Hasil untuk "Decorative arts"

Olga Sergeevna Sapanzha

This article introduces, explains, and proposes further analysis of the term “Soviet classical-inspired style” (Rus. «советский антик») in relation to the works of the Leningrad art industry. This term refers to the use of techniques and images from classical works of decorative and applied art in the development of standard images for mass-produced consumer goods. The author points out that the structure of the arts and crafts industry underwent changes in the 1950s. Specifically, artels were transformed into factories, and production was standardised. Concurrently, processes associated with the industrial stage were evolving. These included the growth of cities and the urban population, as well as the emergence of a new lifestyle. Art industry enterprises had to solve new tasks of producing goods of sufficiently high quality while maintaining substantial quantities. At the beginning of the period in question, the main artistic language was the “Triumph style”. This style was based on a wide range of classical references, welcoming splendour and decorative complexity. These dominant features were successfully transferred to the industry, where new materials and demands for cheaper production already played a significant role. The contradiction between “classical style” and “technological innovation” gave rise to the phenomenon of “Soviet classical-inspired style”, represented by three main trends: thematic (reference to classical works of art to decorate consumer goods with their images), technological (the use of cheap materials instead of precious stones and metals), and a stylistic direction that synthesised the first two (copying the techniques and sometimes the overall structure of classical works of decorative and applied art of the eighteenth–nineteenth centuries in standard samples of products intended for mass production).

Khasanova Z.F.

The area of this study includes the south-east of the Republic of Bashkortostan (Abzelilovo, Burzyan, Baimak, Beloretsk districts) predominantly inhabited by the Bashkir people. The chronological framework of the research spans the 20th and early 21st centuries, i.e. the time when horse wedding decoration was still used by the Bashkirs in some locations, attesting to preservation of long-standing ethnic traditions. The aim of this study is to analyse decoration elements of horse in the wedding ceremony among the south-eastern Bashkirs in the 20th and early 21st centuries, including caparisons, saddle blankets, breastplates, bellybands, and cruppers. The source basis includes author’s fieldwork materials collected during in 2010, 2017–2019 and 2023, as well as archival materials, museum collections in the city of Ufa and rural school museums preserving rare exhibits. Standard scientific methods, such as comparative historical research, scientific description and analysis, have been used. During the collection of field materials, traditional ethnographic research approach was also used, including observation, photofixation and in-depth interviewing conducted in the Bashkir language, which allowed us recording local names of the wedding horse decoration. Analyzed were ornamented caparisons, saddle blankets, breastplates, bellybands and cruppers as attributes of the Bashkir wedding ceremony in the south-east of the Republic of Bashkortostan. The festive horse decoration was part of a bridal dowry; the bride herself participated in its making. The bridal horse decoration in the wedding ceremony performed social, sacral and aesthetic functions. It was enriched with sacral signs and symbols to protect from bewitching and evil spirits. A young wife moved to husband’s house on her horse decorated for wedding accompanied by her husband, girlfriends and close relatives. Until the 19th century, the bride would have ridden astride, but already at the turn of the 20th century that would be quite a rare phenomenon. However, in some villages there were single cases of the observance of this rite even in the mid-20th century. It has been found that in the 20th century in the south-east of the Republic of Bashkortostan several types of wedding caparisons, different in their ornaments, materials and techniques, were used. There were several types of appliqué and kuskar embroidery. The altered form of the wedding horse decoration has been preserved until the early 21st century.

Feng Wang, Isarachai Buranaut, Bo Zhang et al.

To better meet the emotional needs of older residents and to improve the design of age-friendly indoor interface forms, this study uses Kansei engineering as the theoretical basis for an exploration of the mapping relationship between emotional needs and interface forms. First, we collected spatial interface forms through in-home research, and using focus groups, we summarized and produced test samples for interface forms; at the same time, we screened out adjective word pairs that could fully represent the emotional needs of older people in the city of Jinan, drawing on expert interviews; then, we invited 500 older adults living in Jinan all year to evaluate each interface form using representative adjective word pairs as the emotional evaluation criteria, following the semantic differential method. Subsequently, the participants were invited to evaluate and score the interface form samples using representative adjective word pairs as the standard of emotional evaluation, employing the semantic differential method. Finally, the evaluation scores were input into SPSS software for the Kruskal–Wallis test to explore the relationships between various interface forms and emotional needs. The experimental results showed that the assessment scoring results for each interface form in each set of pairs of adjectives that differed significantly, where each interface had a clear emotional tendency. This study successfully established a mapping model for matching indoor interface forms with emotional needs in age-friendly housing in Jinan. These findings can provide a reference for future practice of designing residential indoor interface forms to match the emotional needs of older people in Jinan.

Steven Faerm

The role of the fashion designer must transform. The fashion marketplace has reached unprecedented levels of abundance, thus altering society’s relationship with design. Consumers’ basic needs are overmet and have surpassed the material realm; consumers are increasingly driven by their search for emotional fulfillment via design. This emerging behavior is pivoting the perception of design “value” from the tangible to the intangible. While traditional values of function and aesthetics remain fundamental, a design’s capacity to deliver “emotional value” to consumers must become the focus of design practice. This requires a transformation of the designer’s traditional role. Rather than creating from myopic biases, they must research consumers’ psychographics to “design emotion.” This new role—the “Designer-As- Social Scientist”—takes a holistic view of consumers’ needs. The designer’s transformed role will result in products having greater emotional value, enhanced product sustainability, and businesses increasing consumer loyalty and resultant sales by offering only those products that are truly desired by their target audience.

Boronoeva, T.A.

The article deals with the artistic heritage of the outstanding Buryat artist Tsyren-Namzhil Ochirov (1920–1987), whose artistic phenomenon is based on the specific combination of the life philosophy, “naive” simplicity of depiction and the poetic love to his motherland called the Tonto Nyutag by the Buryat people. The public interest to his art was raised during the artist’s lifetime. In the early 1970s, several articles dedicated to his art were released in local newspapers. His unique artistic manner was studied by a group of young amateur artists who were members of the Republican Center of Amateur and Folk Arts in Ulan-Ude. Serious research work on his rich artistic heritage conducted by art critics and scholars started after his death. In the late 1980s and the early 1990s Svetlana Tsybiktarova, the art critic and the science assistant of the Khangalov Historical Museum in Ulan-Ude, together with her elder colleague from Leningrad Natalya Iofan, released the article entitled “The artist from Mogsokhon”. The name of Tsyren-Namzhil Ochirov was introduced to the world of art experts for the very first time. The authors revealed the correlation between his art and the traditional Buddhist painting. Tatyana Boronoeva in her monography “Graphic art in Buryatia” made a partial analysis of Tsyren-Namzhil Ochirov’s art in the chapter “Art of self-taught painters and the problem of ethnicity in the Buryat graphics”. Larisa Nikolaeva in the article entitled “The art system of the Buryat amateur painter Tsyren-Namzhil Ochirov (1920–1987)” shared with readers some interesting facts from his life. In her article, she also underlined some similar features of the traditional Buddhist painting in his art. In 2019, the year prior to the 100-th anniversary of the artist, the family of Tsyren-Namzhil Ochirov published an album of his graphic works. The content of the album was compiled by his granddaughter S. Tarnueva. One hundred and fifty drawings were selected from the family archive and were introduced to the wide public. The rich art heritage of Tsyren-Namzhil Ochirov numbering about five hundred works includes thirty manuscripts and wooden items of the decorative and applied art. The author of the current article makes an analysis of the graphic works of Tsyren-Namzhil Ochirov from the funds of the National Museum of the Republic of Buryatia and from the private collection of the artist’s family. Of a great importance for the author of the article is the definition of his art’s origin, which is, on the one hand, derived from the traditional Buddhist painting, and, “the Buryat Zurag” on the other. The latter is the painting created in a specific artistic manner that reflects the world perception of the Buryat people. For the better description of the topic, the author publishes the conversations with the daughter of the artist Roza Tsyrenovna, with the painter Alexander Moskvitin, his close friend and the speech of the Buryat artist Zandan Dugarov at the event Round Table dedicated to Tsyren-Namzhil Ochirov’s art in 2016. The author of the article uses artistic methods and elements of the historic approach as the complex tool in her research work.

Elitza Dulguerova

For several decades and despite political changes, the artist and advocate of peasant art forms Nikolai Bartram maintained an anthropological and non-instrumental reading of toys. This essay attempts to look through his ideas into several contexts of debates about toys, and in particular peasant toys, during the time span from 1900 to 1930 in Russia and the USSR. Be it in his books, through his experience at the museum of arts and crafts in Moscow since 1904, as the founding director of the Museum of Toys from 1918 to 1930, or as the head of the Soviet section "The world of the child" at the International exhibition of decorative and industrial arts in Paris in 1925, Bartram thought of toys not as objects of delight or entertainment, but as active subjects that trigger creativity. This open approach to toys encountered growing difficulties up to the ideological lock of the 1930s.

Irawan Setyabudi, Dian Kartika Santoso, Katarina Albina

Balai Sebut Village located in Perintis Hamlet, Sanggau Regency, which has indigenous people, namely Dayak Jangkang Bokidoh. Local wisdom in those areas still closely held, either tangible, such as traditional architectural forms, or intangible, such as traditional and cultural activities. This study discusses the visual form of the traditional house, the pattern of micro-space arrangement and traditional activities that use the “Gawai” space. “Gawai” is a religious ceremony as a sense of gratitude which involves the use of micro to macro spaces. The purpose of this research is to focus on the identification of house forms, settlement patterns, and cultural activities that using an architectural space as an effort to preserve traditional architecture which is precisely in Perintis Hamlet. The research method was carried out in a descriptive-qualitative manner with an ethnographic approach. Data collection was carried out through a focus group discussion. The results showed that the Dayak Jangkang Bokidoh tribe had architectural tangible and intangible values. Physical spaces that have architectural value will have meaning if there are activities that involve the space. In this case, seven kinds of traditions are still preserved in Balai Sebut village, namely in the form of “Gawai”, which are related to the presence of ancestors, gratitude for the harvest, birth, death, and marriage as cultural activities that must be preserved together with the traditional house. So, “Gawai” can be said as a cultural activity that gives meaning to space in the traditional architecture of the Jangkang Bokidoh Dayak Tribe.

Sergey Yevgenyevich Vinokurov, Ludmila Alekseevna Budrina

The nineteenth and the early twentieth centuries in the history of European decorative art are marked by a new rise in interest in the art of the Far East. In contrast to the previous century, at the new stage, this interest is characterised by more interesting and deeper interpretations of exotic artistic traditions. The reasons for the emergence of a new wave of Chinese style and, later, Japanism were several factors, among which the authors single out the institute of world exhibitions and the formation of museum and private collections. This article considers several cases demonstrating the important role of publication activity in the dissemination of oriental motifs and plots in the decorative art of Western Europe, Russia, and the Urals. Referring to works of European jewelers, Russian stonecutters, and Ural iron foundry workers, the authors reveal the main opportunities provided by the study and analysis of publications of an artistic, reference, and academic nature from between the nineteenth and early twentieth centuries. The article examines European print publications as direct and possible sources of oriental plots, which, in addition, make it possible to clarify the attribution of individual works and form an understanding of the mechanisms of integration of exotic motifs into traditional types of decorative art in the Urals. The analysis of publication activity, as well as of specific works of European and Russian masters, not only made it possible to demonstrate the role of publications of the nineteenth and early twentieth centuries in disseminating information about exotic artistic traditions. The examples considered convincingly prove the need to comprehend the decorative and applied art of Russia in the nineteenth and early twentieth centuries as part of the European art market, and once again confirm the involvement of the Ural art industry in the current stylistic agenda.

I. V. Lovtsova, L. A. Burovkina

We substantiate the importance of preserving the nonmaterial cultural heritage, folk culture and the development of traditional handicrafts, the need to integrate culture and education. We prove the effectiveness of measures to preserve the nonmaterial cultural heritage through the development of children’s traditions and technologies of folk art crafts and handicrafts in additional education. We analyze the implementation of additional general educational programs in the field of decorative and applied arts and activities to preserve folk art crafts and handicrafts are being conducted in the regions of the Russian Federation. We make proposals for the development of educational programs in the field of folk crafts.

farzaneh heidari nejad, Zahra hosseinabadi, HAMIDREZA avishi

The land of Iran is one of the first and most important centers of production of various earthenware items. Painting on pottery has a long history. Pottery wares, as concrete examples, can lead us to the widest possible understanding of the life and civilization of different periods of the Iranian people with the least possible error. Most of the motifs used on pottery have a special meaning. Pottery artists have used different styles and motifs throughout the history of pottery making. Pottery artists have mixed different motifs with aesthetic and harmonic elements such as repetition, symmetry, balance, proportion, concentration, focus, parity, etc., on pre-historic pottery of Iran, and it is important to point out that in addition to the functional aspect of pottery in everyday life, with various geometrical, human, plant, animal, thematic and symbolic motifs they created on pottery, they sought to satisfy their aesthetic needs. The ingenious spirit of Iran has acquired its most complete embodiment in the so-called decorative arts; the arts which secret lies in the beauty of the role and design. These adornments and ornaments are prevalent in all of Iran's artistic creations. Some of the motifs are sacred and ritual, and originate from people's beliefs. These motifs have been naturally or abstractly depicted as ornaments on pottery. One of the motifs that have been used in Iranian artworks for a long time is the fish pattern, which is one of the most enduring themes in Iranian art. Man draws many motifs unconsciously, symbolically, he expresses his wishes and desires in various forms, including forms of beings. Iranian artists manifested the desire for water and the sacredness of the water with the symbol of fish on the pottery; a motif reminiscent of blessing and livelihood. Fish are widely associated with spiritual wisdom, fertility, and regeneration. The motif of the fish is often geometric and abstract in the decoration of Iranian pottery; this imagery conveys a rich cultural background and is rooted in the myths and beliefs of this land. The variety of the specific motifs and names of fish in Iranian culture indicates that this symbolic motif has varied in terms of design and form across diverse ethnicities and understandings. As a matter of fact, despite the unity of design in terms of principles and bases, it is very varied in depiction of details, and it definitely demonstrates its strong appeal and visual expression. The purpose of this study was to investigate the visual characteristics of fish motifs and their themes on pre-Islamic pottery in Iran. The research questions are as follows: 1- What are the visual features of fish motifs on pottery? 2- What are the themes of fish motif on pre-Islamic pottery in Iran? The method of this research is analytical-descriptive. Library sources, reputable sites for articles, forms, and e-books have been used to collect textual information. The statistical population of the research consisted of 9 shapes and 15 linear designs of fish motifs on pottery in the period between 4000 and 1000 BC in Iran. The method of analyzing the shapes is qualitative which have been described visually and thematically, alongside explaining the motifs on the pottery as well as emphasizing the role of the fish. The result is that everything in the system of creation is a symbol that implies the truth that one must seek out and enter into or out of the circle of existence to get it. The embodiment of the symbol can be understood as or derived from nature. The tendency for beauty has always inspired the beautiful human spirit, to the extent that the utensils of everyday use were no exception; the people who lived in the most primitive state depicted what inspired their beautiful nature and spirit as beautiful designs that they used on pottery. Pottery provides the most accessible and the most abundant surface for the motif, as well as visual pleasure, for various prehistoric peoples. The motif of the fish has the potential to transform into different designs and motifs, and has its own cultural and artistic expression among different ethnic groups. Fish have had a significant place in Iranian beliefs and culture. Due to its beautiful, flexible and varied form, the motif of the fish has been of interest, both visually and symbolically, to Iranian pottery artists who have approached nature in order to better understand and further their religious beliefs, to which the ritual of the people and the creators of their time helped. The symbolic motifs of fish refer to life, fertility, and water, which are the secrets of life and their depictions on earthenware objects give them life and spirit. The use of this motif on earthenware is a sign of human life formed of soil, water and mud.

Zulkifli Zulkifli, Dermawan Sembiring, W. Atmojo et al.

This article studied the ethnicity expressions in the creation of art painting through the exploration of the visual culture of Nias. The exploration was realized creatively on rubber dimension formed by the heat conductor. The purpose of this study is to develop a peculiar and unique shape of fine arts in North Sumatera so that it can enrich the local and national treasure of visual culture. This study employed to survey and creative creation method. The testing of the result of the creation was conducted through the assessment of competent critics and the appreciative feedback of the observers and the community. The data analysis was done using the quantitative and qualitative descriptive method. The result of this study showed that the characteristic of Nias visual culture as the basis of art painting development, in general, was decorative and mythical. The rubber media as a “tafril” area with a heat conductor was quite effective to explore the real texture and relief image, as well as to present artistic effect when exposed by light. Based on the critics and the observers’ appreciative feedback, the creation had already had an intraaesthetic and extra-aesthetic quality, uniquenes, and strong characteristic, so that it contributes to the enrichment of local and national culture. Keywords— ethnicity, creative exploration, art painting

R. A. Prabowo

Javanese traditional ornaments are one of the richness of the archipelago's culture. A variety of craft works in the form of decorative motifs from various ethnic Archipelago has given rise to a style with its own characteristics and uniqueness. The focus of this study is to explain the traditional Javanese decorative motifs. The study of motif reconstruction as a method of developing and preserving traditional Javanese decorative motifs, as an alternative design of wood craft products. Qualitative methods and explorative experimental methods are used as a basis for analyzing and translating experimental reconstruction designs for the visual development of wood crafts in Indonesia that are Indonesian, unique and varied. The development of alternative designs with various reconstructions of traditional ornamental motifs will enrich the repertoire of traditional fine arts culture in Indonesia.

V. Savchenko

The aim of this paper is to consider the theory of the genesis of decorative and applied arts. Research methodology. The historical method is used to create a holistic picture of the scientific comprehension of decorative and applied arts. The culturological approach is used to understand the current state of art culture. Results. The issue of the genesis of arts has worried researchers since antiquity. Entire scientific schools and theories were created. The first was the theory of inheritance, according to which a person in his work repeated what he saw in nature. There was also a theory of the divine origin of arts. In the 19 th century, after the work of Ch. Darwin and the development of archeology, new theories arose on the social structure of society and the origin of creativity. So the game theory, the theory of the mystical origin of creativity, arose. In the late nineteenth and mid-twentieth centuries, the scientific study of arts developed within the boundaries of art history. There arose iconographic and iconological methods of studying artistic creation. For a long time, these two methods solved the tasks well and completely satisfied the researchers. In the late twentieth century the new society is being formed. Thanks to the Internet, the borders disappear and a person becomes freer and more independent. It changes the attitude to creativity and decorative and applied arts. They can no longer be studied by old methods. One of the most potential approaches to the scientific study of creativity is the culturological approach. It allows applying the achievements of various humanities: sociology, psychology, philosophy, etc. to the study of the object. Novelty . For a long time, decorative and applied arts were studied empirically. However, the new conditions of the 21 st century have created something new from familiar things. There are new connotations and decorative art takes on new forms and meanings. To study a new phenomenon, new techniques are needed and a culturological approach can become one. The practical significance . The material of the article may be developed in subsequent studies. A fundamentally new methodology for the scientific study of decorative and applied arts can be developed.

Zhdanova Nadezhda Sergeevna

Elnaz Azizi, Mohammad Reza Shrifzadeh, Ataollah koopal

One of the most popular arts in Zanjan is filigree which is a branch of the art of metalworking and is mainly made of high-grade silver metal. In filigree, silver bullions are made with a rolling machine in the shape of quadrilateral narrow wires with which small designs are made by putting them together and soldering them. The purpose of this essay is to introduce filigree and to identify the common designs and motifs in the filigree of Zanjan as well as the effectiveness level of the filigree patterns from pre-Islamic and Islamic eras, and the similarity of filigree patterns with Islamic-art motifs based on the geometric theory of fractals. The present article seeks to answer these questions: 1) What are the origins of some Zigzag filigree designs? 2) What types of motifs are common and used in Zanjan filigree and Islamic decorative art? 3) Are filigree designs compatible with Islamic art designs based on Fractal theory? The research method of this study is analytical-descriptive and the method of data collection is library research. The results indicate that the origins of some filigree patterns are from ancient Iranian patterns, some patterns are taken from the invaders to the eastern borders of Iran as well as the geometric vegetative and simplified (stylized) patterns of the Islamic period. These patterns with other filigree elements form a complete semantic system. The findings also showed that there is a balance in natural fractal patterns. Patterns of Islamic art and filigree, despite repetitions, irregularities, endlessness, incompatibility, etc., follow a particular order in general and they are balanced (unity despite plurality). Filigree designs have used the elements of Islamic decorative art and fractals from nature. In other words, all three are of natural origin. Zanjan filigree works are part of the fine Iranian metalwork art which production has undergone changes in recent years. The existing works in the art of filigree are largely different from the old filigrees. Despite their apparent differences, the researchers categorize these works into a single collection. Although metalwork art has been referred to in many Iranian art history books, less attention has been paid to filigree. On the other hand, many of them have been lost due to the possibility to melt the filigree works, and few are available in some museums or owned by collectors, which are not easy to access. One of the most important ways to realize the history of filigree works is to recognize the forms and motifs common to the filigree and find the origin of the motifs and their transformation over time. Iran has long hosted many civilizations from the past. The filigree works have been obtained from two periods of before and after Islam. These artifacts range from very basically decorated works to sophisticated ones. They have common features in the style of decoration and building method; features like the use of tap and dies of wires and delicate soldering as well as the use of abstract forms that are in fact the foundations of today’s filigree art. What was considered the goldsmithing work in the pre-Islamic era, slowly moved towards independence after the advent of Islam and during the reign of early Muslim rulers until it became of great importance in the Samanid era, that is a pinnacle of developments, and in the Seljuk era, that is the determinant of the policy of this art; then, during the Safavid era an art was finally formed, called filigree. Moreover, today’s filigree art had been invented in the Afsharid and Zand periods when some of the motifs invented in the late Safavid era came into being and later emerged in various forms in the Qajar period as well. Zanjan was established as the center and the largest production location of filigrees in the Qajar era. Now, the objectives of this study are: 1- Introducing filigree, recognizing motifs and common themes in Zanjan filigree 2- The rate of impact of Islamic decorative art motifs on filigree motifs. 3- The degree of similarity of filigree motifs to the Islamic art themes based on fractal geometric theory. The questions answered in this study are: 1- What are the origins of some of Zanjan filigree motifs? 2- What kinds of themes are common in Zanjan filigree and Islamic decorative art? 3- Are the filigree motifs comparable with Islamic art motifs based on fractal theory?

Nathalie Lemoine-Bouchard

This miniaturist was thought to have worked both in Bordeaux and Paris between 1785 and 1786. Miniatures were found in these two cities, signed simply with an inconspicuous monogram consisting of the interlaced letters ‘DM’. His identity, which has long puzzled scholars, is revealed in the present article intended to shed light on the reasons behind the artist’s discretion and to describe his career. Jean-Louis-Dominique Duvaucel (Paris, 1749-Paris, 1830) came from a family of fermiers généraux (tax farmers-generals) who had acquired a fortune over two generations. He proclaimed himself lord of Marsoeuvre when he married, a rather unfounded claim given that the lordship, located close to Bourges, had been sold by his father. After his family went bankrupt, Duvaucel de Marsoeuvre stopped using the tarnished name of Duvaucel and settled under the pseudonym Marsoeuvre as a miniature painter in Bordeaux. He became friends with the painter Pierre Lacour. Serving in the army during the Revolution, then in the national guard, he was incarcerated during The Terror. Over thirty miniatures by him are known, all of them finely executed and charmingly naïve, two of which are now in the Lambinet Museum in Versailles and one at the Design and Decorative Arts Museum in Bordeaux.

Zulkifli H Achmad

Traditional architecture Bena has its own peculiarities and characteristics both in architectural form and in philosophy were conceived shape of the building and have a close relationship with the social and cultural setting. Characteristics of a building can sort by typology. Elements of traditional architecture can be a characteristic of the region. Making an area and remind the person or people in a given environment. Traditional building custom homes Bena community is one manifestation of which is concrete. The research method is qualitative descriptive. The purpose of this study was to determine the typology of traditional settlements Bena an attempt inventory and documentation of traditional architecture Bena. From the result of this writing, there are two forms of the observation that in macro and micro. Macro is the place to stay for people Bena while micro elements supporting the settlements and other facilities. Results of this paper show that there are two types of observations in traditional architecture itself, namely: In the macro, Sa, Pu Saka o, u, Sa, o Saka Lobo, Sa, while the micro-o Kaka is Ture Ago-Ngadha, Peo, Ngadhu, Bagha, Ture, Kapela and Gua maria.

Yu Liu

During the Ming and Qing Dynasties, the opening of the Maritime Silk Road gave both the West and the East a chance to have direct dialogue with each other. Thanks to the impetus of the "Chinese fever" in Europe, a large number of furniture with distinctive Chinese and Western combined characteristics in shapes, decorative patterns and craft structures is exported from Guangzhou to Europe and the United States in a customized way. As an important carrier for the cultural and artistic exchange between China and Western countries, Guangzhou's export furniture promotes the innovation of European furniture crafts, and continuously injects fresh blood into the development of the "Chinese" decorative style; on the other hand, Guangzhou's artisans accepted and absorbed Western decorative arts and crafts in the long-term export trading, and finally formed the "Guang Zuo" furniture with distinctive style and far-reaching impact. The cultural blending characteristics of Guangzhou's export furniture clearly show the unique situation of the encounter between Chinese and Western cultures during the Ming and Qing Dynasties, which is extremely helpful in deepening the study of cross-cultural art. Keywords—export furniture; oriental trading; Chinoiserie; Cantonese-style furniture

P. Stirton

The transmigration of objects between cultures, or even across time, always involves some change of meaning. This is especially true of items produced for the Chinese imperial court, where the status, appearance, and function of official goods was precisely codified. In her article “Other People’s Clothes,” Rachel Silberstein examines how the trade in secondhand clothing following the collapse of the Qing dynasty stripped garments of their specific role in the ritual and hierarchy of the court. What we now see in some Western museum collections as examples of Chinese textile art were once part of complex ensembles in which color, pattern, and symbol denoted the rank and function of the wearer. Peter Fox’s piece on the German designer Bernhard Pankok, a major figure of the Jugendstil generation, addresses the question of Phantasie, or imaginative expression, in the decorative arts. For Pankok, this quality was best seen in his designs for intarsia, a historic medium that he helped to restore to contemporary prominence. The material culture of the various pre-Columbian societies rarely appears in journals devoted to the history of design and the decorative arts. We are pleased, therefore, to be featuring Sarahh Scher’s article on the depiction of women, and especially their dress, in ceramic effigies from the ancient Moche civilization of Peru. This issue also carries the second part of Barbara Karl’s magisterial survey of the trade in Indian textiles to the European market between the sixteenth and eighteenth centuries. In this concluding article, the author shifts her attention to the impact of Indian goods on European decorative arts.

Mohd Rohaizat Abdul Wahab, Zuliskandar Ramli, Mohammad Anis Abdul Samad et al.

The study on decorative arts in Malay culture has been widely discussed by domestic and foreign researchers. However, dedicated discussions on decorative arts on traditional Malay boats are still lacking. This article will discuss the discovery of ancient symbols, which was once used in Malay traditional boat arts, especially in the East Coast, Peninsular Malaysia. The objective of this study is to draw a similarity in the understanding of maritime society around the world about the use of ancient symbols on their boats. This study used a visual analysis approach based on the findings of images resembling ancient symbols that were found in boat decorations around the world. These symbols will be described by their meaning and relevance through the use of the iconographic method. The results of this study reveal the understanding and beliefs of maritime communities around the world that are almost identical in terms of their ancient symbols. One of the artistic uniqueness produced by the Malay community is the creation of ancient symbol in a distinctive way and it is also an iconic feature that is connected to the Malay sailor community in the East Coast.