Hasil untuk "Decorative arts"

Vincent Chambarlhac, Ion M. Tomuș

This article analyzes the first performance of Les Copiaus in Demigny (1925), revealing how the reception hinged on a tension between representation and representativeness. Formed after the collapse of Jacques Copeau’s pedagogical project in Burgundy, the young troupe had already woven strong social ties in the village. Their debut show mixed commedia dell’arte, parades, and comic interludes that aligned with local festive culture and were warmly received. The failure came with Copeau’s naturalist drama Le Veuf, based on a recent village suicide linked to alcoholism. Intended as a moral lesson, the play instead provoked rejection: the audience refused a theatrical mirror that exposed a painful local reality. The article argues that popular theatre achieves representativeness only when grounded in shared prior experience between actors and audience—a condition fulfilled by the troupe's everyday presence but absent from Le Veuf. Re-examining this little-known episode, the study shows how it illuminates the early dynamics of French rural theatrical decentralization and the limits of Copeau’s vision of a popular theatre.

Susanna Pighi

The contribution intends to highlight little-known aspects of the huge restoration campaign of the Piacenza cathedral promoted by Giovanni Battista Scalabrini between the nineteenth and twentieth centuries. The theme was addressed by Roberto Cassanelli in the catalogue Gothic, neo-Gothic, hyper-Gothic: architecture and decorative arts in Piacenza, 1856-1915, published in 1984 by M. Dezzi Bardeschi. In an attempt to restore the Romanesque layout of the building, frescoes were detached, Baroque altars and stuccoes were removed, fourteenth-century architectural and decorative elements were rediscovered, paintings were commissioned, and the façade was worked on with demolitions, recoveries and integrations. The sources, projects and period images, the reading of contemporary newspapers, the comparison with works carried out in the province (in the collegiate church of Castell'Arquato) allow us to understand with what critical spirit the intervention, conspicuous for architectural reworking and ornamental revival, was welcomed by public opinion and professionals. Specifically, the almost unknown drawings and sketches for the decoration will be considered, due to Eugenio Cisterna (Genzano, 1862-1933), commissioned to create neo-medieval mural paintings, and to Luigi Morgari (Turin, 1857-1935), who restored and integrated the ancient paintings reemerged in the apses of the cathedral. The graphic proposals are part of the context of the re-proposal of the medieval imagery of the early twentieth century, which led to the detachment of the seventeenth-century frescoes from the sanctuary by the Steffanoni brothers of Bergamo.

Sophie Neyret-Tassan

The Glasgow School of Art was founded in 1845. In 1885, when Francis Newbery became director, the school opened its doors to young girls and developed especially the decorative arts courses. His progressive policy fostered the influence of the GSA in Britain and throughout Europe, and influenced the teaching but also the women’s place in the art world. In order to better understand the stakes of this evolution, it is necessary to identify who were these female professors but also the conditions of transmission and for which audience these courses were intended. Finally, it will be necessary to determine the consequences of this educational opening on the careers of these women.

Elham Nabaee, Asadolah Shafizade, Shabnam Akbari Namdar

Iranian traditional arts refer to some common concepts in different representational forms rooted in the thought foundations of the creators of those arts. Through investigating different arts, we can observe that the concept of the garden has had a continuous representation in any form of art, despite the limitations of each type of art. It is assumed that by eliminating gardens from these works of art, the whole basis of these works is questioned, and it appears that a significant component that the artist meant to include has been eliminated. Thus, the question arises as to for what reasons gardens appear continuously in these arts. It seems that the reason for the frequent emergence of “garden” in different arts in the form of background presence rather than an added feature stems from the thoughts of the creators of such arts. The goal of the present study, which is a qualitative one using an a posteriori approach, has been to investigate the thought and reasoning structure of the creators of traditional Iranian art to represent the aims of these artists in imaging the garden continuously (in natural and abstract forms) within architecture. The method used to analyze the data in the present research was a qualitative content analysis, and the texts were coded to extract the analysis indexes. The poem interpretation method was utilized to explain architecture, and the indexes gained were then assessed. In each stage and after the analysis of the representation of the garden within the art of architecture, rational reasoning has been investigated. Results of the present research showed that ancient artists (masters in their fields) were some mystic characters who were able to observe unseen phenomena within the environment of the heart garden (internal garden) to meet what they wanted in a mystic state. Therefore, this spiritual movement of the mystic architect led to inform the audience regarding the products of their architecture using introversion indexes and related items to create thoughtfulness among the audience, and they were trying to represent a world beyond their common senses. The result has been the creation of a garden atmosphere within traditional Iranian monuments. This conclusion can release Iranian Islamic art from the disadvantages of formalism, sheer decorative features, and lack of content.

Ali Vandshoari, Roohollah Salimpour

In the Safavid period, along the growth of other arts, carpet was manufactured as a valuable product, by support of the patrons, while the period was known as the golden age of design, pattern, color and carpet production. Above all, the Persian painting, applying the illustration of dominant literary subjects, is constantly known as one of the fields, suitable for an artistic challenge. Shah Tahmasb’s Shahnameh is a highly influential issue in the realm of painting of Iranian historical periods which has been performed by the most professional artists. The present illustrated versions of Persian painting embody different concepts that have been elaborated by taking advantage of prevalent elements of the daily life. Shah Tahmasb’s Shahnameh which is known as one of the jewels of Persian painting of the mentioned period, having an expanded variety of unique features, is a proper domain to represent the artistic issues in a gorgeous way, and besides, the carpets play an important role in the composition and decoration. As a conclusion, the Persian carpets in the different versions of shahnameh, are considered as part of subjects, applied by artists in order to make relevant illustrations and are alike the elements of their own periods. However, it seems that illustrations of some existent illustrated carpets in the Shah Tahmasb’s Shahameh have their own principles in Iranian paintings.Shah Tahmasb’s Shahnameh is considered as a magnificent art work of early Safavid Miniature School (Tabriz II).  Interwoven by the two main miniature schools of Herat and Turkmens, this masterpiece includes 258 illustrations. The main design elements of each illustration in Shah Tahmasb’s Shahnameh include natural scenery, battle and festivity scenes, mythical tales, Iranian architectural buildings and carpets.Abundance of the carpets that are figured and illustrated in the mentioned version of Shahnameh, and also the historical period of it, which are supreme factors in the production of handmade carpets, demonstrate the importance of them. Therefore, the main issue in the present research is to conduct a study on the total pattern of illustrated carpets in Shah Tahmasb’s Shahnameh and to scrutinize on the figures and elements used in it which have been performed in order to reach a collection of categorized data about the carpets in terms of the structural aspects of design and illustration in Iranian carpets. At last, it will present a possibility to have a comparison on the outcomes of this research, on the carpets of the Safavid period. Thus, these are the main questions of the research:What are the features of illustrations and elements in the represented carpets of Shah Tahmasb’s Shahnameh?How are the diversities and categorizations of designs in the represented carpets of Shah Tahmasb’s Shahnameh?The research method is descriptive-analytical with the pattern and design morphology approach and the data are analyzed qualitatively. The information about the identification and historical background of the illustrations of Shahnameh is gathered through library research. The study cases totally include 80 samples, out of which 14 samples in five categories (3 samples in the category of Overall Flower carpets, 2 samples in the category of Lachak Medallion, 3 samples in the category of Medallion, 3 samples in the category of Panel patterns and 3 samples in the category of patternless field designs) have been purposively selected for the analysis.   According to the general categorization and features of each rank, the details and compounds have been considered and analyzed in the whole studies, and analyses are based upon the rules and principles of Iranian carpet which is adherent to the traditional designing principles of Iranian art. To have more understanding and observation about the mentioned carpets, the linear patterns of all the samples have been prepared and all the analyses are based upon them. The results demonstrate that the carpets available in the Shah Tahmasb’s Shahnameh are under the effect of a desire to fantasy and enthusiasm of the Turkmens school (which appears in Overall Flower carpets) and the original and meticulous style of Herat (demonstrated itself in framed carpets and Kufic margins). Generally, the carpets illustrated in the Shah Tahmasb’s Shahnameh are the fruits of imagination of the artists who their main concern was to represent the chief concept that they were focusing on, which is to illustrate different topics of Shahnameh beside the reflection of magnificence of the art protectors. Above all, the general construction of carpets conforms to those that remained from that period. The value of the carpets is so predominant, beside the other arts like music, architecture, handicrafts and etc. The illustrations are committed to the carpet weaving traditions of Iran and they construct significant parts of the illustrations, related to the dexterity of the artist, as if they have a decorative function and they cannot be assumed as remained carpets from the Safavid era.

Magvira Ardhia Pratiwi, Respati Wikantiyoso

Indonesia is a country that has an area with a thick and unique culture. The cultural uniqueness of each region is also a tourist attraction so that there are many villages that have turned into tourist villages. In this case, many tourist villages have lost their cultural values and identity. This study will examine and examine the local cultural wisdom in the Penglipuran Traditional Village which is a bastion of cultural resilience in tourism development and activities. Using a qualitative descriptive method with a case study approach to examine what attributes can be cultural resilience in cultural tourism villages. The results obtained are the need for customary institutions, principles of life, strict customary rules, nature conservation and infrastructure, so that the culture in tourist villages can survive in the midst of tourism activities.

Osipova Yulia, Kazmina Lyudmila

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

Aurelia Silviana Theodora, Pamela Felita Julyanto, Adelia Tio Novita et al.

In recent years, there have been numerous slum settlements in Indonesia that were transformed into tourist villages established by creative movements with an artistic approach. As a prominent aspect of the Penta helix, online media is considered a fundamental role in publicizing creative campaigns. This research utilizes the content analysis method to know how a designated space surfaces from a creative movement - the urban design elements of a tourist village’s inauguration, visualized by the media. Analysis of three tourist villages reveals two distinct patterns of tourist village coverage by the media: attractive city design elements that encourage social activities (Kampung Dago Pojok) and the unique form and massing as its picturesque appeal (Kampung Warna-Warni & Kampung Pelangi). Observational data shows that the internet has influenced the fabrication of tourist villages supported by creative movements with various urban design approaches.

Rania Adel Abdel Tawab, Gehan Zahran, Mohamed Makkawi

The Arabic calligraphy in which the heads of the surahs are written are the same that adorn mosques, schools and palaces, and the editorials of the mothers of books of fiqh, grammar, exegesis and history. The verses of the Holy Qur’an moved from its pages to walls, domes and mihrabs. Al-Karim as the source of all values ​​and themes that the calligraphy carried in the folds of these buildings, as it was present in all Islamic arts.Thus, calligraphy has become an effective cultural medium that carries various contents, starting with architecture and ending with the smallest details of these collectibles and miniatures. The calligraphy carried a sublime and sacred message, the Arabic calligraphy was expressing a religious content in the first place and carrying a documentary aspect that is consistent with the architecture of its religious buildings, and it harmonizes in its details and designs with a more comprehensive decorative system in which the writing motifs harmonize sometimes with the plant motifs and at other times with the geometric motifs, and it remains Calligraphy among all decorations is the strongest and most attention-grabbing art in the visual arts system, due to the cultural aspect of calligraphy and the visual aspect that complements aesthetic formulas. Arabic calligraphy has been linked to Islamic architecture by relationships that distinguished Islamic architecture from any other architecture, as we find the role of calligraphy marginally in the arts of architecture and other cultures, and it did not aspire to be a visual art independent of itself. Islamic motifs, including calligraphy, were distinguished from the rest of the decorations. Other cultures have a unique feature that makes it a special pattern in the concept of decoration. In Western architecture in Europe and in East and South Asia, the decorations come as a sculpture or a drawing completely independent of the construction, that is, it is possible for these decorations to be transmitted from Its location to another place without affecting the shape of the building. While this disappears in Islamic architecture, where the decoration and the surface are one thing, regardless of the construction technique and the type of decoration,The relationship between the surface and the decoration is an integrative relationship, which contributed to its prosperity, and the mental and visual clarity that it achieved. Calligraphy cannot be separated from the building material and its surface from the surrounding decorations, so the circles and lines are considered a continuation of each other, which is the principle of unity and continuity in the philosophy of Islamic art.

Lukmono Adi, Triyanto Triyanto, Muh. Ibnan Syarif et al.

Abstrak: Pembelajaran ragam hias berbasis eko-budaya pesisiran pada saat ini masih sangat jarang dilaksanakan. Penelitian ini bertujuan mendeskripsikan proses penilaian pembelajaran ragam hias berbasis eko-budaya pesisiran siswa kelas VII SMP dalam masa pandemi Covid-19. Penelitian ini menggunakan metode kualitatif. Pengumpulan data melalui observasi, wawancara, dan dokumentasi. Teknik pengabsahan data melalui teknik triangulasi. Analisis data melalui reduksi data, penyajian data, dan menarik kesimpulan. Perlunya penilaian berbasis digital mengingat penilaian manual memiliki berbagai kelemahan terkait dengan analisis data yang dinilai kurang efektif. Kemampuan literasi penilaian yang dibutuhkan guru saat ini sangat berbeda  disesuaikan dengan situasi pandemi Covid-19. Artikel ini akan membahas tentang sistem penilaian otentik  dalam pembelajaran seni rupa pada materi ragam hias berbasis eko-budaya pesisiran yang menggambarkan kemampuan siswa secara lebih menyeluruh mulai dari aspek pengetahuan, keterampilan, dan pengembangan karakter. Berkaitan dengan keterampilan, kemampuan, dan persepsi yang dibutuhkan guru dalam lingkungan digital, dan akan menunjukkan pentingnya mengadaptasi berbagai teknologi untuk tujuan penilaian ini.  Selanjutnya dapat disimpulkan bahwa penilaian otentik pada pembelajaran ragam hias berbasis eko-budaya pesisiran berimplikasi positif guna membangun kapasitas kreatif dan kesadaran budaya pada diri siswa. Abstract:  Learning decorative varieties based on coastal eco-culture at this time is still very rarely implemented. This study aims to describe the assessment process of decorative learning based on coastal eco-culture of grade VII junior high school students during the Covid-19 pandemic. This study uses qualitative methods. Data collection through observation, interview, and documentation. Data transfer techniques through triangulation techniques. Data analysis through data reduction, data presentation, and drawing conclusions. The need for digital-based assessments considering manual assessments have a variety of drawbacks related to data analysis that is considered less effective. The assessment literacy skills needed by teachers today are very different according to the situation of the Covid-19 pandemic. This article will discuss about the authentic assessment system in fine arts learning on decorative materials based on coastal eco-culture that describes students' abilities more thoroughly ranging from aspects of knowledge, skills, and character development. It relates to the skills, abilities, and perceptions teachers need in a digital environment, and will demonstrate the importance of adapting various technologies for the purposes of this assessment.  Furthermore, it can be concluded that authentic assessment on the learning of decorative varieties based on coastal eco-culture has positive implications in order to build creative capacity and cultural awareness in students.

Svetlana G. Sokolova

The purpose of the article is to describe one of the forms of professional training of future leaders of the studio of decorative-applied art, namely, the implementation of a creative project of ethnocultural orientation. Students of the Chuvash State Institute of Culture and Arts made a panel in the collage technique «The Goddess of the hearth». At the first stage of the project, the literature on the topic of Chuvash mythology was studied. Based on the analysis of literary sources – the works of P.V. Denisov, V.K. Magnitsky, D. Mesarosh, A.K. Salmin the main characteristics of the deity «Hertsurt» were identified, which is the keeper of the hearth, the goddess of the right ordering of domesticity in Chuvash mythology. The article provides a technical and technological substantiation of the manufacturing process and describes in detail the sequence of creating the panel «The Goddess of the hearth». The author emphasizes that authentic patterns for embroidery were used, as well as traditional for the Chuvash colors, elements of clothing, utensils. It is noted that the project as a whole contributed to the formation of the main professional competencies of future leaders of the studio of decorative-applied art – to have the skills of making art products in folk traditions.

Bo-Wei Zhu, Zheng Huang, Lei Xiong

With the development of the modern social economy, temple tourism has become a lucrative industry. Because of their distinct architecture, rituals, and history, temples have become an important part of the sustainable development of temple economies. Thailand, a tourism-rich country in Southeast Asia, has many Chinese temples, most of which have developed into well-known tourist attractions. However, little research has explored attraction factor categories of Thai-Chinese temples as cultural tourist attractions, and also the relationships among these factor categories. This knowledge is important for assessing and developing improvement strategies of Thai-Chinese temples for achieving a sustainable temple economy. Thus, this study aims to identify appropriate ways to identify the constituent attraction factor categories of Thai-Chinese temples as cultural tourist attractions and how they are prioritized, considering the complex interaction relationships among them. The research findings show that 12 main factor categories under the three dimensions, three attributive classifications with different priorities to which the 12 categories belong, and the complex interaction relationships among factor categories are identified. Combining the priorities on attributive classifications and the priorities on interaction relationships, the sustainable improvement strategies of Thai-Chinese temples are established. This paper extends previous research on Chinese temples, offers insights into the theoretical investigation of Thai-Chinese temples as tourist attractions, and provides decision makers with an integrated and practical way to establish priorities of multiple attraction factor categories, in order to make sustainable improvement strategies of Thai-Chinese temples under the consideration of rational allocation of resources.

Louis Gevart

The statue, in the way it is presented in eighteenth and nineteenth-century gardening handbooks, is a traditional object in the art of gardens, usually used as an ornament. Except for memorial statues in public parks, sculpture was generally expected to recall classical works. At the beginning of the twentieth century, French renovators of garden design, like Achille Duchêne and the Vera brothers, did not abandon this approach, even in their most innovatory creations. Statues still stood, unchanging, as the last witnesses of the classical legacy. But at the Paris Exposition internationale des Arts décoratifs et industriels in 1925, the focus was on new trends in the art of gardens. Architects like Plumet, Marrast and Mallet-Stevens chose a new way to break with tradition, showing statues of modern subjects or replacing sculpture with decorative art pieces such as concrete or glass fountains. But the ornamental tradition was still in force and did not leave much room for the modernist sculptors. These last had to find more direct collaborations with architects to carry out a thorough-going reinvention of garden sculpture, in new relations with different disciplines. Jacques Lipchitz in particular worked in this way, with figures created for the Esprit nouveau pavilion and the villa l’Artaude by Le Corbusier and the cubist garden of Gabriel Guévrékian at the villa Noailles. His sculptures were a real part of the building, developing a spatial dialogue between the plastic arts and architecture and establishing a link between the building and the landscape.

Dian Kartika Santoso, Respati Wikantiyoso

Ngadas Village has been designated as Tourism Village. Such determination may affect the morphology of Ngadas Village. Although tourism activities are regarded as things that can cause changes in the morphology of the region but do not rule out the possibility of other factors. Thus, it is very important to know the factors other causes. Thus, massive morphological changes can be controlled by knowing the causal factors. Consequently, the sustainability of Ngadas as a traditional tourism village can be maintained. The method used in this research is the descriptive qualitative method through synchronic and diachronic approach. In addition, this research also used spatial analysis to know morphology’s development of Ngadas Village through Google Earth image in 2004, 2012, and 2017. The result of the research indicates that factors causing a morphological change of Ngadas Village are the cultural factor, natural factor, demographic factors, tourism development factor, building and land allotment, and government policy.

J. González

espanolEl principal objetivo de este articulo es presentar algunos datos biograficos ineditos hasta el momento acerca del coleccionista y marchante de objetos de artes decorativas y antiguedades Jose Weissberger, cuya coleccion atesorada en Madrid a principios del siglo XX se encuentra actualmente en el Museo Nacional de Artes Decorativas. Ademas, se intenta dar a conocer y explicar mediante distinta documentacion de archivo el proceso mediante el cual se incautan y depositan en el Museo las obras que Weissberger iba atesorando en su vivienda y garaje de Madrid y que posteriormente pasaran a formar parte de la coleccion permanente de la institucion. EnglishThe main purpose of this paper is to presents some biographical information about the art collector and dealer of decorative arts and antiques, Jose Weissberger, whose collection, formed in Madrid in the first years of the last century, is preserved today in the National Museum of Decorative Arts. We also try to set out in the article, by some unpublished archive documents, the confiscation process of his collected art works coming from his house and garage in Madrid and its later deposit in the Museum, where nowadays they are part of the permanent collection of the institution

G. Weisberg, Anna-Maria von Bonsdorff, Hanne Selkokari

M. Mirzaei, Ali Karimi Kiya, N. Alizadeh et al.

Rock arts can be considered as the most ancient representation of human communities’ artwork. Studying petroglyphs is a new research trend among the anthropologists, archeologists, ecologists and decorative arts researchers. Chapaqan complex is located in the northwest of Iran in the east part of Meshgin Shahr, a city near a famous river named ‘ Qarasu ’. This complex is divided into two sections in Northern and Southern flanks. The discovered petroglyphs in Chapaqan contain goat (Ibex), deer, grooves and cupules. These petroglyphs are created by a stroking method and located nearby the permanent river of ‘ Qarasu ’. The petroglyphs in Chapaqan have been examined in field and library-based studies and the motifs are categorized into two animal and geometric groups.

Калабухова Елена Вячеславовна

The article considers the specifics of the decorative arts in the Stavropol region. The creative efforts of artists and arts collectives of the enterprises – folk traditions continue to evolve in a new form in modern products. Today the art and crafts presented by such products as Kislovodsk porcelain, rugs, carpets, embroidery, Souvenirs. A reflection of the continuous creative search and new discoveries of artist was the technique of enamel.