Hasil untuk "Decorative arts"

Alireza Sheikhi

Introduction: Following the turmoil of the late 8th century A.H., Iran experienced relative peace due to the efforts of Shahrukh Mirza and his successors. Since the Timurids' efforts were focused on the prosperity and flourishing of the country, they tried to elevate all aspects, including practical and theoretical arts. In this context, architectural and decorative arts, including wood carving, followed a path where prominent features can be observed. This study aims to elucidate the Timurid wood carving art in Transoxiana, Khorasan, Tabaristan, and the central Iranian desert. Therefore, it seeks to answer the following question: «What are the characteristics of wood carving art in the 9th and early 10th centuries A.H. in the Timurid Iran?»Research Method: The present study is fundamental in its objective and has a descriptive, analytical, and historical nature in terms of its methodology. The study population consists of wooden artifacts from the 9th and early 10th centuries A.H. in Iran. The sampling method included all accessible remaining works from the 9th century in Iran, comprising twenty doors, twelve grave boxes, and three pulpits (Minbar), totaling thirty-five historical artifacts, which were mainly collected through fieldwork. The analysis of the works is based on the formal and technical characteristics of the woodcarving from that historical period.Findings: The forms of Toranj, Sineh-Baz, and geometric girih, fish scale motifs, three-part two-lobed flowers, sunflowers and windmills, sprawling plant branches, the combination of arabesque and khatai in the inscription and plant garland, coniferous heart flowers, and tulips on the margins of Timurid wooden works are among the prominent motifs. Additionally, emphasis on the numbers six, eight, ten, twelve, and sixteen was observed in various sections, all of which were executed using the concave method of paving.Conclusion: The Timurid wood carving can be considered the golden point of Iranian wood carving in terms of design and the method of crafting and polishing wooden works.

Camille Lesouef

This article is a study of the gardens presented at the 1925 Art Deco exhibition in Paris, setting out to question the label ‘Art Deco garden’ that has been given them by subsequent historical writing. Our examination of this categorisation is part of a broader project to improve our understanding and appreciation of the art of garden design in France between the two wars, taking the ephemeral creations seen at the 1925 exhibition as the quintessence of the period’s garden creations. The analysis allows us to identify three main trends in the garden designs of the time, the neo-classical gardens, the gardens of Mediterranean inspiration and the gardens belonging to the avant-garde movements in the decorative arts and architecture. By looking at the theoretical and historical background to these creations, points of convergence and points of tension emerge, allowing us to underline how the discipline as a whole was in a process of renewal. This renewal stems from an ambition to create a new style of garden which would be both modern and national.

Semra Kılıç Karatay

The Pazyryk carpet, known as the oldest example of knotted weaving, shows that the Turks had an important place in the Kirkit weaving art and supports the view that the art of weaving spread to Central Asia with the Turks. Kirkit weavings are among the cultural values that have an important place in the Turks and the societies of that period. It is known that they were used as floor mats in areas of residence, as well as decorative ornaments, and daily necessities such as pillows, saddlebags and cushions. Productions such as TV series, movies or documentaries, which are social media tools, play an important role in establishing a connection with the past by reflecting the values such as social life, customs and traditions of the period they deal with in their works that cover historical periods. Social media tools play a crucial role in the development and change of societies.In the Turkish media, the historical development of Turks is periodically covered in programs. Resurrection:Ertugrul (Diriliş Ertuğrul) TV Series is one of them. Resurrection: Ertugrul series is one of the productions that reflect Turkish culture and history. The series covers the lifestyle, traditions and arts of the period. In this context, the art of carpet weaving also has an essential place in the series. While the series reflects the lifestyle and culture of the Turks, it also emphasizes that the art of carpet weaving is an important part of this period. Kirkit weavings are shown in the series not only as an item but also as a work of art and a cultural icon. The rugs add visual richness to the scenes by increasing the visual richness of the series. The series “Resurrection: Ertugrul” emphasizes the need to protect cultural heritage by reminding people of the importance of traditional handicrafts such as rug weaving. The series, which is about the historical adventure of the Kayı tribe, one of the Turkish tribes, reflects the cultural values of the tribe at that time. By this study, it has been attempted to evaluate the coverage of the kirkit weaving art, one of our cultural values, in the case of the broadcast.

Lina Mohammed Abdullah Bahidra

Design is plastic innovation, as it is the complete process of planning something and creating it in a way that is not only satisfactory from a functional standpoint, but also brings pleasure to the soul, and this satisfies the human need utilitarianly and aesthetically at the same time.     Embroidery is one of the beautiful decorative arts that people use to decorate their clothes. It derives its decorative unity from the surrounding environment, using threads of various types, as well as beads, beads, and other materials that he can shape or add to the embroidered pieces to make them more beautiful.     Complements are the magical details of fashion that can change the overall feeling of an individual's external appearance. They are the addition of a secondary or auxiliary thing that adds a touch of beauty to the outfit, and it can be dispensed with or changed to the outfit.     The research aims to: 1- Study of metal materials used in traditional embroidery. 2- Creating decorative designs inspired by traditional embroidery motifs suitable for evening bags. 3- Finding a relationship between authenticity and modernity in borrowing from traditional decorations and designing evening bags. 4- Implementing evening bags embroidered with metals by combining traditional decorations and the art of embroidery with metals.         Research recommendations: 1- Collecting and documenting the locations of traditional mineral raw materials on an electronic website for easy access to them and identification of their forms. 2- Directing designers to introduce traditional decorative designs and materials to preserve the traditional heritage. 3- Paying attention to embroidery with metal materials and introducing it more widely into the hand embroidery curricula in the Fashion Department. 4- A comprehensive collection of traditional jewelry in a museum explaining their names, shapes, and the areas in which they are used.

Siyana Georgieva

The paper refers to the decorative art made in stucco sculptures in the Umayyad palace at Khirbat al-Mafjar, a significant example of early Islamic cultural heritage in Palestine and worldwide. Khirbat al-Mafjar represents the Early Islamic architecture and decorative art as distinctive identity of Umayyad arts and architecture and as cultural interaction. For this reason, it is recommended to highlight the uniqueness of the representation of humans and animals in Umayyad decorative art as well as the identity of this art resulting from the synthesis of native Islamic elements and imported ones: Coptic, Roman and Sassanid.

Rauza R. Sultanova

The visual world of the modern Tatar theatre is a complex dynamic and self-developing system, which, on the one hand, reflects elements of traditional culture, folklore, rituals, and, on the other hand, various stylistic features of development of the theatre in general. Significant transformations are taking place that change certain features of the long-standing tradition. Stage managers and stage designers read classical and modern works in a new way, entering into a complex dialogue with the authors. Due to the active appeal to the achievements of modern culture and other arts, a kind of renewal of the theatre is taking place. Despite preservation of stable forms and elements of the Tatar culture, the traditions of the “interior theater”, generalized metaphorical motifs prevail in the productions that transfer the place of action to the present. This technique is used in the theater to sharpen and actualize the theme of the play, to strengthen the role of the viewer as an interpreter of what he saw. In search of ways of a new theatrical language modern artists use the aesthetic principles of the Tatar decorative and applied art and the poetics of folk games, cinematography, pop art, etc. in line with the postmodern game with traditions. The article analyzes the stage design of the performances of the beginning of the new century under the direction of the artistic director F. Bikchantayeva in tandem with modern stage designers (S. Skomorokhov, B. Ibragimov, etc.).

Damien Delille

Behind fashion heritage from Japan there is a complex history associated with the vogue for Japanism that France witnessed during the second half of the nineteenth century. This article sets out to analyse the different stages in the history of how Japanese textile objects and items of clothing integrated private and public collections, looking at the actors involved in this process, merchants, collectors, artists and scientists. The notion of a clothing and textile heritage in Japan is examined, in the context of the westernisation of the country during the Meija era, between 1868 and 1912. The study of the part played by universal exhibitions, in particular the Vienna exhibition of 1873, leads to the identification of the earliest collections of fukusa, kimonos and other elements of Japanese dress, creations dating from before the opening up of Japan to western influences. At the beginning of the twentieth century, the Paris Musée des Arts décoratifs and the Lyons Textile Museum both acquired several of these collections, aiming to make the special practices they witnessed available to the general public and textile industries. The article explores this long process which allowed for non-western items of clothing to enter heritage history in France and Japan.

Adek Cerah Kurnia Azis, Siti Khodijah Lubis, Gamal Kartono et al.

This research aims to develop teaching materials in the form of digitalisation of Toba Batak Ethnic Decorative Variety with p-book and e-book-based procreate media that are valid, practical, and effective in the Fine Arts Department. This research method uses research and development with the 4-D development model (Four-D Models), namely define, design, develop, and disseminate. This research instrument uses a questionnaire with a Likert scale, while the data analysis technique consists of analysing the validity, practicality and effectiveness of teaching materials. The results of this study indicate that: a) p-book and e-book-based teaching materials with the title of the book/module/teaching material "Gorga Batak Toba", with the acquisition of a category that is quite valid with an average score of 78%, b) teaching materials are quite practical to be used by students in the North Sumatra Ethnic Decorative Variety Course (RHESU) with a score of 77%, and c) teaching materials fall into an effective category where students from four categories such as reading teaching materials, asking questions, answering questions, and completing assignments given by lecturers, can be observed in the learning process and student learning outcomes are 83.26%. So, from the scores and test results of the research results above, it can be said that the teaching materials are quite valid, quite practical, and effective to be applied in learning the North Sumatra Ethnic Decorative Variety Course (RHESU) at the Department of Fine Arts, Faculty of Language and Arts, Universitas Negeri Medan.

Mónica Vergés Alonso

By the mid-19th century, the United Kingdom had reached the peak of industrialisation and economic expansion, while also revealing the first drawbacks of progress: social inequality, urban overcrowding, and aesthetic discontent as a result of production techniques. In this context, and in opposition to the prevailing academic art, the Pre-Raphaelite Brotherhood was born. In paintings prior to Raphael and medieval legends, they sought the authenticity they considered had been lost in their time, directing their attentive gaze towards nature. From the outset, the Brotherhood had the support of the art critic John Ruskin. Indeed, his writings on a new economic ethics and the creative and dignifying value of craftsmanship marked his «disciple» William Morris and the Arts and Crafts movement.

C. Emilia

Introduction If children are taught early on to control their emotions, that can prevent problems that cause disturbing emotions: violence, suicide, drug abuse, etc. The artistic experience, just like the religious one, is an essential experience of the human being. Art ,occupational, play therapy concerns itself with the information that the images have to offer regarding their author. Objectives Our goal is to discover new perspectives and sources of inspiration to establish new prevention and recovery methods and techniques to advance in defining the importance of resilience in personal development. The development and maintenance of social skills will thus be the necessary conditions for improving adaptability and the capacity for personal transformation, without forgetting at the same time the effectiveness of the process of resocialization and recovery of juvenile delinquents. Methods The child is stimulated in the problem-solving and the decision-makings strategies, in order to achieve formal diversifications. In the preventive activities we include all activities involving nonverbal communication and holistic engagement of people in creative activities, specific to visual arts (plastic, decorative design and multimedia), facilitating school reintegration or optimizing the school situation, completing the general and specialized culture. Results The individual skills are traced by the specific means of the visual arts; moreover, we care about the individual capacities, the freedom to follow his own destiny, encouraging the joy to manifest creatively on several levels of difficulty in any activity. These activities lead to changes in the attitudes towards the work or the discovery of recreational activities and the use of leisure time. Image 2: Conclusions Considering the diversity of the child`s non-verbal communication, art therapy, occupational and play therapy are not a mere accessory method within the therapeutic process of the emotional disorders of children, but a mandatory condition of it. The development and the maintenance of social abilities will thus be the necessary conditions of an improved adaptability and of the capacity of personal transformation, “Social Cohesion” is a Common Goal for Psychiatry, and art, occupational , play therapies. Disclosure of Interest None Declared

Reginaldo Christophori Lake, Pilipus Jeraman

Patterns and meanings are one of the formal architectural objects commonly studied by academics and practitioners. However, the philosophy, theory, and concept of structuralism underlying architectural patterns and meanings as a complex and diverse issue have not been conducted. Therefore, it is important to carry out in-depth studies in the context of structuralism on these objects. This theoretical study reveals the relationship between vernacular architectural patterns and the influencing philosophical, theoretical, and paradigm factors using the literature review method. Based on the notion of structural thought elaborated with architectural theory in the context of form, function, and meaning, three approaches were formulated, namely formalist, genetic,and dynamic structural approaches to reading architectural patterns and traditional meaning forms. The results showedthat this study has succeeded in presenting a new reading tool to parse the patterns and meanings of a relatively complete vernacular architecture starting from the philosophical, theoretical context to the underlying paradigm. These results are expected to be useful as a new reading tool for vernacular architectural patterns. Similarly,the expectedimplication is as a modern architectural design method

Bo-Wei Zhu, Zheng Huang, Lei Xiong

The authors would like to make the following corrections about the published paper [...]

Maria Anna Rudzka

Abstrakt: Celem artykułu jest analiza obecności i znaczenia absolwentów zakopiańskiej Szkoły Przemysłu Drzewnego w pracowni prof. Tadeusza Breyera w warszawskiej Akademii Sztuk Pięknych. Na wybór tej uczelni znaczący wpływ miało przeniesienie ich nauczyciela Karola Stryjeńskiego do stolicy. Ponieważ nie mieli matury, musieli przejść proces „uzwyczajnienia”, najczęściej uzyskując świadectwo ukończenia Miejskiej Szkoły Sztuk Zdobniczych i Malarstwa. W pracowni absolwenci wyróżniali się szczególnie udanymi rzeźbami o tematyce sportowej oraz w zakresie technik metalowych. Brali też znaczący udział w realizacjach swoich profesorów. Niektórzy zostali profesorami na Akademii Sztuk Pięknych w Warszawie, inni powrócili jako pedagodzy do Zakopanego. To zjawisko przepływu uczniów i profesorów trwa po dzień dzisiejszy. Summary: The aim of this paper is to analyze the presence and importance of graduates of the Zakopane School of Wood Industry in the Prof. Tadeusz Breyer’s studio at the Academy of Fine Arts in Warsaw. For many graduates, the choice of the Academy was significantly influenced by the relocation of their teacher, Karol Stryjeński to the capital. As they did not have a high school diploma, they had to undergo the “habituation” process, most often obtaining a certificate of graduation from the Municipal School of Decorative Arts and Painting. In the studio, they distinguished themselves with particularly successful sculptures in sports and metal techniques. They also took a significant part in the realizations of their professors. Some became professors at the Academy of Fine Arts in Warsaw, others returned to Zakopane as teachers. This phenomenon of the movement of students and professors continues to this day.

Nataša Vampelj Suhadolnik

While a few larger collections of objects of East Asian origin entered Slovenian mu­seums after the deaths of their owners in the 1950s and 60s, individual items had begun finding their way there as early as the nineteenth century. Museums were faced early on with the problem not only of how to store and exhibit the objects, but also how to categorize them. Were they to be treated as “art” on account of their aesthetic value or did they belong, rather, to the field of “ethnography” or “anthropology” because they could illustrate the way of life of other peoples? Above all, in which museums were these objects to be housed? The present paper offers an in-depth analysis of these and related questions, seeking to shed light on how East Asian objects have been showcased in Slovenia (with a focus on the National Museum and the Slovene Ethnographic Museum) over the past two hundred years. In particular, it explores the values and criteria that were applied when placing these objects into individual categories. In contrast to the conceptual shift from “ethnology” to the “decorative and fine arts,” which can mostly be observed in the categorization of East Asian objects in North America and the former European colonial countries, the classification of such objects in Slovenia varied between “ethnology” and “cultural history,” with ethnology ultimately coming out on top. This ties in with the more general question of how (East) Asian cultures were understood and perceived in Slovenia, which is itself related to the historical and social development of the “peripheral” Slovenian area compared with former major imperial centres.

Iris Moon

DOI This conversation piece explores the relationship between luxury and crisis. It asks: what role have objects, that have long been deemed as “superfluous”, played in shaping and negotiating our political, social, and economic needs, wants, and desires, both past and present? Sconces, porcelain, upholstery, and other works of decorative arts are typically thought of as superficial things tied to elite taste, even though these “unnecessary” luxuries have permeated all classes of society. But what if aesthetic choices made in the realm of the everyday had the power to recalibrate needs and signal the urgency of our desires? Respondents have chosen one object that they view as an example of the “British decorative arts”, and written short texts on the topic of luxury and crisis, with the aim of redefining the scope and parameters of the field, one object at a time.

Mohammed Afify

The artistic heritage of any nation is one of the most important factors that work for the establishment, continuation and survival of civilization throughout the ages, and applied arts are among the most important sources of reference materials (elements) that the designer can rely on in creating contemporary design ideas that match the general taste. The workers in the field of art and design have never stopped using the arts of ancient Egyptian heritage (Pharaonic - Coptic - Islamic) as well as the arts of ancient civilizations in the countries of Iraq, Andalusia, India, China, etc. In the search for sources to innovate the design of printing fabrics for furnishing. The research focuses on the artistic applied heritage of the Berbers in the Northwest African region, and the research aims to conduct a study of the Amazigh artistic applied heritage in the Arab Maghreb and the high aesthetic and symbolic values it contains and how to benefit from it in inspiring designs suitable for printing woven furnishing fabrics that contribute to enriching the General taste and attention to the aesthetic aspect in the field of printing furnishing fabrics. The research relies on the descriptive analytical approach to study the aesthetic and symbolic values of the decorative vocabulary component of the Amazigh artistic applied heritage, as well as the experimental approach to obtaining a set of innovative design ideas to print contemporary furnishing fabrics and suit public taste in light of oriental customs and traditions The researcher has reached many important results, including that the Amazigh (Berber) art heritage did not have a sufficient amount of study and research in the field of textile printing design, despite its distinguished aesthetic and symbolic values that could assist workers in the field of designing the printing of furnishing fabrics in creating ideas Renewable design, variety and suitable for oriental culture. The researcher recommends in-depth study and analysis of the elements of the Amazigh artistic heritage and making use of them in the field of textile printing design in general and the field of design for the printing of furnishing fabrics.

Olga Sapanzha

Different aspects of museum education are in the focus of this paper. The first aspect is the museum’s place in the new educational paradigm. This is a common cultural context that determines the parameters of the museum institution. The second aspect is the basic definitions (museum education, museum pedagogy and museum communication) and their interaction and intersections. The appeal to these concepts is connected with the need for the development of international scientific discourse. The third aspect is the professional training programs for museum staff for educational departments. There are such programs in the world, there was a positive experience in Russia. The fourth aspect is the problem of career development for specialists in the field of museum education. The totality of these aspects is the theoretical and methodological basis for the museum’s implementation of the educational mission.

Arbuz-Spatari Olimpiada

The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.

Надія Анатоліївна Лоліна

Стаття присвячена малодослідженій проблемі у вітчизняній науці, пов’язаній із традиційним народним мистецтвом, а саме писанкою. Аналізується геометричний орнамент писанки. Ключові слова: орнамент, розпис, писанка, традиція, декоративно-прикладне мистецтво, народна творчість. Статья посвящена малоизученной проблеме в отечественной науке, связанной с традиционным народным искусством, а именно писанкой. Анализируется геометрический орнамент писанки. Ключевые слова: орнамент, роспись, писанка, традиция, декоративно- прикладное искусство, народное творчество. The article is dedicated to the slightly studied probleatic question in science, associated with the function of the traditional folk arts, namely pysanka. Has been analyzed the pysanka’s geometrical ornament. Key words: ornament, painting, pysanka, tradition, decorative painting, Folk Art, artistic creativity.

E. Alparslan

Cloud", which has an important place in Turkish Decorative Arts and is a motif types used for centuries. According to the Chinese art works and documents relating to the "cloud motif"; the existence of the mythical dragon and simurg of the fire from the nose during a struggle with anger and ambition, and represents the steam. Stylized by the Turks and the diversified "cloud motif" for centuries with its unique style in Turkish Decorative Arts, particularly manuscript bookbindinds of "şemse","köşebent" and “bordure” in the decoration of the part is used as an important decorative elements. This study is located in Ankara; T. C. Ministry of Environment and Urban Planning General Directorate of Land Registry and Cadastre "Kuyûd-ı Kadime The Archive" and T.C. Prime Ministry General Directorate of Foundations "Foundation Records Archive" in also located in Kütahya Province; T. C. Ministry of Culture and Tourism, "Vahit Paşa Manuscript Library" and "Tavşanlı Zeytinoğlu County Public Library" was conducted at. Within this research found in these institutions; Turkish Bookbinding Art and Turkish Decorative Art and writing quite an important place in our history and our culture-art in terms of manuscript that sheds light on our bookbindings has been studied. Manuscripts bookbindings; "şemse" was examined in terms of decorative techniques and motifs features used in “şemse” and especially the "cloud motif" and created a şemse samples were determined. "Cloud motif" and adorned with a total of 12 bookbinding samples were examined and tried to introduce with photos of motifs in terms of features. In addition, the manuscripts in question; Accordingly, information concerning the qualitative characteristics such as time and trace the names to which they belong, the data found in the archives of the relevant institutions organized on the basis of inventory and explained.