the different Islamic eras, while those studies did not address the Islamic geometric motifs in terms of patterns of color rhythm characteristic of them. - Reliance on color contrast - Using unmixed tones - Color exchange between the figure and the floor - Axial balance in the distribution of colors - Showing the color decorations in a two-dimensional way, so it did not contain silhouettes - Carrying the color with a doctrinal connotation), so the current research presented the Islamic retina with a picture New and different from what was presented in For Islamic Arts, by creating the chromatic rhythm of Islamic engineering lattices through the application of the idea of color transformation taken from the elements of nature, through a student experience (fourth year students - Department of Art Education in Mansoura - Faculty of Specific Education - Mansoura University) for the academic year 2021-2022 AD. The design curriculum is to study Islamic arts in a contemporary way, and this experience supports students in (contemplation of the rhythm of color transformation in the elements of nature - study of color harmonies - training in mixing tones and transforming color from one texture to another, emulation of the elements of nature - study of Islamic geometric networks with new color visions - study Characteristics of the distinctive chromatic rhythm of Islamic geometric reticles and how it can be developed through the rhythm of the color transformation of some elements of nature

Laura Giraldi

This paper refers to the relationship between the fashion system and digital transformation, focusing on fashion streetwear and the Metaverse’s digital worlds. The analysis goes briefly tracing the main stages of the evolution of the digital worlds in recent years, highlighting the points of contact and the contaminations with the material world, which are outlining new connections and unprecedented developments. The image and language of fashion clothing, generally material, maintain its strong communicative value even in the digital world, through the figure of the avatar. The Metaverse is able to create new opportunities for fashion and suggesting future developments that have a strong impact on the lives of young people, increasingly blurring the boundaries between the real and virtual worlds.

Anne Dunn-Vaturi, François Bridey, Gwenaëlle Fellinger

Between 1949 and 1953, about 2,100 “unclaimed” artworks returned to France from Germany after World War II were selected by museum professionals and labeled MNR (Musées nationaux récupération). About half of the works are paintings, while thirty percent are decorative arts, and the remaining pieces are drawings, sculptures, folk art, Asian art, and antiquities. This paper presents the so-called AOR (Antiquités orientales récupération), 31 objects entrusted to the care of the Département des Antiquités orientales, Musée du Louvre, which at the time included both pre-Islamic and Islamic objects. Research carried out by the Mission Mattéoli (1997–2000) determined that only two, maybe three, artworks are proven to have been looted by the Einsatzstab Reichsleiter Rosenberg during the Nazi occupation of France. The rest of the AOR items were purchases made by German individuals and museums, confirming that the MNR corpus does not equate in its entirety to art plundered from Jewish collections. The study of this portion of the works is an opportunity to shed light on the Near Eastern art and antiquities market in Paris during the war.

Heru Hendri iswanto, Lisa Dwi Wulandari, Sri Utami

Spatial morphology was formed from the land use that was realized from various activities performed in that area. Next, the building pattern, function, circulation pattern, or road network pattern connected between regions would also influence regional or spatial morphology. Margorukun Village was one of the villages to be proud of in Surabaya. Margorukun Village has gotten an award as the winner of the Green and Clean Village competition program. Moreover, the spatial morphology of Margorukun Village has its own uniqueness. Part of the village was divided into two with different morphology. The uniqueness appeared from the local wisdom of the villagers. This research aimed to identify how a village'slocal wisdom could affect the spatial morphology of the village. The research method in this research was descriptive qualitative. The study was conducted by performing field observation activity in the form of the environmental spatial element through the blueprint, layout plan, and existing image or direct observation of the research object and interview. The research result referred to the spatial morphology of Margorukun Village andthe villager's activity to build local cultural wisdom in Margorukun Village

L.B. Esina, N.V. Utkina

Background. The relevance of the study is due to the high importance of the sphere of folk arts and crafts in solving the problem of sustainable socio-economic deve-lopment of the Penza region as a whole and individual municipalities. The purpose of the study is to analyze the sphere of folk arts and crafts in region, to identify the problems of its functioning and to propose possible directions for their solution. Materials and methods. The information base of the study was statistical data, regulatory documents, analytical materials, the results of scientific research on the problems of the revival, preservation and development of folk art crafts, the authors’ own research. The methodological basis of the research is general scientific methods (the method of analysis and synthesis, the system approach, the method of induction and deduction), the provisions of the theory of strategic management, marketing of territories and socially responsible marketing, methods of analy-sis of secondary data. Results. Analysis of the current state of the sphere of folk arts and crafts in the Penza region made it possible to identify systemic problems caused by the lack of coordination of efforts between the authorities, the regional institute for the development of the sphere of folk arts and crafts, the organizations of folk arts and crafts themselves and individually working craftsmen, whose activities are aimed at creating utilitarian and (or) for decorative purposes. Weak integration makes the management structure of the sphere of folk arts and crafts unstable and ineffective. Conclusions. The sphere of folk arts and crafts of the Penza Region requires support from regional authorities in various directions. The center of support for folk arts and crafts of the Penza Region should become the coor-dinator of such support.

Amir Farid

While doing research in Islamic art, especially decorative art, we face alphabetic samples that despite the similarity to the overall structure of alphabetic text cannot be read. Although these shapes have been drawn in the frame of alphabet of the text, they do not convey a meaning to be read. These figures, which are similar to the inscriptions, have been represented in the present study as quasi -writing. Faced with these examples, what has convinced the audience to accept – or doubt – them as writing, is déjà vu and similarity between the examples and the structure of letters in the Islamic alphabet. This research has been conducted with the aim of introducing this category of quasi-literature in the Islamic Arts. As a result, quasi-documents are divided into two groups, and each group includes two smaller divisions. The first group includes the inscriptions which are fully covered with Kufic-like quasi-texts. The second group includes inscriptions that resemble handwritings. Of these two groups, the second one is more likely to accompany other decorative designs. In many decorative inscriptions; the formal and structural elements are entangled together to the extent that their distinction and reading is simply not possible. In the third group, it is possible to identify letters of the Islamic alphabet, though they are not legible. In the fourth group, the inscription is partly readable, inscribed along with the quasi-writings that cannot be read. The purpose of this paper is to introduce and classify this type of quasi-writings in the Islamic art. In this regard, the main two questions are as follows: 1- What are the reasons for depicting quasi-writings among the inscriptions? 2- How and within which structure have the quasi-writings been inscribed? To achieve this purpose, methods of visual analysis have been used in terms of the inscription samples of the Islamic period. The statistical population and samples have been chosen from the wide array of inscriptions of Islamic art.The use of writing in the Islamic arts, except to save and record the entries and text-based documents, which are associated to knowledge and information, could have been developed due to a different reason that has been more associated with decorative aspects (that could also be called the motif-centered texts). This type of texts that may fall in the framework of inscriptions is seen in much of the Islamic crafts and was mostly provided as ornamentation. This extensive field may include tombstones to clothing and carpets. Numerous examples of these products in the early Islamic periods testify to the application of texts as ornamentations. Messages on inscriptions should be considered as having an important function, but decorative function of inscriptions should be regarded as a more important one. It is not in vain to say that inscription or writing may well be expected as another category of decorations along with geometric and arabesque decorations in Islamic art.As well as the decorative inscriptions, there are writings – or in a sense quasi-writings – that are not legible. This ineligibility is not because of scrambled handwriting, overflow and compactness of writing elements, etc, in fact these quasi-writing signs have not been drawn to be read, since they have not been formed based on rules of Islamic scripts, but due to their general resemblance to the form of the Islamic alphabet, or a style of writing, they look like writing. This similarity is underlined by compliance with the structure of Islamic alphabet, vicinity to other decorative systems, compliance with a specific base line and of course the topic of déjà vu.Fantasy or orientation on familiar topics like literature, perhaps physical structure and visual perception error may be considered among the main reasons for it. In fact, ambiguity with textual similarities leads to an illusion in the eye.  This ambiguity has been a means that for certain purposes – which will be referred to – has helped the artists. Because ambiguity is a tool and phenomenon of comprehension institutionally and essentially, and scientists fight error, while artists welcome ambiguity ... in this perception, a type of unrealistic comprehension replaces the real comprehension. The succeeding view of comprehension is perception of objects which occur to our minds through inference which signs have been entrusted to our memories. Comprehension is something that is focused on due to deviation and digression from the truth.It is necessary to systematically deviate from the norm. In fact, similarity of decorative writings with what which is not in fact writing (and only deemed as writing because of its similarity to Islamic alphabet) has lead to creation of types of decoration, especially in Islamic handicrafts.

Seyed Nezamoddin Emamifar, Farzane Ramezanniay Kinchah

The application of script in the Islamic art, as in architecture, cloth designing and other applied arts, shows that Farsi script, apart from conveyance of concept, is being used as a decorative and symbolic element, as it has harmonic complexities and opportune visual ups and downs. In the 40s S.H. and creation of Saqakhane school, the artists who were concerned with guarding and further developing the national art, were seduced by a novel style called drawing - calligraphy; the so-called style is based on illustration of form-based aesthetics of the script and also, it became a sole decorative element, using other elements of drawing. The latter led to eventual salvation of the script apart from conveyance of concept. There were also artists who tried to revive and revitalize an old Islamic art, which was named “script drawing”, that had been underlined during the Safavid and the Qajar periods; an art form in which recreation of conceptual forms is being made by using the script. In this regard, images of holy animals are created using decorative scripts. One of the most important pieces is a bird-formed Bismillah (In the name of god) script. In the Islamic culture, birds have a special place. The birds are used to found and mean visual terrestrial elements again, proportional to religious definitions; regarding both the form and concept.Furthermore, writing the Islamic name for God, the Prophet’s name, verses of Qoran like La -ela-ha-ella-Allah (which means there is no god but Allah) has frequently been done by different artists. The writing of Bismillah (which is Arabic for “In the name of God, the most merciful and the most compassionate”) is one of the most frequently used phrases between Muslim artists due to its high religious value and credit as well as its meaning. By arrival of Islam and its prohibition of drawing, artists always tried to implement symbolic and virtual forms in their works. This thought led to arts based on environmental and natural forms, such as Esllimi (arabesque) forms used in architecture, and Toranj and Lachak in carpets as well as other related simplifications. In recent years, regarding the lack of basic definitions in this regard, no distinguished artistic creation has happened; this is also because of the lack of dominance in terms of skills of decorative script’s different branches. Research around this subject will lead to historical recreations of evolutional path of work creation, which eventually leads to creation of creative works based on knowledge around traditions. The current survey is aimed at knowing script drawing and its distinction with drawing – calligraphy. Accumulation of so-called structured knowledge is considered to ease the creation of deliberate arts between young artists. The current survey is undertaken due to the urgency of disclosing differences between basic definitions of script drawing and drawing-calligraphy and their fundamental differences, focusing on bird of Bismillah drawn by Reza Mafi. Reza Mafi is a leading Saqakhane school artist who implemented script in drawing images, and has created most works among contemporary artists around bird of Bismillah. Questions of the survey are: 1- What are the concepts of the script and image in bird of Bismillah regarding visual symbolism? 2- What are the mostly used techniques and scripts in works named as bird of Bismillah? 3- How are forms, which are implemented in the latter works, categorized regarding visual symbolism? The survey method is library-based; based on available documentations that are gathered using fiche method and categorizing tables. The statistical population consists of artists of the 30s and the 40s S.H. of Saqakhane school followers. The samples include 4 works by Mafi, and 4 other birds of Bismillah from other Safavid and Qajar-era art pieces. The sampling is not random and is based on previous authorized samples that confirm the identity of the artist. Among these 8 art pieces, Mafi’s works are regarded with considering visual symbolism based on explicit and implicit indicating signs. It is found out that birds of Bismillah are among religious artistic works. Both in the Safavid and the Qajar eras, artists of Saqakhane School had enhanced their religious credit by drawing bird of Bismillah and subsequent praise and worship of the unity Allah. These forms are generally drawn using the problematic script of Thuluth (and sometimes Nastaliq). According to the investigated works (symbolic images of bird, drawing of Bismillah to create images) the form of lines and images are drawn alike symbols and meaningful forms, in spite of script drawing in which words are made void of their meanings, and as the form and color elements are superior and words and letters play only aesthetic roles, words in script drawing are used controversially, and the element of script has the main visual role.

T. V. Belaya, O. Maltseva

The subject of the research is the detection of effective methods and forms of interaction between computer technologies and decorative and applied arts. The practice of using computer graphics in various types of art demonstrates its contribution to the formation of creative and artistic abilities of beginners, the increase of knowledge, skills and abilities in using the artistic tools of experienced masters, enabling them to follow the development of advanced highly scientific technologies while adapting to new requirements. The data obtained in the presented scientific research testify to the successful interaction of folk art with computer technologies. The joint work of designers and folk art masters turns into a cohesive and productive action, contributing to modernization and efficiency. The authors base their research on the material studied, as well as on their own creative experiments. The conclusions of the article can become an impetus for the use of computer technologies in arts and crafts, which will help to achieve a positive result in case of difficult and ambiguous production situations and successfully solve the problems of developing the creative component. The use of computer technology is one of the most important trajectories of arts and crafts development in the modern world, which makes it possible to master new ideas, directions, technologies and means, as well as ways to convey the created images.

Y. Osipova, L. Kazmina

The present article is concerned with analysis of the current state and prospects for the development of educational tourism in Russia and its regions, fostering the development of educational tourism in Russia.It is emphasized that arts and crafts can become one of the main factors promoting the development of tourism. Authors propose solutions of issues of insufficient including of arts and crafts into touristic programs and routs. Special attention is paid to state policy in regard to preserving and popularization of arts and crafts of Russia and its regions.

Vittorio Fiore

The topic of the contribution is the use/re-use of theatrical heritage, a system of spaces that offers heterogeneous ‘materials’ on which to run transformations processes: plays, sets, spaces. In the past, this happened harmonically following the changes in theatrical ‘action’, with stratifications in buildings, redesigns of decorative schemes, reuse of pre-existences that followed the demand for flexibility. The objective is to add new chapters to the ‘theatre proxemics’ that governs human behaviour in these spaces of social aggregation, in order to realign them to the prescriptions dictated by the pandemic. Performing arts, which already received insufficient attention from the Institutions, leading to a heated debate on the scarce economic resources, have experienced restrictions and closures during Covid-19 emergency, calling for the necessity of new values to give these spaces a second life.

J. Conlin

Ariana Novina

Based on the newly found archival material, the author supplements earlier research on the furnishing of the Royal University Library in Zagreb (1911-1913). The article mentions the contractors, professors of the Temporary Higher School of Arts and Crafts, Rudolf Valdec and Robert Frangeš, and attributes other contractors ‒ students of the Sculpture Course Temporary Higher School: Vojta Braniš, Ferdo Ćus, Davorin Hotko, Robert Jean, Milorad Jovanović, Hinko Juhn, Antonija Koščević, Rudolf Spiegler, Antun Štefić, Mila Wodsedalek. The paper also discusses the contribution of the school’s bronze foundry to the construction of the library, which performed decorative works from bronze.

Wahyuni Eka Sari

The town square that we know is open space for the public. The square is often found in almost all cities in Indonesia. The square is a part of the city that can be used as a city park. The town square in Ponorogo Regency is a square that functions as a public open space that is visited by many Ponorogo residents themselves and from outside Ponorogo. Many activities are carried out in the square. Activities such as selling, gathering, mutual interaction between individuals, exercise are carried out every day. In addition, cultural activities or official government activities are also carried out in this square. Ponorogo Square can be a unifier for Ponorogo residents themselves. The purpose of this study was to find out how the local wisdom of the Ponorogo Regency square that currently exists. The method used is descriptive analysis method using exposure from the results of field surveys. The results of this study are in the form of local wisdom conditions formed from the Ponorogo Regency square.

Hashem Hosseini

Ilkhanid period is particularly important in the history of Muqarnas decoration, because of its unique features and the formal arrival of plenty of Far East art components that were not previously experienced in the Iranian Islamic art,. Muqarnas decoration drastically developed during this period as innovative technical and decorative methods appeared. This paper studies some innovations of Ilkhanid Muqarnas decoration in four typical Ilkhanid buildings including Jami Mosque of Oshtorjan Jami Mosque of varamin ،Sheikh Abdossamad complex in Natanz and Bayazid complex in Bastam. Towards this end, the study has attempted to examine the traits and inspirational resources of Muqarnas designs during this special period. The findings of the study show that Ilkhanid Muqarnas designs have been made under the influence of china’s art specially in cases of naturalism (butterfly and Spider web designs) and application components of china’s designs (as dragon). Amongst the most prominent decorative motifs that were common with the impact of Chinese art in the Ilkhanid era is dragon that is often displayed on pieces of colored tiles in non-religious buildings. As a rule, the use of animal motifs in religious buildings such as mosques and tombs regarding to the prohibition of the use of these designs was impossible, thus Iranian artists used those types of designs that matches with the spirit of Islamic Art. Plant motifs influenced by the movements of the dragon can be considered as the pioneers of new Islamic arabesques in the field. In other words, Iranian Muslim artists of Ilkhanid period have been able to bridge between the designs of Islamic architectural decorations and decorative motifs of Chinese arts.

Saeid Sattarnejad, Samad Parvin

The construction of tombs in the era of Islamic architecture is usually considered as being a manifestation of beliefs and rituals related to the honoring of the dead, along with other religious buildings, including mosques. The various structural methods of the tombs have been influenced by varied cultural and material factors. However, contrasting opinions and votes have been allocated to the issue of tombs laws in Islamic jurisprudence. At any rate, a foregone conclusion is that the presence of a large number of these buildings in many Islamic countries emphasises their special position in the Islamic society. Different types of Islamic decorative arts can be studied in accordance with the importance of the most beautiful historical domes of Iran, namely Kabood and Ghafarieh domes. This research is based on the study of some applied elements, such as tiling (Kashi Kari) and brickwork, as well as some of the architectural elements in the domes of Maragheh, like polo, which have not been observed in other Iranian buildings.

I. Steklova, Olesya I. Raguzhina

The article is devoted to the sculpture parks as a large-scale, historically rooted, socially and artistic phenomenon. The genesis of sculpture parks in the evolution of landscape and monumental-decorative arts synthesis, along the lines of sculpture aggregates traditional dominance in natural space, from antiquity to the middle of the 20th century is noted in the article. Analyzing the realities of this dominance produced an understanding of artistic synthesisdialectic as a synergistic interaction of components, on the basis of opposition. The range of aesthetic and semantic dominated-opposition complex configurations of sculptures to natural space forms is traced on the rise — in the gardens and parks of Roman antiquity, Renaissance, Baroque, and French classicism; and in decline— in the Rococo, Mature Classicism and Romanticism parks, focused on imitation of original nature. Significant attention is paid to sculpture layout in Russian gardens and parks, which entered into the mainstream of European artistic synthesis from the 18th century, but preserved its dominant role due to exposure and educational capacity. The contribution to the promotion of urbanization in the second half of the 19th century is illustrated as well as how this resulted in a loss of aesthetics for monumental-decorative art and the new urban landscapes, and how aesthetics became the face of the urban subculture, institutionalized stylistic pluralism of social consensus, which linked spatial and temporal arts. The general conceptualization of art, which influenced the reassessment of the importance of modern sculpture on display in natural space, is analyzed in the second half of the 19th century and first half of the 20th century. In doing so, the prospect of not only artistic and social, but also conceptual and exhibitional distinguishing features of sculpture parks is determined in terms of its further independent development.

Anthony Wells-Cole

Isabel M. Rodríguez-Marco, Ana Cabrera-Lafuente

ABSTRACT This article discusses, from the perspective of women’s history, the activity of the National Museum of Decorative Arts of Madrid (MNAD) during its first thirty years (1912–1942). This work is mainly focused on the role of the Museum in promoting the artistic education of Spanish women, an undertaking which is only possible in a political and intellectual context dominated by a reforming liberalism and which results in a deep understanding that, for the general good of society, women must be better educated. It also examines the development of the Museum’s textile collection, on the grounds that it is closely related to the appreciation of work done by women, by the Museum’s curators and by the Spanish intellectual élite of the time. The essay concludes with the idea that the MNAD was following the model established several decades before in Britain by the Victoria and Albert Museum, even though it is possible to detect some differences which are unique to this particular case.