Hasil untuk "Decorative arts"

Kochetkova Anastasia D.

The article reveals the role of Japanese lacquer furniture in the object-spatial environment of the Russian interior in the second half of the 18th century, marked by an interest in the chinoiserie phenomenon. Using the example of paired cabinets from the collection of the Counts Sheremetev, the author considers the main artistic features of Japanese export products in the ‘picturesque style’, highly appreciated by representatives of the Russian aristocracy. The study of a significant number of archival sources shows how the owners’ attitude towards Japanese lacquerware changed throughout the 18th century. The unique items were seen as rare ‘kunstukes’: at first, they occupied an honourable place in the structure of the noble kunstkamera, and then served as important elements of the interior decoration of park pavilions. This refers to the formation of cultural pluralism and, as a result, a genuine interest in the distant and mysterious East. In this regard, it is proposed to consider the objects of Japanese lacquer furniture, which were previously thought to be fairly utilitarian, as valuable collectibles of the Enlightenment era.

Minela Popa

This study explores the transformative power of makeup and masks in Silviu Purcărete’s staging of The Scarlet Princess, with a focus on my practical experience as a theatrical makeup artist in the production. The article examines how makeup functions not merely as a visual accessory, but as a crucial dramaturgical tool, shaping character identity, supporting rapid role transformations, and amplifying the symbolic and emotional dimensions of the performance. Through detailed analysis of the characters’ physical configurations—including gender reversals, archetypal roles, and the embodiment of universal symbols—the study highlights the interplay between visual design, actor movement, and narrative meaning. By documenting the techniques used to create both male and female transformational masks, the research situates Purcărete’s visual dramaturgy within a broader tradition of symbolic and expressionist theatrical aesthetics, while also addressing the challenges of adapting Kabuki conventions to a contemporary Romanian stage. This investigation contributes to a deeper understanding of the collaborative relationship between makeup, performance, and visual storytelling in contemporary theatre.

Sónia Moura

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

Stivani Ayuning Suwarlan, Lee Yoke Lai, Ismail Said et al.

Sustainable future development is expected to support the creation of human welfare throughout the world, including traditional tribes and minorities. This research examines the phenomenon of a traditional tribe, namely the Sea Tribe or Suku Laut, which represents maritime communities on the mainland of Batam, Riau Islands, Indonesia, which requires special attention duringindustrial development and modernizationwhich has an impact on the sustainability of Suku Laut traditional coastal settlements. This research utilizes participant observation methods to analyze the social behaviormap of the Suku Laut community. This study found that community behaviormaps influence spatial formation and settlement patterns. In conclusion, social behaviormapping provides benefits for the government in planning and managing traditional coastal settlements on the Batam mainland for future development in accordance with the social behaviorand local wisdom of the Suku Laut community.

Michael Ato Essuman, Dickson Adom, Isaac Asare-Aboagye et al.

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

Hanwen Liu, He Wang, Peiquan Duan et al.

Abstract Painted enamel holds special significance in the study of the history of Chinese ceramic and glass. Painted enamel also represents interesting evidence of cultural communication between China and European countries. In the past, studies on painted enamel have mainly focused on archival research. Although modern scientific techniques have complemented research on enameled artifacts, the quality of the samples has usually been inferior. This study combines scientific analysis and archival work to explore four similar pots from the Palace Museum collection, along with the specific documentation information attached to them. Raman spectra, XRF and CT scanning were applied to compare the four pots. Results show that one of the pots is made of gold and use cassiterite and Naples yellow as opacifier and pigments, this pot bears the hidden hallmarks of a Parisian goldsmith, providing direct evidence that the pot was made in France in 1783. The other pots are proven to have been made in China, which are made of copper gilded with gold and use lead arsenate and lead tin yellow as opacifier and pigments. This work reveals a previously unnoticed route by which enamel artifacts reached the Chinese court.

Andi Irawan, Asrifatul Lailin, Khoirun Aisya et al.

Abstract: UMKM have a very important role in the economic development of a country and the Indonesian economy. Based on a field survey at the Kediri souvenir center, many UMKM products in Kediri currently still use transparent plastic packaging and the usual labels. Therefore, the innovation of packaging branding services is here to increase MSME sales through unique and aesthetic packaging designs with elements of local cultural wisdom. By applying the decorative motifs found in Barongan and Jaranan typical of Kediri to display the packaging design of UMKM. The implementation method uses the 3P principle (Pre-Production, Production and Post-Production) with an online and offline blended system (by applying health protocols). The results that researchers get are an increase in sales of UMKM products in Kediri, and the application of Barongan Kediri decorative motifs to packaging designs to attract consumers and efforts to preserve local culture. It is expected that later the Kediri UMKM products will increase in terms of sales, become an effort to preserve regional arts through packaging design, and will add to the aesthetic value and selling value of these products. Keywords: Barongan, Kediri, motif, marketing, UMKM Abstrak: UMKM memiliki peranan yang sangat penting dalam perkembangan perekonomian suatu negara dan perekonomian Indonesia. Berdasarkan survei lapangan di pusat oleh-oleh Kediri bahwa produk UMKM di Kediri saat ini banyak yang masih menggunakan kemasan plastik transparan dan label yang biasa. Oleh karena itu, Inovasi jasa branding packaging kemasan hadir untuk meningkatkan penjualan UMKM melalui desain packaging yang unik dan estetik dengan adanya unsur kearifan budaya lokal. Dengan menerapkan motif ragam hias yang ada pada Barongan dan Jaranan khas Kediri ke tampilan desain packaging UMKM. Metode Pelaksanaan menggunakan prinsip 3P (Pra-Produksi, Produksi dan Pasca Produksi) dengan sistem blanded secara online dan offline (dengan menerapkan protokol kesehatan). Hasil yang peneliti dapatkan terjadinya peningkatan penjualan produk UMKM di Kediri, dan diterapkannya motif ragam hias Barongan Kediri pada desain kemasan guna menarik konsumen dan upaya pelestarian budaya lokal. Diharapkan nantinya produk UMKM Kediri lebih meningkat dalam segi penjualan, menjadi upaya pelestarian kesenian daerah lewat desain packaging, dan akan menambah nilai estetik dan nilai jual produk tersebut. Kata kunci: Barongan, Kediri, motif, UMKM, pemasaran

I. Moon

Pink ribbons crisscross around the curved bellies of two porcelain vases, each crowned with a pair of bejeweled white elephant heads. Their curled tusks flank a large potpourri vase in the form of an extravagant ship. This ensemble has held pride of place in the Wrightsman Galleries for the French Decorative Arts at The Metropolitan Museum of Art, demonstrating the exceptional craftsmanship of the Sèvres royal porcelain manufactory in executing Rococo flights of fantasy for royal and aristocratic patrons in mideighteenthcentury France (fig. 1). The garniture exemplified the French court’s predilection for Sèvres porcelain, which was exchanged as diplomatic gifts and prominently displayed on the mantels and tables of wealthy European residences. In subsequent centuries, Sèvres royal porcelain

J. L. Silva, C. Barata, J. Pissarra

Zhubanova Zhubanova

This article discusses the issue of continuity in the evolution of the content and forms of the Kazakh national ornament.  Semantization and structuring of ornamental forms and compositions in Kazakh folk art is the result of a long historical development and spiritual experience of the nomadic people.  In the decorative and applied art of the people, the mental processes of society are represented.  The artist-nomad is a spokesman of the Kazakh nomadic mentality, which is characterized by the originality of spiritual experience and traditions and is formed as a result of the long development of historical eras and periods under the influence of geographical, social, cultural conditions of life.  In the Kazakh arts and crafts, a system of expressive means and images has been formed, which reveal the specifics of the nomadic way of life. The ornaments are a historical source that sheds the light on the peculiarities of the beliefs, the way of life of the nomads.  The artistic vision of the Kazakh people is manifested both in the forms and in the decorative decoration of the dwelling household items, military equipment, jewelry.  In the products of decorative and applied creativity, the artistic picture of the world of their creators is reflected: ideas about heavenly bodies, natural phenomena, animal and plant life.  Ornament plays a role of a kind of tool for symbolic and sign thinking.  A stable system of specific signs and combinations of units is recorded in the Kazakh ornamental language.  Craftsmen and contemporary artists, using the language of ornaments as an important visual communication tool, have filled their artworks with non-verbal messages and mental information.

H. Barakat, Nurul Iman Rusli

The collection of the Islamic Arts Museum Malaysia (IAMM), in Kuala Lumpur, includes over forty manuscript copies of Dalāʾil al-Khayrāt, the compilation of prayers and blessings for the Prophet Muhammad (PBUH) by Imam al-Jazūlī. The copies derive from the original source of the manuscript, Morocco, to as far as Southeast Asia and China. Five were produced in different parts of the Malay world, namely Patani, Terengganu, Aceh, and Java. This article examines the royal Terengganu manuscript of Dalāʾil al-Khayrāt, revealing its distinctive bookmaking technique and arrangement of its contents, as well as its special decorative style. It aims to understand the cultural setting within which such manuscripts were produced. It also looks at the personification of scholarly figures from nineteenth-century Terengganu—in particular Sayyid Muḥammad ibn Zain al-ʿĀbidīn al-ʿAydarūs (Tok Ku Tuan Besar), who is possibly the scribe of this royal manuscript—and their relationship with scholars in Hijaz.

Ростислав Шмагало

Purpose. Identification and analysis of philosophical, educational and aesthetic foundations of the development of decorative and applied arts and design in the context of new socio-cultural challenges. Methodology. It is based on a systematic approach that synthesizes the methodological principles of related sciences: art history, philosophy, aesthetics, pedagogy with universal for these sciences methods of historical, typological and comparative analysis. Results. Basic philosophical and aesthetic origins of the phenomenon of decorative and applied art in the context of art and related design education, as well as the bank of basic ideas and principles of its progress in the time continuum are determined. There also have been traces social and cultural values acquired over the centuries, relevant for different historical periods and modern challenges, facing the art and education sphere. Scientific novelty. Determining of the philosophical and aesthetic principles of the functioning of decorative and applied arts in line with art and design education, its timeless universal social and cultural values. Practical significance. The research will contribute to the formation of a deep, philosophical and aesthetic level of worldview perception of the phenomenon of decorative and applied arts, art and design education, the development of guidelines for the implementation and design of new creative ideas in art, education and eco design

Iaeng Blessing Ogbuokiri Member, Mpho Raborife

S. Suraganov, Z. Suraganova

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.

Masomeh Kasi Matak, Mitra Shateri, Abbasali Ahmadi et al.

After the advent of Islam in Iran, the Islamic rulings imposed some restrictions on men's use of jewelry, while in various Islamic periods, especially in the Safavid period, based on records and texts, the dazzling glory of jewelry used by men of the high classes of society indicates the continuity, dynamism and flourishing of men's jewelry industry during this period. On the other hand, the mutually beneficial relations between the Safavid rulers and the Mughals of India had a great impact on the cultural and artistic fields at the courts of both countries. The production and consumption of jewelry and ornaments was no exception for sure. Since nowadays the use of jewelry in the public mind is more common among women, most of the research in this area is limited to studies on jewelry of women. So, men's jewelry and its types are less known or introduced among these two civilizations. Therefore, this article has been written with the aim of studying the types of jewelry of male courtiers in the Safavid period, and as a comparative study to determine the commonalities and differences between the jewelry used by men of this period and the jewelry of male courtiers at the court of the Mughals in India. In order to achieve this goal, a case study of these works in the Safavid period has been done based on the samples and texts or jewelry depicted in the paintings and its comparison with contemporary works in India (the Mughals of India). These works and artifacts have been mainly selected from remaining texts, especially travelogues, or from works and artifacts of Islamic Republic of Iran’s museums or abroad museums. The main questions of the present study are, based on the surviving works and artworks, what jewelry did the men at the two courts of the Safavids and the Mughals of India use? And what are the differences and similarities between the jewelry of the male courtiers of the Safavid period and the Mughals of India? It should be noted that due to the importance and multiplicity of diverse works of art in these historical periods, this research can be considered as an introduction to the wide range of jewelry, as one of the types of industrial arts and its various applications, and can illuminate an important part of the history. Due to the close political, cultural and artistic commonalities and proportions that existed between Iran and India in the period between the tenth and the early eleventh centuries AH, the influence and effectiveness of themes, forms, structure or even the technologies available in various fields of art in these two countries occur more than ever. The cultural and artistic momentum of this period is especially about jewelry making and the use of jewelry among men. The ornaments and Jewelry left from this period from the courts of both governments reflect the general commonalities in the shape and types of jewelry, and the styles of construction and decoration in this industry and art. Also, based on the evidence, it can be concluded that in the use of some types of jewelry in the Safavid court, along with decorative function, religious, talismanic, and amulet-wise functions had also been considered in manufacturing of all kinds of bracelets, rings, and sometimes necklaces, while in the court of the Mughals in India, the decorative feature of ornaments was clearly preferred over other aspects. The quantity of works engraved with religious themes, the mass of precious stones used, as well as the use of gold in men's jewelry, despite the prohibition of Islamic rulings, are among the reasons for this claim. Overall, jewelry in both countries seems to be a symbol of people's social status and rank which shows power, wealth and beauty. In this regard, it is suggested that in order to fully understand this part of industry and art in both countries, studies of gemology, carving and various types of jewelry decoration should be considered in future research. The descriptive-comparative research method and the information used have been obtained by the method of acquisition and through library resources and field study in museums inside or outside the country. The results of the research indicate that jewelry was used as a symbol to represent the social status of individuals in both the Safavid and Mughal states of India, and the close relationship between these governments, caused many commonalities in the types of jewelry, materials and methods of decoration. Despite minor differences such as the use of gemstones or greater diversity in the types and forms of jewelry in India during the Mughal period, many of the forms, materials, metals, and jewelry used for decoration by these two groups, such as collars, rings, earrings, belts, and armbands, were common.

Cristiana Barreto

This article focuses on archaeological artifacts from Amazonia beyond their original contexts to introduce the concept of resistant objects based on the analysis of some of their agentive attributes. Considering the agency of Marajoara objects and images it seeks to understand which material and visual qualities allow them to be re-signified across times and cultures in diverse identity-building narratives. Among the elements identified as ‘technologies of enchantment’, we highlight the complexity of decorative fields and graphic motifs and the particular means of representing beings and their bodies as the technologies that were reutilized and adapted to occidental, historical, and contemporary contexts. We argue that such exercises are necessary as archaeological practice, as a tool to improve our understanding of the agency and resistance of certain archaeological objects, and as means to reclaim the protagonism of indigenous arts from the past that have been reappropriated through historical times in both colonial and decolonizing narratives.

Virginia Marano

Gertrud Goldschmidt (commonly known as Gego) and Ruth Vollmer (née Land- schoff) were two Jewish women artists that migrated from Germany to America, due to the advent of Nazism. To contribute to their critical reconfiguration, this arti- cle explores their important role as women and refugee artists in representing the bridge between modernism and postmodernism in the context of sculpture and decorative arts. Indeed, combining craftmanship and a fascination with mathemat- ical theories revealed through the drawing’s complexity, the shape’s definition and the value of material, they reinvented the artistic tradition within design approaches. Incorporating aspects of kinetic art, Gego made three-dimensional constructions with which she attempted to challenge the conventions associated with static artworks. Vollmer experimented with wire, steel, and copper mesh to create figu- ral forms that derive from complex constructions of mathematical theories. Even though Gego and Vollmer had no direct impact on one another, they did share the vital New York and they were both influenced by a European avant-garde heritage of Bauhaus and Russian Constructivism. This article seeks to give a new voice to these pioneering women’s artistic dis- courses, that were extremely inventive in the creation of an experimental design minimalism and a mathematical formalism.

Ferymon Mahulette

Laor is a fishery product that found in Moluccas at March or April, a few days after the full moon. The swarming of laor in Moluccas is called timba laor. This event is one of the local wisdoms that must be conserved. The people have always consumed this worms for long time, but research of catching and processing techniques of laor has never been done. This research aimed to describe the techniques of catching and processing laor in Moluccas Province. This research was descriptive qualitative. Data was collected from direct observations and documentation from volunteers in several villages only in Moluccas Province, i.e. Latuhalat (Ambon), Booi (Saparua), Taruy (Geser), Elaar (Kei), and Emplawas (Tepa) villages. The catching and processing laor were very diverse in Moluccas. The people were usually catch of laor used a tanggo, both of triangular or oval shape. Laor that has been taken then processed into laor lawar and bakasang. Both of these food products were very popular in Moluccas community. This research was expected to conserve of timba laor culture to support the tourism in Moluccas province.

Y. Zamaraeva, V. S. Luzan, Svetlana V. Metlyaeva et al.

The article attempts to reveal the transformation of the role of religion in preserving the traditional way of life of the Evenki ethnos from 1930s to 2000s in the northern regions of the Krasnoyarsk Krai, as well as its reflection in the education system and in traditional culture (folklore, visual arts, decorative and applied art). The article notes that the analysis of domestic and foreign studies of the culture and religion of the Evenki confirms the validity of appealing to an interdisciplinary type of research. The subject of the research is the traditional and non-traditional religious movements embodied in the culture and life of the Evenki ethnos. Observation, analytical-descriptive method, including the analysis of individual elements of the development of the Evenk traditional culture, followed by generalization of the data, as well as comparative historical and dialectical methods are used to solve the research problems. Moreover, among the main research methods, philosophical and art history analysis of art works of the Evenki is actively used. The conclusion indicates general outputs and tendencies characterizing the current state of the embodiment of religious trends in culture, education and everyday life of the Evenki ethnos

H. Semuel, Serli Wijaya, Devie