Hasil untuk "Decorative arts"

Keran Lan, Isarachai Buranaut, Yongduo Liang et al.

Cultural heritage plays a pivotal role in shaping identity, fostering social cohesion, and advancing sustainable development. However, a vast number of non-designated historic buildings face ongoing risks of degradation or disappearance due to their unacknowledged value. Addressing this issue, this study investigates pathways for their sustainable reuse. Employing a multi-criteria decision-making framework, we developed a post-occupancy evaluation model comprising four dimensions: historical value preservation, adaptive reuse efficacy, regional development impact, and management service quality. The model was empirically applied to three cases of Meizhou Hakka architecture, in which such buildings were repurposed as guesthouses. The findings reveal that, unlike officially protected heritage buildings, the successful reuse of non-designated historic buildings depends not primarily on the strict preservation of historical value, but rather on superior adaptive reuse efficacy—namely, contemporary performance metrics such as functional adaptation rationality, spatial utilization efficiency, environmental comfort, and structural safety and reliability. Quantitative weighting results indicate that historical value preservation functions as a fundamental baseline, while empirical analysis demonstrates that adaptive reuse efficacy is the decisive determinant of successful regeneration. Achieving sustainability requires establishing a dynamic conservation model based on community symbiosis, wherein a building’s vitality is continually sustained through interaction with its social and cultural context. This study provides both a scientific tool and practical guidance for the assessment and management of non-designated historic buildings. It also underscores the necessity of a broader paradigm shift, contributing both theoretical and practical insights to the advancement of more inclusive and sustainable human settlements.

Benjamin Couilleaux

Boulogne-Billancourt, the suburb to the west of Paris, was a major centre for French art during the interwar period and today has many items from the 1925 Art Deco exhibition in its municipal museums and its public spaces. The historic context goes some way towards explaining this situation, which is also due to a reasoned policy of acquisitions, aiming at building up a heritage collection around “classic” figurative art during the twentieth century, echoing the avant-gardes of the time. The Musée des Années Trente, the 1930s museum, holds many pieces by Joseph Bernard, Max Blondat, Jacques-Émile Ruhlmann, Carlo Sarrabezolles, Georges Saupique or Valentine Reyre. These all bear witness to the importance of the parts played by sculpture, furniture and sacred art in the 1925 exhibition. Works exhibited on this occasion, in the form of preparatory sketches or manufactured objects, serve as documentation for analysing the genesis of a key moment in the history of twentieth-century art, and for understanding this moment’s subsequent critical fortune. The sketches and monumental sculptures associated with the project for a Temple de l’Homme, a temple for mankind, also presented in 1925, constitute a remarkable ensemble in the collections of the Paul Landowski Museum, vestiges of one of this sculptor’s most ambitious undertakings. The richness of these pieces all conserved in Boulogne-Billancourt make for one of the most emblematic and coherent collections in the public domain associated with the 1925 exhibition, bearing witness to its aesthetic ambitions and to its subsequent appropriation by the museum world.

Tatiana R. Dushenkova, Natalia V. Kondratieva

Introduction. The term tolëz ‘moon’ is one of the key elements in the cosmological system of the Udmurt people. However, there is a lack of sufficient scholarly work in the literature addressing the specifics of the functioning of this semiotic sign. The aim of this study is to identify the conventional and unconventional characteristics of the cultural code of tolëz (‘moon/month’) in both traditional and contemporary Udmurt culture. Materials and Methods. The empirical foundation of the study consists of prose texts from minor folklore genres, literary works, lexicographic studies, linguistic data extracted from the National Corpus of the Udmurt Language, as well as albums on the decorative and applied arts of the Udmurt people. The methodological basis of the research includes the methods of random sampling, contextual analysis, lexicographic, and descriptive approaches, which facilitated the identification of contexts in which the examined symbol is used in both traditional and contemporary Udmurt culture. Results and Discussion. The astronomical code toléz ‘moon’ occupies a special place in the structure of the small genres of Udmurt folklore. It is widely represented in texts of a spell-binding and fideistic nature, as well as in superstitions, beliefs, and riddles. As the research materials demonstrate, the astronomical code toléz ‘moon’ has been preserved primarily in those folkloric genres and forms that were directly associated with ritual practices. It is characterized by conventional features that contribute to the realization of the mythopoetic representation of the people regarding the structure of the world and the universe. In the modern context, there is a transformation in both the semiotic content and the conditions under which the examined code functions. Conclusion. The use of the studied cultural code in contemporary contexts stimulates the emergence of a new, complex system of unconventional relationships, leading to the enhancement of the value of the new subject of the “contract” (artistic work, brand, or ideology) and the erasure of archaic representations of the semiotic sign. The investigation of the contexts in which the astronomical code toléz ‘moon’ is used will enable the application of the acquired knowledge to the study of a wide range of issues in folklore studies, ethnography, and cultural studies.

Danièle Véron-Denise

Jean-François Bony is a multi-faceted artist whose talent has been expressed in painting as well as in the textile arts in general and embroidery in particular. He designed the clothes worn by Josephine at the coronation of Napoleon I in 1804. He also received prestigious commissions for several royal and imperial residences. Of all his works, his masterpiece is undoubtedly the magnificent hanging commissioned in 1811 from Bissardon Cousin et Bony for Marie-Louise’s appartment in Versailles. On a white satin background, a variety of bouquets and fabulous birds embroidered in silk have retained all the freshness and appeal of their original colours. In a similar vein, a five-piece hanging at the Museum of Decorative Arts in Madrid also bears witness to his decorative skills, as does another large embroidered piece at the Gulbenkian Foundation in Lisbon. It has also been possible to attribute wood panelling with arabesque decoration to Bony, notably that found in the boudoir of the Chaumière aux Coquillages in the Parc de Rambouillet. There is no doubt that the list of works by this prolific and talented artist could be extended…

Shaima Ali Fleih Mazban Al-Shammari

Turkey is one of the most important countries in the Islamic world, which is famous for its historical architecture, including the Topkapi Palace, where it occupied an important place in the history of the Ottoman era, leaving its mark with an ancient cultural heritage, reflecting in it architectural styles, in addition to the diversity of arts in general, such as glass, ivory, metal, wood, textiles, and ceramic artifacts in general. Special, where it enjoyed great prosperity, through which it revealed ceramic artistic productions that expressed a homogeneous vision due to the marriage between artistic and functional aesthetic performance ((Özlü, Nilay: From imperial palace to museum: The Topkapı Palace during the long Nineteenth Centurt, Turkey, 2018, pp) ), that the Topkapi Palace with its artistic ceramic productions of pots and tiles and the diversity of its decorative styles came as a result of the sultans’ love for art and their passion for collecting artifacts and beautifying their buildings, and this is what was studied in the current research (a study of ceramic artistic employment in the Sultans’ Topkapi palace as an example) through the study and analysis of some The selected ceramic art models in the palace. The study consisted of four chapters. The methodological and included framework dealt with the problem represented by the following questions: What is the mechanism of ceramic art recruitment in Topkapi Sultans Palace. The importance of the research, the aim of the research, and the limits of the research. The second section dealt with the artistic presentation of the holdings of the palace, while the third topic focused on the study of ceramics in Topkapi Palace. And the indicators of the theoretical framework, while the third chapter included research procedures, defining its community and its sample, and closing the research with a presentation of the results of the research and conclusions, and an index of sources and reference.

Sahel Erfanmanesh, Ali Piri

Niche Rugs are among the hand-woven items that were widely designed and produced in the Safavid era, and due to the type of use, design structure and content, they are closely related to each other. The general structure of the design of these rugs has two parts. The upper part is decorated with religious themes and the lower part of the design is decorated with Eslimi and Khatai motifs and trees and flowers. One of these rugs is the one in the Topkapi Museum. The present study, aims to analyze the structure and content of the Niche Rug design kept in the Topkapi Museum, and seeks to answer these questions: 1. what is the basis of the structure of the Niche rug in Topkapi Museum? 2. what effect did this structure and its decorations have on the theme of the rug? The research method is descriptive-analytical and the method of collecting information is library and documentary based. Data analysis has also been done qualitatively. The studied body is an embroidered rug measuring 114 × 163 cm with a niche design that has an asymmetrical knot. The carpet is kept in the Topkapi Museum and was woven in the 16th century in Kashan. In terms of the structure of the pattern, this rug is designed in 1/2 way and has a multi-part structure in the design according to the composition of the niche rugs of the Safavid era. The most important components of the design of this rug are: the border, the background and the niche, which are analyzed in the continuation of the design structure and content of each of the mentioned sections. In the present study, according to Coomaraswamy's view that the motifs are not decorative, the structure of the design and the themes hidden in it have been analyzed. Niche rugs are among the woven handicrafts that have a different structure from other Safavid rugs due to their type of use. Although some pieces of the Safavid era have also used inscriptions, the most important difference between the inscriptions of the niche rugs and the inscriptions of other rugs of this era is the connection between the themes of the inscriptions used in them and the subject of prayer which has a close relationship. These inscriptions are mainly located in the upper part of the niche. In the lower part and at the center of the rug, because they are placed under the feet of the worshipers, depicted motifs have hidden themes and it seems that there is a strong connection between the appearance and the meaning of these motifs. The present study seeks to reveal their hidden layers. Given that Coomaraswamy is one of the researchers who believes that in traditional arts there is a deep connection between the form and meaning of the work of art, we have tried to analyze and interpret the content of the carpet design by referring to his views, and therefore, it is necessary to first clarify the mentioned views on the motifs and the relationship between form and meaning in a work of art. He analyzes and interprets the theme of the mentioned carpet design. The results of the research show that the design and overall composition of the pattern of this rug is based on 1/2 method and is designed in several parts. In the first part, the general composition of the pattern is specified as 1/2. In the second part, verses, names of God and inscriptions have been added to the pattern. The addition of inscriptions has changed the pattern from ½ to an all-over design. Lotus presence in the center of the rug represents an Iranian design that has become an Iranian-Islamic motif with the presence of numerous borders, full of verses and inscriptions under the front of this motif. Because in it, the accompaniment of Iranian and Islamic text, and in some cases the substitution of Iranian text instead of Islamic one is observed. The borders that change the composition also refer to a general meaning that denotes the behavior and ascension of the worshiper; the behavior that has Iranian and Islamic characteristics. The artist consciously or unconsciously, by placing a lotus flower on top, shows the presence of the verbal texts in the rug, and the ascension and excellence by a woman. This is an idea that is deeply rooted in Shiism. Due to the fact that both form and content refer to the excellence of the seeker in the rug, according to Coomaraswamy's opinions, the rug can be considered as a traditional art, in which the design and motifs are not decorative, but complement the formation of effects.

Nahuliak Petro, Oros Ivan, Rudoi Vadim

In the article, based on the definition that one of the important tasks of the modern education in the artistic space is the search and implementation of creative methods for the formation of a creatively developed personality, on the basis of which it is oriented in the history and perspectives of "Cultural dynamics", it has an acquaintance with the valuable world of historical eras, peoples, individuals, phenomena and processes related to the history of the creation of the world of "things", attention is drawn to the training of Decorative and Applied Arts specialists and teaching methods, and it is noted that it is relevant to turn specifically to the ceramics of the Scythian period, where the artist not only depicted objects, but expressed his̸her idea of reality, solving various aesthetic tasks at the same time. It is emphasized that since new approaches to art education are needed – on the basis of which it is possible to teach students to see and understand historical examples of art, in particular, the plastic of small forms of the Scythian period, in order to create in the future according to the laws of harmony and decorative-plastic expressiveness, then the principle of aestheticization deserves attention of the educational process based on the appeal to the ancient plasticity of small forms, which makes it possible to create conditions to shape the cultural space of a creative personality, to form aesthetic ideals by acquiring the autonomy of one’s own creative and pedagogical activity in the future. The purpose of the study is to examine the plasticity of small forms of the Scythian period and to rethink its conceptuality in modern art as well as to reveal its creative and methodical foundations with the justification of the feasibility of using these approaches and relevant methodological principles for the training of Decorative and Applied Arts specialists. It is highlighted that general scientific and special-specific methods, such as historical, art- and history-related, psychological and comparative approaches to the problem of developing students’ creative thinking, were applied and used to reveal the problem. In the main content, it is highlighted that today the attention to the Scythian ceramic sculpture – for the space of decorative and applied education, is connected both historically and based on practical results – actually created masterpieces. The opinion is substantiated that in the context of attention to the creative and educational foundations of small-form ceramic sculpture, to a certain extent the Scythian ceramic sculpture can be equated and compared with a folk ceramic toy, and the learning process based on the principles of "small-form sculpture of the Scythian period" involves the main tasks of the methodological level with the course "Decorative and Applied Arts" which consist in the formation of students’ knowledge and ideas about ancient and folk arts, and the peculiarity is that the student is faced with the need to show individual creativity at all stages – from the reinterpretation of the Scythian plastic of small forms – to the figurative reproduction of acquired knowledge in a newly created product. It is this type of activity that allows you to accumulate experience in the aesthetic and creative processing of what you have acquired. The point of view is given that educational classes in the space of plastics of small forms of the Scythian period should reveal and cover all technologies for the production of decorative products, and most importantly create conditions for the work on stylization in the context of combining ideas and methods – the Hermeneutic approach and Art-technology on the basis of its specific approaches, in connection with the fact that artistic and creative mastery also consists in decoding and rethinking the external and internal plan of works. In the conclusions, it is noted that under the influence of attention to the art of the Scythian period, and especially to small-form sculptures, students develop the ability to continuously enrich their own pictorial-visual experience, to develop aesthetic taste and special abilities, to replenish knowledge and to improve skills, skills in artistic form-making in practice reinterpretation of achievements and reproduction of the original in content, technically masterful and objectively valuable works, which becomes the basis for reaching the heights of artistic professionalism. In the perspective of further research, it is seen that based on a certain universality of the category "artistic and pedagogical skills", we foresee researching their ability to transform, through teaching decorative and applied arts in the space of reinterpretation of artistic experience, into a qualitative result as the formation of professional and creative skills.

Siti NuurlailyRukmana, Sucipto, Aprillia Putri Eliyanto et al.

The Mojokerto Regency government program is nothing compared to the number of tourists who visit the Brahu temple attraction because there has been a decrease in the number of visitors within the last five years, from 2017-2021. Based on data from the EastJava Cultural Heritage Protection and Preservation Agency (BPCB), the number of visitors who visited Brahu Temple was 62,854 in 2017, and there were 1068 people in 2021. The study aimed to determine public perceptions and preferences of Brahu Temple as a Cultural Heritage in Bejijong Village, Trowulan District, Mojokerto. The data collection methods used were observation and a questionnaire. The descriptive and qualitative research methodology uses IPA analysis techniques (Importance Performance Analysis).The study results show that the main priority for visiting a Cultural Heritage site at Brahu Temple is the temple's culture and values. It means visitors who visit the temple have particular goals or interests because they want to know and learn things. It includes temple culture in the form of aesthetics, originality, and the age of the temple, as well as the values contained in a Cultural Heritage at Brahu Temple such as Educational, Religious, Cultural, and Historical Values. In this case, the public perception and preference of Brahu Temple as a Cultural Heritage from the IPA analysis with 115 respondents found that the results of Value and Culture have scores of 18.06 and 12.87, respectively

Hacer Arslan Kalay

Ornamentation diversity (symbolic, figural, architectural, written, cosmic) is quite rich in Turkish art. Nature has been widely used as an artistic discourse in Turkish decorative arts. The human, animal and plant species in nature are applied by bringing the meanings attributed to their physical characteristics to the forefront in the discourse of art and have been kept alive as a cultural identity. Figurative ornaments, which are about human and animal depictions that exist for this dynamic, are common in Turkish art.The aim of this study, which includes animal patterns, one of the figurative ornament groups, is to touch upon the reflections of animal symbolism on Anatolian rugs. For this purpose, the development of animal patterns in Turkish art was addressed, and animal patterns applied on rugs woven in various regions of Anatolia were mentioned. The study, which has been introduced by making use of secondary data is qualified to set an example for various studies to be conducted in this field. As a result of the study, it was observed and apprehended that animal symbolism was applied in almost all regions of Anatolia, especially in Central Anatolia. While animal patterns are not generally applied as the main and exclusive pattern on rugs, it is seen that they have been attributed a protective role rather than being the main pattern per se. In this context, animal patterns applied on borders and surrounding the main pattern were encountered in general. Nevertheless, as a result of the study, it was determined that animal patterns differ slightly from region to region in terms of composition, but they had similar features in terms of weight of sense and were generally applied for protection purposes.

Maria Parni Pora, Irawan Setyabudi, Rizki Alfian

The Dhawe Tribe cultural area, better known as the Ola Dhawe Traditional Village, is currently the center of attention of the government and the local community because the site has changed the activity pattern of the Dhawe Tribe community both in terms of culture and in terms of culture and landscape. These changes occur in community activities that can damage the environment, such as logging activities around customary forest areas, converting customary land into residential areas, natural exploitation around the Dhawe Tribe area, and replacing traditional house structure materials from raw into modern materials. The changes that occur are feared to impact the preservation of the landscape and culture of the Dhawe Tribe community. Therefore, it is necessary to conduct a study on human interaction with the landscape, which is now called the cultural landscape, as the primary material for sustainable development and efforts to preserve the various values. This study aims to identify the architectural characteristics and cultural landscapes of the Dhawe Tribe and determine the public's perception of its conservation efforts. Primary data was obtained using focus group discussions, while the analysis method was carried out in a descriptive-qualitative manner and continued with quantitative analysis. The results and discussion obtained can be developed on recommendations for preserving the architecture and cultural landscape of the Dhawe Tribe. The conclusion is that efforts to identify architecture and cultural landscapes and public understanding of culture are needed as conservation efforts.

Aysu Akalın, İrem Durgut

This study aims to provide a new framework for the position of ornament by examining the link between ornament and “the body” as well as its interaction with decorative arts. In this sense, Ernst Cassirer’s concepts of symbol and representation which follow Immanuel Kant transcendental philosophy and Kant’s dichotomy of free and adherent beauty, are investigated. Within the scope of the article, theorists who discuss ornament with artistic expression are divided into two groups; in the first, Ruskin treats ornament and the body relationship as a “symbol”, while others, such as Louis Sullivan and Gottfried Semper, use the combination of both as if it is a “symbol”. As Sullivan and Semper reveal, a symbol reflecting the highest artistic creation also requires a process of reinterpretation and abstraction of the figural ornamentation. As emphasized, the position of ornament in the relationship of architecture to other arts has always been complex and has been unable to be identified with a definite framework since the Renaissance. Leon Battista Alberti, an Italian humanist, architect, and the primary developer of Renaissance art theory, achieves the perfect whole, expressing the highest artistic creation, via the reinterpretation and abstraction of figured forms. However, Alberti’s humanist approach differs from John Ruskin’s holistic view to the relationship between figural arts and architecture. Although, Alberti and Ruskin disagree in theory, it is shown that Alberti’s harmonious geometric whole, somehow corresponds to Kant’s purposefulness based on his transcendental scheme. It is concluded that the theoretical conceptualization of figural ornamentation with a metaphorical understanding of the human body expresses Cassirer’s symbol / perfect whole, which can only be obtained by achieving perfect mathematical unity between part and whole.

Bonnie Bozorg

Dear Editor in Chief The results of several studies in general show that metaphors may play an important role in facilitating the processes of treatment in counseling and psychotherapy (Muran et al., 1990). They also reveal that metaphor therapy is a creative method that uses its imaginative power to achieve the goal easier. Humans talk to each other in different ways about their experiences, feelings and thoughts. One of these methods is to use metaphor (Pritzker, 2003). According to Lakoff, people mostly use metaphors when talking about abstract concepts. In their view, metaphor is not a decorative thing or specific to literature, but flows in the daily thought and action of human beings and shows the structure of individual thought (Lakoff, 1993). In the pandemic Coronavirus Disease 2019 (COVID-19), where social isolation has increased, depressed mood is obvious (Ahmed, 2020). Depression that affects by COVID-19 is an emotional response that is because of emotion dysregulation and negative social behaviors (Leaune, 2020). Social distancing causes loneliness that is related to maladaptive behaviors and poor quality of life (Ali & Green, 2019). In system theory, there is a link between the belief that depressed mood selectively increases the possibility of access to negative concepts and interpretive structures, that is, depressed mood prepares the trigger for these negative structures so that they can be used for interpretation and experiences (Teasdale, 1993). In clinical psychology, interest in metaphor focuses on its role in communication processes and cognitive flexibility in psychotherapy (Tay, 2018). The central identity of creative arts therapies lies in the commitment to create and manipulate metaphor as a mediator in treatment. It is better to challenge with clients to be creator (Zhang, 2020). During online treatment in pandemic period, my clients use many metaphors to better understand the concept and process of it. One of the steps in treatment is sequencing goals. One of my clients named it “Pouya steps” as a metaphor. He imagines a person named ‘Pouya’ play an important role in accompanying him in this way. When I checked the background logic of using this word, I realized due to meaning of ‘Pouya’ in Persian (means active and ongoing) it was used as his imaginary role to stimulate positive emotion for doing his goal. Flexible and active thinking will help the process of changing. After that word called’ Pouya” was one metaphor that usually is used in therapy. Pouya is not imagery role for me. He is actual man and virtual (my husband) that his name is also a metaphor for me when I feel sad, helplessness, hopelessness and frustration. Being like his name and him, active and non-stopping. He plays an important role in behavior activation and coping with misbehavior such as social isolation. In summary, I just give one example but there are so many that could not be rejected. it’s important to be aware of their metaphor and its role in successful treatment. Metaphor helps us to understand something unknown from the perspective of something familiar. The seed of a new idea is created in the mind and helps to flourish the latent ideas. This key topic provides new possibilities for "insight" and therapy. Useful metaphors such as ‘Pouya’ play an important role in facilitating the processes of change in counseling and psychotherapy.

Jafar Taheri

This article aims to provide a historical overview of the impact of architecture and decorative arts on health and health preservation in Muslim societies during the medieval era. Based on primary medical sources, this article provides a historical interpretation of the theoretical origin of the ignored link between medicine and architecture (and decorative arts). Our findings indicate that some empirical results concerning the effects and aspects of built environments (architectural spaces) on health and treatment–both physical and mental– have been considered in the medical sources. Practical instructions of these sources introduced two theoretical achievements: 1) an introduction to the historical knowledge of environmental health and design of healthy places, and 2) a comparative analogy of the built environment and human nature (organism), which became a theoretical basis for the relationship between natural sciences, architecture, and the decorative arts in the middle ages. Considerations of the study show the extent to which architects and artisans, based on the teachings and instructions of physicians, dealt with the structural and content adaptation models of architecture and decorative arts to human organism and nature.

Maryam Abbasi, Seyyed Abu Tarab Ahmed Panah

Problem Definition: Among traditional arts, Islamic architecture and related decorations have always been a suitable platform for the presence of various visual elements, especially decorative arrays. Imamzadeh Darb-e Imam of Isfahan belongs to the Qara Qoyunlu Turkomans period and despite the historical research on the mentioned building, the visual elements of the decorations have been less investigated. A remarkable part of the building's decorations includes wooden works, including wood-carved doors. Among the wooden doors, an old door belonging to the Sa'id ibn Jubayr mosque and the Turkomans period can be seen, however, because of the damages caused to the door due to the passing of time, basically its decorations and features have been less discussed. The issue raised here is to analyze the decorations of the mentioned door, to know it more precisely, and to check the transferable capacity of the artistic dimensions of its decorations to the contemporary period. This study answers the question of this research, which is to know the themes and content of the motifs of this historical work, by examining the meaning of the motifs of the mentioned door and evaluating the features and visual values. Objective: This research aims to know the visual features and themes of the motifs, distinguish the motifs used in the Turkomans period in the decorations of the mentioned wooden door, read the text of the inscriptions, and reconstruct the decorations. Research Method: The current research has been carried out using a descriptive-analytical method and data collection has been done based on library sources, documents, and field research. Results: The results show that in the inscription on the mentioned door, the phrase (لااله الا الله محمد رسول الله علی ولی الله) and the other inscription, the phrase (و توکل علی الله و کفی بالله وکیلا) are written. Geometric patterns, hexagrams, and round star-shaped flowers are among the frequent motifs of the Turkomans period, which are used in decorations. Considering that the qualities and visual literacy are observed in these motifs, they can be used today in branches of contemporary art.

Ariane Varela Braga

This article looks at the interface between art, science, and design by considering the role of microscopes, the visualisation of microorganisms and British mid-nineteenth century design theories. In particular, it examines the dialogue between microscopical arranged slides that became popular in the second half of the century and the design theories of Owen Jones, diffused through the seminal Grammar of Ornament and the South Kensington system. Whereas the scientific observation of plants and their role in the development of guiding principles of ornament has attracted the attention of scholars, especially in relation to the Department of Science and Art, the intersections between the “microscope mania”, the material culture of microscopy, and design theories have been overlooked. Through the lenses of the microscope, a new world was revealed that potentially exposed general laws of harmony in form and colour. Coinciding with the emergence of microbial biology, the microscope was looked at as a tool for the renewal of the decorative arts. At the crossroads between art and science, the popular production of arranged slides both confirmed and performed the principles of ornament, at a time when both the visualisation of these principles and the transcription of microscopic observation shared common practices.

Faisal Bahar

Settlement is an area that functions as a residence and activity for its inhabitants. The characteristics of a settlement are influenced by the relationship between humans and humans, humans and nature, humans and the Creator. The purpose of this study was to identify the characteristics and factors that influence the formation of the fishermen's settlement of Karangsari Village, Tuban. Settlements are formed not only because of physical strength but also from social-cultural factors and community activities. This study uses a qualitative method with a rationalistic approach. Methods of collecting data by interviewing several local communities and field observations. The results of this study show the characteristics of the settlement environment of Karangsari Tuban fishermen, which is a combination of human mindset and culture that produces an environmental characteristic that is easily recognized through the physical structure of the environment, as well as community activities in the environment.

Ekaterina S. Sachkova

The traditional nature of the professional training of prospective leaders of the Studio of decorative and applied creativity in high school does not take into account the specifics of the professional tasks of the leader of the Studio of decorative and applied creativity and the importance of compositional abilities for their effective solution. The aim of the study presented in this article is to determine the complex of pedagogical tools necessary and sufficient to ensure the successful development of the process of formation the compositional abilities of prospective leaders of the Studio of decorative and applied creativity in the course of professional training at the University.The methodological basis of the study is a functional approach, involving the consideration of pedagogical processes, objects, phenomena as systems and identifying the components of these systems structural elements, their functions in relation to the system as a whole, relationships and roles performed in relation to each other. In the process of research the theoretical analysis of pedagogical, psychological, methodological literature on the problem of research and empirical methods: pedagogical observation, testing, stating and forming experiments.As a result of the research the specificity of compositional activity in the sphere of decorative and applied art is revealed, the definition and structure of compositional abilities of leaders of the Studio of decorative and applied creativity is formulated, the complex of pedagogical means of formation of compositional abilities of students of higher education institutions of culture and arts - prospective leaders of the Studio of decorative and applied creativity is developed and tested.The formation of compositional abilities of prospective leaders of the Studio of decorative and applied creativity is carried out in the process of specially organized activities, the main content of which is the solution in the prescribed manner and combinations of educational and creative composite tasks presented in various techniques of decorative and applied art and in computer performance, having a certain level of complexity, subjects and orientation. The method of diagnostics of level of formation of compositional abilities of students is the qualitative assessment by the expert on criteria of visual perception of results of accomplishment by students of control compositional tasks. Efficiency of application of means of formation of compositional abilities of the prospective leaders of the Studio of decorative and applied creativity is reflected the qualitative growth of indicators in the structure of compositional abilities.

Ichsan Teng

Setiap jengkal di seluruh permukaan bumi mengalami perubahan seiring waktu danperubahan paradigma manusia yang salah satunya dipengaruhi oleh meningkatnya dayakesadaran melihat, memaknai dan memanfaatkan ruang yang dimiliki manusia. Kesadaranini membentuk pemikiran tentang cara pandang ke waktu mendatang terhadaplingkungannya. Manusia yang hidup dan sadar oleh kemampuan membuat pilihan untukmenentukan keberlangsungannya_dengan pengalaman masa sebelumnya (merugikan/kekurangan) dan sebagai bentuk antisipasi agar tidak mengulangi kejadian yang sama,sehingga secara individu ataupun berkelompok dalam skala kecil maupun besar, telahmemberikan perubahan pada tata ruang di berbagai tempat sebagai perwujudankekuasaannya masing-masing. Warga Kalaodi di Pulau Tidore memiliki kesadaran yangdiwariskan secara turun temurun oleh leluhurnya dalam bentuk BOBETO (sumpah leluhur).Sebuah perjanjian sekelompok manusia dengan lingkungan yang didasarkan oleh kesadaranmanusia tentang pentingnya alam lingkungan untuk keberlangsungan kehidupannya.BOBETO ditetapkan sebagai sikap toleran manusia terhadap lingkungan yang harusdilakukan dan tidak dapat dilanggar. Hal ini karena hubungan sebab akibat antara manusiadan lingkungan. Kajian yang dilakukan dalam penelitian ini untuk mengungkapterbentuknya ruang ritual pada peristiwa Upacara Syukuran Paca Goya di Kampung Kalaodi– Tidore yaitu sebuah implementasi dari pernyataan sumpah leluhur dari setiap generasinya.Metode penulisan yang digunakan adalah ungkap balik yang dideskripsikan.

A. Bolton

Marguerite H. Helmers