Hasil untuk "Decorative arts"

Erina Wiyono, Nuning Yanti Damayanti, Achmad Haldani Destiarmand et al.

The pride in the identity of a nation which is associated with the long history can be transformed into a valuable asset for both the present and the future. This can be achieved through the development of cultural heritage in the form of the artifacts owned. The diverse traditions associated with past legacies establish an inseparable connection between Indonesia and cultural history. An example of cultural heritage are the buildings that serve as evidence of the activities conducted in the past. Moreover, the influence of cultural, religious, and social systems caused by acculturation is evident in different forms of mosque buildings in Indonesia, specifically on Java Island. This can be observed from the adoption of ornaments in the Western period, starting from the 16th century. An example was the adoption of Padma Flower also known as the Lotus and Red Lotus by mosque buildings during the early introduction of Islam. The flower is also found in the house of worship, the Gedhe Kauman Mosque in Yogyakarta, built in 1773 AD by Sri Sultan Hamengku Buwono 1. Therefore, this research aimed to explain (1) the form of Padma Flower ornaments based on the shape, and (2) the changes in the form with subsequent influence on the present design. A qualitative method with a Visual Adaptation strategy was used to describe and analyze the form of the flower to determine the formulation process. The adaptation of Padma Flower ornaments in different places was expected to assist the process of using motif as a reference in the field of art and design.

Samaneh Ostad, Andrei C. Șerban

This article explores how artificial intelligence is changing the work of filmmakers and the way we understand authorship in today’s cinema. It looks closely at three short films made entirely with AI tools: The Frost (Waymark, 2024), Thank You for Not Answering (Paul Trillo, 2023), and Poof (Pizza Later, 2024). Rather than treating creativity as the expression of a single author, these films show it as something that takes shape between human decisions, machine outputs, and the viewer’s interpretation. Using ideas from Barthes, Foucault, Manovich, Zylinska, and Arielli, the article argues that the filmmaker’s role shifts from controlling images to working with what the system generates and making sense of it. Visually, these films reveal a kind of aesthetic that comes from the technology itself; glitches, unstable textures, and partial forms that reflect the way AI “sees” and constructs the image. The emotional impact also works differently: instead of being predetermined by the filmmaker, it emerges through the viewer’s response to the uncertainty and strangeness of the images. Ethically, the films raise questions about responsibility and transparency, reminding us that any creative work involving AI depends on the data, tools, and systems that make it possible. Taken together, these films suggest that AI does not necessarily push human creativity aside. Instead, it expands the space where meaning can be produced, creating a kind of shared authorship in which humans and machines both play a part. The article uses the term “relational authorship” to describe this shift and argues that it offers a useful way to understand how aesthetics, emotion, and ethics come together in AI-generated cinema.

Zeinab Abedian Jelodar, Somayeh Noghani

ABSTRACT This research introduces an innovative approach for decorating ceramic surfaces through systematic reformulation of the historic paper marbling process for application in ceramic glaze. Despite as much as marbling has a longstanding history in the paper, textile, and diverse decorative arts, application in ceramics is largely unexamined. In this research, both water‐based and oil‐based marbling formulations, utilizing traditional materials such as tragacanth, eremurus mucilage, gum Arabic, ox‐gall, and linseed oil were developed and optimized for underglaze, overglaze, and colored‐glaze techniques. The experimental process consisted of forming stable floating pigments and adapting designs on size, which were then successfully transferred onto ceramic bisque surfaces. Firing schedules and glaze formulas were methodically adjusted to achieve the preservation of marbled patterns following firing. The findings demonstrate that the enhanced marbling technique facilitates the development of complicated, decorative effects on ceramic substances, thereby addressing earlier restrictions with color control, pattern delicacy, and material compatibility. Among the tested approaches, the underglaze marbling method employing gum Arabic as a binder yielded the most favorable visual quality and overall performance. This cross‐disciplinary development not only enriches the aesthetic potential of ceramic art but also offers a replicable approach to incorporating historic marbling processes into contemporary ceramic technologies. The results yield new knowledge on material properties, process optimization, and innovative potential of traditional processes in contemporary ceramic design.

Yanyan Zheng, Guikun Guo

This article traces the long transformation of <i>liuli</i> 琉璃 (Sanskrit <i>vaiḍūrya</i>) in China—from imported blue-green gemstones (typified by beryl) to man-made glass and, after the Song, to glazed architectural ceramics. Combining archaeological finds, textual and Buddhist sources, and mineralogical data, it argues that: (1) the wide circulation of Roman–South Asian glass imitations drove a dual shift in China, moving <i>liuli</i> from a natural gem to artificial glass; (2) Buddhist ritual and donation practices “sacralized” glass, integrating it into jewelry, vessels, and sacred spaces; and (3) this shift profoundly reshaped Chinese decorative arts, recasting color-and-light aesthetics and the material toolkit—from Han–Jin beadwork and containers, through Sui–Tang elite display, to the post-Song architectural palette epitomized by <i>liuli</i> tiles. The millennial journey of <i>liuli</i> shows how materials acquire new meanings through global exchange and local reinterpretation, and how man-made glass helped redefine Chinese decorative practice over the course of two thousand years.

Ismet Zaatov

The interpenetration of ethno-confessional cultures and art of the Tatar, Seljuk, Armenian, Jewish, Greek Orthodox and Italian population of the Crimean Khanate, at the initial stage of its existence, contributed to emergence of the national cultures on the map of the world of the Crimean Tatar artistic cultural and decorative arts, which began to experience the direct influence of the post-Byzantine – Turkic Islamic culture of the Ottoman Empire, the impulses of which penetrated into the Crimean Tatar cultural environment through the capital Bakhchisarai, Ottoman Kefe and the settlements of the Tat region of Crimea.

Saeid Hasanpour Loumer, Ahad Nezhad Ebrahimi, Hassan Sattarisarbangholi et al.

Masouleh is one of the few historical and habitable spaces in Iran, where the continuity of Iranian Islamic arts has been common for many centuries. Masouleh is located in the mountainous part of Fuman city with a thousand year old history. This historical city was registered as a national monument in 1944 and is currently being registered in the UNESCO World Organization. Masouleh’s architecture has a stepped structure and the houses are extroverted. Masouleh has six neighborhoods, Reyhane-bar, Asad-mohalleh, Keshe-sar, Khanebar, Masjed-bar and Bazaar. Reyhane-bar neighborhood is the main entrance to Masouleh and is located in the southern part of the city. The formation of Reyhane-bar neighborhood and its buildings is deep-rooted in the Zandiyeh- Pahlavi period. Reyhane-bar neighborhood has 50 residential units, of which 26 buildings have a historical structure and were examined in the current research. The Reyhane-bar neighborhood has a variety of latticed openings made of enclosing decorative patterns. The aim of the research is to recognize the types of openings and ornamentations in the Reyhane-bar neighborhood. The research questions are as follows: 1- In how many levels are the openings of the historical building of Reyhane-bar neighborhood classified? 2- What decorative patterns are used in the openings and what is the frequency of new to old patterns in the ornamentation of the openings of Reyhane-bar neighborhood? The research method is descriptive-analytical and the information collection method is documentary and field study. The results of the research show that the ornamentations of the openings of Reyhane-bar neighborhood have been implemented using three methods: Girih-tiling, Ghavarehbori and woodcarving. The openings of the Reyhane-bar neighborhood are classified in six levels: integrated openings, without Sarbarieh (opening above the window), inscribed openings without Sarbarieh, Sarbariehs without a border design (single), and inscribed Sarbariehs (single) and Orosi. This should also be noted that the Reyhane-bar neighborhood has the lowest number of Orosis in comparison with other neighborhoods and Orosis in the above-mentioned neighborhood are mainly observed in the economic constructions. A total of fifteen decorative patterns have been used in the openings of Reyhane-bar neighborhood, among which, 8-square Shamse girih patterns and Paisley Ghavarehbori are the most repeated patterns. Reyhane-bar neighborhood has 6 new patterns and 9 common (original) patterns in Masouleh. The results of the research show that 24% of the decorative arrays of the openings of the Reyhane-bar neighborhood was of new patterns and 76% of the original and common patterns in Masouleh neighborhoods. A noteworthy point in the construction of the ornamentation of the openings of the Reyhane-bar neighborhood is the common use of the Ghavarehbori method. Among the main reasons for the Ghavarehbori construction method in the decorations of the openings of the Reyhane-bar neighborhood, the following can be mentioned: Cost-effectiveness: The Ghavarehbori construction method is much more economical than the Girih-tiling method, but by implementing Ghavarehbori, more limited designs can be made in comparison with the Girih-tiling method. Ease of construction: Artists need to use soft wood to make Ghavarehbori ornamentations, and this causes less durability, more wear and tear, and a more unfavorable appearance in the building wall. For this reason, to solve the problems of corrosion and to prevent biological and environmental disintegration as well as turbidity of color, the residents are forced to use stabilizers and chemical colors that do not match the authentic and historical texture of Masouleh. The research results show that there are sixteen geometrical patterns in Reyhane-bar neighborhood. As already mentioned in the text, the ornamentations of Masouleh’s openings have been implemented in three forms: Girih-tiling, Ghavarehbori and woodcarving. Several researches have been recently conducted with regard to the subject of Masouleh, its neighborhoods, and the existing ornamentations of the openings of each of these neighborhoods due to the significance and importance of Masouleh, as one the few habitable historical places in Iran. This research and its results are only a small part of the wide and extensive topics that can be performed in the field of knowledge of traditional arts and how they work to meet the needs of users. In fact, it is possible to investigate the ornamentations of other places in Masouleh in future research, which would lead to the recognition and preservation of the architectural arrays of Masouleh.

Fatima Ahmed Abdo Hassanein, Mohamed Nabil Mustafa

The Islamic heritage is considered the stock and stock that lies within it the qualities of stability and continuity, which combines spiritual, aesthetic, and cultural values, in addition to being a true documentation of the culture of society and the unity of its intellectual curriculum through the times.And its value in the face of continuous change and successive artistic revolutions, and the concept of Islamic heritage includes two main dimensions.The intellectual concept, which is represented in the inherited concepts, ideas, beliefs, and cultural values.The material concept, which is represented in artistic production of all kinds.Therefore, the Islamic heritage is a translation of the life of society and a product of the experiences, skills innovations that society has produced through its ages.Islamic art has been creatively influenced by the arts of the civilizations that preceded it, but it excluded from them aspects that are not compatible with the Islamic faith and treated its abstract arts in accordance with the teachings, spirit, and philosophy of the Islamic religion.Thus, Islamic art was distinguished from the arts that it was influenced by, as it melted them all in its own crucible. The spirit of the East was represented in formulas with rhythm and distinct geometric and decorative formations.Although it differed in some of its details from one region to another, and this difference did not prevent the expressive unity of the Islamic faith, and all regions continued to use the same architectural elements, plastic decorations and Arabic fonts required by the plastic process as much as what is imposed by the functional aspect support the architectural product

Yixin Zou, Sarawuth Pintong, Tao Shen et al.

Abstract Fashion or apparel refers to a topic discussed publicly as an indispensable discipline on a day-to-day basis, which has aroused rising attention from academic sessions over the past two decades. However, since the topic of fashion design covers knowledge in extensive ranges and considerable information, scholars have not fully grasped the research field of fashion design, and the research lacks directional guidance. To gain more insights into the existing research status and fronts in the fashion design field, this study conducts a quantitative literature analysis. The research of this study is conducted by employing CiteSpace technology to visualize and analyze 1388 articles regarding “fashion design” in the Web of Science (WOS) Core Collection. To be specific, the visualization and the analysis concentrate on the annual number of articles, author collaboration, institutional collaboration, literature citations, keywords clustering, and research trend evolution of the mentioned articles. As highlighted by this study, the effect of the US and the UK on academic research in fashion design is relatively stronger and extensive. Sustainable fashion refers to the research topic having aroused more attention since 2010, while new research topics over the past few years consist of “wearable fashion”, “transgender fashion” and “medical fashion”. The overall research trend of fashion design is developing as interdisciplinary cross research. This study systematically reviews the relevant literature, classifies the existing research status, research hotspots and frontier trends in the academic field of “fashion design”, and presents the knowledge map and information of literature for researchers in relevant fields.

Eko Setiawan, Keppi Sukesi, Kliwon Hidayat et al.

This research describes the life of the people around the buffer village area of Alas Purwo National Park which has local wisdom in the form of a number of traditions, in the form of rules or restrictions that are still valid for generations. This local wisdom has the value of ecological intelligence that is maintained and developed so as not to be driven by modernization. Local wisdom owned by the community is used as a reference in the management of forest areas, both myths, abstinence. The type of research used is descriptive qualitative with sociological approach with case study design. The results showed that the community around Alas Purwo National Park area has local wisdom in the form of a number of traditions, rules or restrictions that are still valid for generations that are then maintained and obeyed until now. The restriction is in the form of a ban on killing peacocks and menco and abstinence in the payang system.

Ramiro A. Gonçalves

The French-Portuguese Pedro Eugénio Daupias (1818-1900), 1st Viscount and 1st Count Daupias, was one of the most important collectors in Portugal in the last quarter of the 19th century. Of the collections he gathered, the one on painting, for the excellent quality of some of its pieces, is the one that gets the attention from art historians, being aligned with the Parisian taste, even if his eclectic taste led him to collect all kinds of artistic objects: sculpture, ceramics, textiles, furniture, silverware and miscellaneous. In this paper we will make a brief descriptive analysis of his various collections, with reference to the objects commented by the Count Gallery visitors or referred to with specific descriptions in exhibitions or auction catalogues. In 1882, the Count published a catalogue dedicated to modern painting and sculpture. The dispersion of his collection began in 1892, when a selection of the best paintings was auctioned in Paris. In 1894, there was another auction dedicated to the decorative arts, again at the French capital. And ten years after the collector's death, in 1910, the remains of his collection were sold at yet another auction in Lisbon.

I Kadek Merta Wijaya

Sanga Mandala is a concept that divide the layout of lowland Balinese house into nine zones. The intersection of two main axes, the ritual axis and the natural axis, forms the concept of Sanga Mandala. These axes have two poles called hulu/luan (mountain direction) and teben (sea direction). Along with times, the realization of Sanga Mandala in the form of buildings and zoning underwent a transformation in response to the increase in household members, modern mindset of the citizen, and tendency to follow contemporary trends. Changes to the zoning system that still follow the rules of traditional Balinese architecture are zones of sacred and ritual functions. With the development of modern mindset of the citizen, we can find those phenomena in Denpasar. This study aimed at examining the meaning of luan and teben on Balinese ethnic house layout in Denpasar. There is an interesting phenomenon that relates to the meaning of luan and teben in contemporary life. This study used interpretative naturalistic research method by emphasizing the empirical aspects of sensual, ethical, emic, logical, and transcendental. The results showed that there was a pattern of meaning on luan and teben in the conception of zoning, transformation of spaces and buildings, orientation of the building mass, as well as producing a pattern of meaning in zoning and ritual functions as the most important part in the residential space layout of Balinese ethnic houses in the midst of the development of Denpasar.

Adrian Widisono

Traditional settlements that still survive until now one of them is in Sade Hamlet, Central Lombok Regency, NTB. This settlement is now a tourist destination because of the original architectural form of outer and inner spaces. These settlements have distinctive characteristics formed by local people from the time of their ancestors. Local wisdom is seen at the macro and micro scale which is a characteristic that has an opportunity value. This value arises due to trust (watu telu and watu lima) and culture (the use of cow dung when mopping) and moral values handed down by their ancestors. This study aims to explore local wisdom in settlements inherited from their ancestors from a macro and micro scale. To find out local wisdom at the macro and micro scale, a descriptive qualitative method was used with a research paradigm with a literature review. The results of this study found local wisdom from a macro and micro scale. From a macro scale there is local wisdom in the form of home orientation, locations in the hills, structuring residential patterns, marariq (eloping) and weaving. On the micro scale, there is local wisdom in the form of building elements in the form of roofs, doors, and also inner space, there is a belief held in the mass of ancestors in the form of watu telu and watu lima in the present mass.

Radwa Zaki

The Takiyya Mawlawiyya in Cairo is a unique example of architecture in form, design and function, and the complete model of the takiyya, which was created specifically for the ceremonial Mawlawi Derwishes rituals, as well as the rest of the architectural complex includes the mausoleum, the service building and Sufis rooms retain their form, character and original architecture. It is also a vivid example of the splendor of this architectural style that combines Islamic poetry, music and rituals of the Sufi order. This architectural complex of the Turkish Mawlawi Derwishes in Cairo witnessed the legacy of the Mamluk architecture represented by the dome and the original minaret, and the characteristics of Ottoman architecture distinctive in the domes construction; it comprises buildings of different ages, recovered and reused by Mawlawis, between the seventeenth and twentieth centuries. Based on the previous introduction, this research aims to study this unique architectural structure; which seems to have been one of the last and comprehensive example of such constructions, Ottoman takiyya, to be built in the Islamic world and Egypt. The research paper addresses, using the analytical-archaeological method, the importance of this establishment from architectural and artistic point of view, as a symbol of Sufi architecture and arts in Egypt. Where it briefly sheds light on the Mawlawis order as one of Sufi doctrine in Egypt during the Ottoman era, then tracing the history of construction of the architectural complex before building of the Mawlawiyya. It is mainly based on a study of history and architecture of the Mawlawi Derwishes theatre “Sama'-khana”, aiming at highlighting the architectural symbolism of the Mawlawi  takiyya, its Ottoman decorative arts, and inscriptions written in Arabic letters and Persian script that considered to be tangible model of the spirit of the  Sufi Mawlawiyya order in Egypt.

Shaimaa Abdel Rafei

The forms of superstitious objects appeared extensively on the Ottoman decorative arts, which varied in shapes and types, which were usually not embossed as an independent subject, but were shown alongside the drawings of the real animals. The artist depicted these animals as a real element in nature. Artfully attested by the ability of the Islamic artist to draw. They found their ends, because one of the criteria of Islamic art is modification and abstraction, so they welcomed it but did not retain its symbolic meaning as much as it was purely decorative. One of the most important superstitious objects that appeared in Ottoman art: the shape of the dragon and phoenix, and the drawing of the snake whose tail appears knotted. The composite objects are in the form of an animal with a human head and the body of a lion (Sphinx), as well as the drawing of a bird with a human face, as well as the form of an animal standing on its hind legs and hold in his hand fruit, or play on a musical instrument. It seems that these superstitious animals found on the Ottoman art products moved to it from Iranian art - which was influenced by Chinese art - through the transmission of artistic influences that occurred during the Ottoman conquests, and the transfer of many Iranian artists to the Ottoman territories and work for them.

I. L. Dulchaeva

This article is devoted to the urgency of the development of creative personality, ability to self-development and self-improvement and formation of professional competence in future pedagogues of professional education in the field of Decorative and applied arts and design. The theoretical fundamentals of competence approach in higher education are considered, the essence and structure of the general cultural, professional and special competences are revealed.The professional competence is an important constituent of person’s professionalism. And for the future pedagogue of professional education in the field of Decorative and applied arts and design it is the development of skills and habits of creative activity, creative thinking, creative abilities, which are considered by the authors as the constituents of creative component in special competences for this area of training. The creative component reveals in the creative approach to the solution of any professional problems.As a result of the analysis of theoretical literature, standards, programs, practical experience of pedagogues in this field and the authors own experience, the pedagogical conditions for the effective development of the creative component in special competences for a profile of Decorative and applied arts and design are proposed. The pedagogical conditions are experimentally verified at practical classes. The students made practically-oriented projects in the course of their professional training and then they participated with these projects in various  creative contests and exhibitionsIn the article there are the examples of the creative projects made by the students under the guidance of the pedagogues-practitioners, folk masters of the Republic of Buryatiaa.

Prishchepa Aleksandr, Maidibor Olesya

The existence of archaeological sites of ancient Greek colony-towns and medieval fortresses gives a real insight into the interaction of all spheres of human activity in ancient times. Ancient Greek Emporium is a vivid example of the architecture, art, archaeology and urban planning synthesis. Archaeological excavations provide an opportunity to study the artefacts of the ancient world belonging to several fields, such as sculpture, decorative arts, fashion design and household. Studying history of archaeology right on the place of excavation of an ancient city masters can imagine the scale of buildings, streets layout and location of business, administrative and residential buildings. It allows students to form professional way of thinking in a short period in order to gather the material and work on the master thesis.

Eman Aref

Studying the methods of plaster wall decorations is considered one of the complementary elements of the architectural vocabulary that reflects the cultural and ideological heritage identy of the time period. Wall decoration has broken the barrier of time and place,  and the political and doctrinal differences, expressing in an abstract way the truth about the beilefs of both the Far Morocco Idrisid and Sebia Idrisid in kingdom of Saudi Arabia, where they did not use any symbol or sign that demonstrates their belonging to Shi'i Muslims, so-most probably- they belong to Sunni Muslims. This study aims to track the foundation phases of Idrisid state in Far Morocco during the century (2-4THA.H/8-10TH A.D) and its extension to the east in the Tihama Asir region during the century (14THAH/20THAD). The research problem lies in trying to detect the link and the nature of the relationship between the two states despite their differences in time and place through studying the natural strategic crossings, as well as the political circumstances that contributed in the transfer of the  influences of Far Morocco Arts to Sebia region  in the southwest of the Kingdom of Saudi Arabia, which contributed in enriching the plaster decorative arts of the facades of the Idriss Ashraaf's palaces, and their  merging with the local artistic nature of Najd, Yemen. This study has revealed- through following the analytical descriptive method- the emergence of some influnces coming from the countries of East Asia and India and the countries of the African continent  due to  Sebia's geographical location as a port on the Red Sea and its presence on both the coastal trade way and caravans.

Morna O'Neill

Can there be such a thing as “Arts and Crafts” painting? This article will address that question by interrogating the points of connection between Pre-Raphaelite painting and the Arts and Crafts object. Taking its cue from William Morris’s reflection on the “English Pre-Raphaelite School” from 1891, this article examines the interplay between painting and design in both Pre-Raphaelite painting and the Arts and Crafts movement. It addresses the ways in which paintings depicted decorative art, as well as the aspiration of decorative art to the symbolic potential traditionally associated with painting. It is my contention that Pre-Raphaelite painting unleashed a radical possibility for decorative art: the Arts and Crafts belief in the political agency of things.

Jens Baumgarten, André Tavares

The present article aims to present a general panorama of historiographical and artistic literature on colonial, or baroque, art in Brazil. Thematic, chronological, or geographical subdivisions are no longer sufficient for writing a “total history” embracing this production in its entirety. The authors have therefore chosen to focus on the principal orientations of scholarly output. Critical analyses and research on baroque in Brazil are vast and vibrant fields of investigation. A topic of interest to art historians beginning in the nineteenth century, the baroque, a symbol of national art and the origins of a specific Brazilian aesthetic, became in the twentieth century an extensive field of study. Such an operation was unusual for the artistic production of Latin America. The equation of baroque with a national art and the numerous debates on the extent of exchanges with international sources, as well as syncretism with local, European, African, and Asian formal elements, caused the debate to expand and traditional approaches to be revised. These approaches, in turn, were transformed and perfected by the increasing accessibility and systematization of data on arts from the seventeenth and eighteenth centuries.

Nadeshda Komarowa

Spatial arts, including sculpture, exist in the material sphere of culture and model the spatial aspects of the universe by themselves… Dmitri Budazhabe's sculpture appeared to link the epochs of the old oriental cultures to the modern life. His works are decorative objects and at the same time the rite symbols, which contain deep aspects of the Buddhism. The sculptures and vessels for incense bravely model the interior space and simultaneously play a leading part in it. They are maid artistically and first of all evoke peaceful feelings. The small steam of the incense smoke, coming out of special channels, continues to create the environment even beyond the vessel, involving the observer in the rite. The oriental images invite us to make philosophical conclusions and to search for eternal truth… Dmitri Budazhabe's works are performed in bronze moulding. Together with exotic forms, each sculpture has particular meaning. Thus the names sound lyrical and romantic: «The Treasure that Fulfils Wishes», «Sarasvati (The Goddess of the Morning Star)», «The Warrior of Shambala» etc. Flexible sculptural bodies, plastic compositional decor and fleshy bulging forms recall melodies of the mysterious East and the eternal secret of the hidden symbols, that one's curious mind aspires to reveal. Dmitri Budazhabe's works are often designed for Buddhist temples, made by special request and used for rites. At the moment the author is finishing the work, which he considers to be of great moral importance: it is a 2 meter sculpture of Buddha for Dazan. When watching his work the sense of time disappears… There is no past; presence merges with future–only Aspiration for perfection moves the author's hands.