Hasil untuk "Decorative arts"

F. Berizzi, A. Mariani, C. Nenci et al.

The research issue underlying this article stems from the will to recover memory and visually restore, through the potential offered by virtual reconstruction techniques, the lost image of the rich decoration that adorned the ancient <em>Salone Napoleonico</em>, the lecture hall of the Brera Academy of Fine Arts, destroyed following the devastation of the Second World War. The perimeter walls withstood the impact of the bombings, while the barrel vault was completely compromised: during the post-war reconstruction, the rich pictorial decoration was deemed irrecoverable, and efforts were concentrated on faithfully restoring the hall in terms of volume. This premise allowed us to adopt the photogrammetric model of the existing structure as a solid base to ensure metric accuracy and correspondence to the original architectural layout. The 3D model was then mapped and assembled with decorative registers extracted from historical black-and-white photographs, subjected to a preliminary orthorectification process, adopting criteria aimed at recognizing hierarchies between portions with varying degrees of detail and reliability. To approximate the original visual and chromatic characteristics, a comparative analysis of contemporary monochrome decorations by the ornamental painter Gaetano Vaccani, preserved in the <em>Palazzo di Brera</em>, led to the formulation of color hypotheses through RGB sampling, achieving an informed chromatic and stylistic interpretation. The multidisciplinary framework, based on historical, archival, and bibliographic sources, integrated into the workflow, ensured the achievement of results that balanced methodological rigor with cultural and historical sensitivity, suitable for online publication and access to the scientific community and the wider public.

Joseph Chapman, Justas Gidziunas, Bruno Tomasello et al.

There has been much recent interest devoted to a class of frustrated one-dimensional statistical mechanics lattice models which exhibit sharp thermodynamics. In this work, we study an extension of one of these models to two dimensions; the Ising model on a decorated bilayer lattice. We show that the pseudo-transitions of the one-dimensional models become a real first order phase transition in this two-dimensional analogue. Moreover, the pseudo-transition is found to still exist above a bi-critical point. This can be characterised as a Widom line, which allows a re-interpretation of the physics in the previously studied one-dimensional models.

Viswa Chaitanya Marella, Sai Teja Erukude, Suhasnadh Reddy Veluru

The introduction of Artificial Intelligence (AI) into the domains of traditional art (visual arts, performing arts, and crafts) has sparked a complicated discussion about whether this might be an agent of disruption or an enhancement of our traditional art forms. This paper looks at the duality of AI, exploring the ways that recent technologies like Generative Adversarial Networks and Diffusion Models, and text-to-image generators are changing the fields of painting, sculpture, calligraphy, dance, music, and the arts of craft. Using examples and data, we illustrate the ways that AI can democratize creative expression, improve productivity, and preserve cultural heritage, while also examining the negative aspects, including: the threats to authenticity within art, ethical concerns around data, and issues including socio-economic factors such as job losses. While we argue for the context-dependence of the impact of AI (the potential for creative homogenization and the devaluation of human agency in artmaking), we also illustrate the potential for hybrid practices featuring AI in cuisine, etc. We advocate for the development of ethical guidelines, collaborative approaches, and inclusive technology development. In sum, we are articulating a vision of AI in which it amplifies our innate creativity while resisting the displacement of the cultural, nuanced, and emotional aspects of traditional art. The future will be determined by human choices about how to govern AI so that it becomes a mechanism for artistic evolution and not a substitute for the artist's soul.

Emanuel Roth, Florent Schaffhauser

A decorated vector bundle is a vector bundle equipped with a reduction of structure group to a complex reductive subgroup $G \subseteq \mathbf{GL}(r,\mathbb{C})$. Examples include symplectic and special-orthogonal vector bundles, as well as vector bundles with trivial determinants. In this expository paper, we provide direct constructions of Harder-Narasimhan filtrations of symplectic and special-orthogonal vector bundles, and use them to construct canonical reductions in the sense of Atiyah and Bott. We compare these canonical reductions to those constructed by Biswas and Holla. Lastly, we set up the obstruction theory necessary to define Harder-Narasimhan types of principal bundles, and stratify the moduli stack of principal $G$-bundles.

Konstantin Alexandrovich Parkhomenko

The Lugansk State Academy of Culture and Arts, named after Mikhail Matusovsky, served as the foundation for this study. Within the Faculty of Fine and Decorative Arts, specifically at the Department of Graphic Design, tailored tasks were integrated into individual courses. This approach enabled the assessment of students' initial artistic and imaginative thinking skills and facilitated their development. This method facilitated the evaluation of students' foundational artistic and imaginative thinking abilities, while also fostering their continued growth. The article examines stylization as a vital instrument that bolsters memory, imagination, and the cultivation of creative skills. Its goal is to create a methodological framework designed to enhance the quality of education. The stratometric method was utilized as the main technique for identifying creative groups, leading to the selection of eight groups for the experiment. This paper examines the practical method of stylization in special drawing classes for design students and its impact on the development of spatial thinking through assignments related to the stylization of architectural buildings and marine life objects. All groups were trained in graphic design and each group had between 10 and 17 participants. The artistic method shows that the study of the structural formation of an object lays the foundation for the creation of artistic works. Careful analysis and comparative evaluation of the creative works revealed results that emphasise the importance of this method for the development of professional skills and the formation of a unique personal style. The study suggests that there may be value in considering a greater focus on form analysis and comparison methods within the educational framework. It also points to the potential benefit of exploring ways to incorporate innovative techniques and creative assignments into the curriculum, with a view to maintaining and celebrating national traditions and characteristics.

Patrizia Marti

Artificial Intelligence (AI) has revolutionized the fashion industry, impacting various stages of the fashion lifecycle and offering promises of enhanced operational efficiency, personalized consumer experiences, and contributions to sustainability and innovation. This paper outlines the main trends, implications, constraints, and potential risks associated with AI in fashion design and production. In particular, the paper delves into biases in AI-powered systems, emphasizing data, algorithmic, and transparency gaps that can perpetuate discrimination. Bringing ethics and pluralism into AI-powered design, the paper introduces intersectional feminism and feminist design principles, which can help envisioning a more inclusive, equitable, and unbiased fashion discourse. In conclusion, the paper contends that feminist design principles can inspire the development of more inclusive and ethical AI-powered fashion. By challenging norms, promoting diverse representations, and incorporating user perspectives, feminist design can contribute to a socially responsible and equitable future for fashion technology.

Yasmine Ali mahmoud

The Seljuk Kingdom has undergone great prosperity and development in art, especially the art of architecture, as there was great interest in the architecture of schools and shrines, this development contributed to the mosaic industry in that period. The technique of ceramic mosaic was used comprehensively in mural treatments with a distinctive decorative formulation as a result of the mixture of cultures and multiple civilizational references, because of the expansion of the geographical area and the mixture of Arab culture with Persian and Turkish culture; that led to creating a distinct art with different character and richness in the field of design and decorative formation as well as the maturity of this industry, so the art of ceramic mosaic occupied a prominent place in the history of Seljuk art in terms of mural treatments, this was due to its importance in covering the non-flat architectural elements without changing the characteristics and form of the building, and throughout the thirteenth-century mosaic technique became one of the most brilliant Seljuk arts used in the mural treatments of architectural buildings. The research addresses the mosaic technique of the Seljuk era in terms of the method of implementation, the materials used, and the decorative design elements used in the mural treatments of architecture in that period by presenting models of the mural treatments of that era in different places.

Azli Bin Abdullah, Julaihi Bin Wahid

Natural calamities such as earthquakes, landslides, windstorms, and floods are considered disasters according to the degree of disruption they caused to the human population, built environment, or natural ecosystem. Natural disasters are a common occurrence in rural settlements of Malaysia, affecting the lives of the rural population and damaging the rural settlements, agriculture, roads, drainage schemes, and other infrastructure. This threat continues to exist, and disasters are still wreaking havoc in rural areas. However, this disaster is compounded by the current rate of urbanization in the region. Human life conjures a spatial location due to the unique combination of movement and strength that characterizes humans. Humans, unlike trees, are not stationary; yet they require more manmade shelters than other animals, and communities. Humans, in particular, share their space. A loss narrative defines today's place literature: specifically, the loss of the correct link between place and meaning (Cox, 1968; Lynch, 1972; Jacobs Appleyard, 1987; Kunstler, 1993). Simultaneously, this article aims to investigate the disappearance of Malay settlements and discuss some of the implications. In February 2021. a landslide event took place in Pasir Mas, Kelantan. It is an area where researchers used to spend their youth. The objective of this article is to provide a perspective on the disappearance of Malay settlement by studying two theories, namely natural calamity and Malay settlement. The entire idea of this article is the transformation of the components of place characterized by the narrative of loss has enormous planning and design implications, two of which are central here: firstly, the emergence of geographies of place, and secondly, the loss of Malay culture crisis.

Jennifer Coulter, Mark R. Hirsbrunner, Oleg Dubinkin et al.

The xene family of topological insulators plays a key role in many proposals for topological electronic, spintronic, and valleytronic devices. These proposals rely on applying local perturbations, including electric fields and proximity magnetism, to induce topological phase transitions in xenes. However, these techniques lack control over the geometry of interfaces between topological regions, a critical aspect of engineering topological devices. We propose adatom decoration as a method for engineering atomically precise topological edge modes in xenes. Our first-principles calculations show that decorating stanene with Zn adatoms exclusively on one of two sublattices induces a topological phase transition from the quantum spin Hall (QSH) to quantum valley Hall (QVH) phase and confirm the existence of spin-valley polarized edge modes propagating at QSH/QVH interfaces. We conclude by discussing technological applications of these edge modes that are enabled by the atomic precision afforded by recent advances in adatom manipulation technology.

Ajay Divakaran, Aparna Sridhar, Ramya Srinivasan

Incorporating interdisciplinary perspectives is seen as an essential step towards enhancing artificial intelligence (AI) ethics. In this regard, the field of arts is perceived to play a key role in elucidating diverse historical and cultural narratives, serving as a bridge across research communities. Most of the works that examine the interplay between the field of arts and AI ethics concern digital artworks, largely exploring the potential of computational tools in being able to surface biases in AI systems. In this paper, we investigate a complementary direction--that of uncovering the unique socio-cultural perspectives embedded in human-made art, which in turn, can be valuable in expanding the horizon of AI ethics. Through semi-structured interviews across sixteen artists, art scholars, and researchers of diverse Indian art forms like music, sculpture, painting, floor drawings, dance, etc., we explore how {\it non-Western} ethical abstractions, methods of learning, and participatory practices observed in Indian arts, one of the most ancient yet perpetual and influential art traditions, can shed light on aspects related to ethical AI systems. Through a case study concerning the Indian dance system (i.e. the {\it `Natyashastra'}), we analyze potential pathways towards enhancing ethics in AI systems. Insights from our study outline the need for (1) incorporating empathy in ethical AI algorithms, (2) integrating multimodal data formats for ethical AI system design and development, (3) viewing AI ethics as a dynamic, diverse, cumulative, and shared process rather than as a static, self-contained framework to facilitate adaptability without annihilation of values (4) consistent life-long learning to enhance AI accountability

Linhao Li, Masaki Oshikawa, Yunqin Zheng

Symmetry protected topological (SPT) phases are one of the simplest, yet nontrivial, gapped systems that go beyond the Landau paradigm. In this work, we study an extension of the notion of SPT for gapless systems, namely, gapless symmetry protected topological states. We construct several simple gapless-SPT models using the decorated defect construction, which allow analytical understanding of non-trivial topological features including the symmetry charge under twisted boundary conditions, and boundary (quasi)-degeneracy under open boundary conditions. We also comment on the stability of the gapless-SPT models under symmetric perturbations, and apply small-scale exact diagonalization when direct analytic understanding is not available.

Andres Fernandez Herrero

We prove a rigidity result for automorphisms of points of certain stacks admitting adequate moduli spaces. It encompasses as special cases variations of the moduli of $G$-bundles on a smooth projective curve for a reductive algebraic group $G$. For example, our result applies to the stack of semistable $G$-bundles, stacks of semistable Hitchin pairs, and stacks of semistable parabolic $G$-bundles. Similar arguments apply to Gieseker semistable $G$-bundles in higher dimensions. We present two applications of the main result. First, we show that in characteristic $0$ every stack of semistable decorated $G$-bundles admitting a quasiprojective good moduli space can be written naturally as a $G$-linearized global quotient $Y/G$, so the moduli problem can be interpreted as a GIT problem. Secondly, we give a proof that the stack of semistable meromorphic $G$-Higgs bundles on a family of curves is smooth over any base in characteristic $0$.

Sherif Rabee

Several studies emphasized the need to prepare and qualify a student and graduate of the arts well to face the challenges of the labor market, to be effective in developing society in all aspects, especially economic ones, this can be done through directing small productive projects, especially in the technical fields that contribute significantly to support Economy and society. A new technical entrance to a productive project can be provided to be a maximum of small or large art products with small casualty and valuable values, with cheap cargoes and available in local markets as well as ease of dealing and formulated, which has a positive impact on the preposition and attention of members of the community to those products, reflecting the success of its production as a production project facing the challenges of the labor market. Accordingly, the researcher has moved towards benefiting from the fine dimensions and aesthetic values of the decorative iron as one of the rich arts with its multiple patterns and styles, to make artistic works suitable to be the nucleus of one of the small productive projects, and then the researcher chose the polystyrene material due to its plastic and formal features and features It can mimic the appearance and not the function of decorative iron, as many decorative elements and units can be implemented in an easy and fast way, and the production of artifacts works as a small production project for young graduates, and the problem of research lies in shedding light on my potential Dimensional simulation of plastic and aesthetic values of iron art decorative through polycarbonate raw polystyrene for the production of artistic artifacts suitable as a small production for young people to the challenges facing the labor market.

Iris Moon

This issue proposes a double move to readers. First, it foregrounds the fact that slavery, colonialism, and empire were integral historical components in the production, consumption, and reception of the British decorative arts. Second, it suggests that readers unhinge the “heritage” aspect that has long been associated with the British decorative arts, proposing instead a move of defamiliarization and making strange the routines of domesticity that seem self-evident and simply “the way things always have been”.

Nafise Najafi, Hassanali Pourmand

Apart from their historical importance, medals are an important symbol of arts for Iranian over the last few centuries. The first important aspect of the medals is their long durability which enables them to carry arts and cultural traditions from many centuries to the Qajar era. The present article deals with the visual study of these developments and by studying the formal, decorative and graphic features of the designs and details of the insignia and commemorative coins of Iran in the Qajar, Pahlavi and Islamic Republic periods, examines art’s and visuals’ changes. A study about these historical artworks is essential due to their visual, decorative, symbolic and conceptual features, which can be classified into two groups including the jewelry and coinage. The medals are important in terms of their artistic style which has been derived from the contemporary Iranian art. The production of medals prospered since the Qajar dynasty that provided a proper condition to study the visual evolution of properties of Iranian medals from the Qajar dynasty until now. A comparative study of medals from the Qajar, Pahlavi and the Islamic Republic can identify the similarities and differences among the various cultures and arts of these periods in the history of Iran. It seems that the symbols and artistic features of each period are influenced by the previous period, but they also reveal the specific differences of that period and according to the political and social differences of each period, there are decorative differences in terms of semiotics with medals of other periods. There is also a gradual change in terms of variety in form, role and symbols used in the medals of these three periods. One of the main goals of this study is to investigate the procedure of visual changes in the medals of honor to understand the depth of Iranian artworks during the three mentioned periods. In this study, we address the following question that “what visual evolution in the medals of honor has occurred from the Qajar to the Pahlavi era and carried to the Islamic Republic period? In addition, what are the visual similarities and differences in Persian artworks during the recent eras?” In this work, an analytical and descriptive method was developed through an extensive literature review as well as Persian museums samples. The visual principles and rules, which were considered to have created the apparent characteristics of medals, were used to analyze the artworks. The statistical population of this study is all government signs made in these three periods. Ten signs from each period have been selected for a more detailed study by random cluster sampling method, so that from each category of signs, related to a topic, several samples were randomly selected and studied, which were then analyzed by related criteria in a logical and deductive way. The method of analyzing the works is based on the study of visual principles and rules, used in the physical characteristics of medals, and based on logical and deductive analysis. In this research, the badges of honor of the three periods of Qajar, Pahlavi and the Islamic Republic are visually studied and compared, respectively. These three periods and the evolution of medals in these periods are discussed. The results of this study showed a more uniform shape and decoration in Qajar medals, which contained remarkable similarities in terms of their title. A special variety in the engraving and decoration of Pahlavi medals was observed, including similar symbols with that of the Islamic Republic. In the Islamic Republic era, diversity in the shape of the medals has appeared in addition to the several engraving and decoration patterns. There are many differences between the symbols of this period and the previous ones. Comparing the medals of the three periods, it can be seen that the Qajar medals were more valuable materially and more expensive jewelry was used in them, with the medals of the Pahlavi and the Islamic Republic eras in the following places, respectively. In the Pahlavi period, the nationalist aspect was more used, while in the Qajar medals more signs related to power and Islamic symbols can be seen. The symbol of the lion and the sun is common in both periods, but is dominant in the Qajar period and is the central image of most medals. Among the symbols of the Islamic Republic, like in the Qajar period, there are many religious symbols. Also, the image of the country's leaders has been portrayed in all three periods. In general, it can be said that Pahlavi medals are more diverse in terms of variety of designs and themes, and Qajar medals are more valuable in terms of material prices and incorporated jewelry, while the medals of the Islamic Republic are comparatively much more diverse in terms of subject matter.

Elena MUSTEAȚĂ

Master of arts Gheorghe Vrabie is counting among those who played a significant role in the development of the national contemporary school of graphics. He outlined the symbolic identity of the country by elaborating its main attributes – the State Coat of Arms of the Republic of Moldova and the Coat of Arms of Chisinau. Working in several fields – plastic and decorative arts, heraldry and vexillology, – Mr. Vrabie be queathed over 100 titles of illustrated books and numerous works of easel graphics, remarkable for compositional solutions of postmodernist vision, metaphorical approach to the ideational content, and the suggestive-symbolic way of stylizing the artistic image. Mr. Vrabie’s creative potential was manifested in the illustration of the literary works of national and universal literature. Among the most important achievements are those executed in etching, aquatint techniques for: “Harap Alb” by Ion Creangă (1967), “Vita nuova” by Dante Alighieri (1971), “Luceafărul” by Mihai Eminescu (1970–1974), “Spells” by Paul Valery (1973–1979) and others. Original artistic valences present the master’s easel graphics, in particular: the etchings “The Fallen Soldier” (1968), “The Sentinel” (1968) and “The Tragedy of Râbnița” (1975); the etching and aquatint cycles – “Hipism” (1971–1979) and “The Contemporary City” (1972–1970) etc.

Wahyuni Eka Sari

Limasan house is one of the traditional houses in Java. Limasan house is a house that functions as a residence that has a unique form. Limasan house is found in Ponorogo Regency including Kertosari Village. Kertosari Village was once a batik producing center in Ponorogo Regency. The Limasan house in Kertosari Village used to function as a home to produce batik. The Limasan house which is now in Kertosari Village has started to be abandoned and neglected without any maintenance. The hierarchy of space becomes an important unit in the part of the house. Hierarchy is formed because of various factors. The purpose of this study was to find out how the morphology of the space hierarchy of the Limasan House has its unique shape. The method used is descriptive analysis with exposure to the results of field surveys. The results obtained from this study are changes from the hierarchy of space inside the Limasan house that used to be in the living room of the main building, now turning into a living room or middle room as its hierarchy.

Mohamed Keshar Kamel, Hussein Ahmed Shahat, Montaha Saleh Al-Hashel

Out of awareness of the importance of the social role of art education in the preservation of heritage arts, the current research aims to shed light on the aesthetics of the architectural heritage in Al Ahsa as a cultural and touristic city, the architectural heritage of which emanates from the Gulf architecture. It has lived different historical eras and produced a distinct traditional architecture, containing many aesthetic values that present it as a fertile material for creativity in arts. The research followed an experimental methodology where the researchers conducted a self-experiment to employ and adapt the potential and aesthetics of the elements and components of traditional architecture in Al Ahsa, to produce creative artworks in decorative designs and handcrafts, bearing the characteristics of creativity and combining originality and contemporary in order to highlight the aesthetics of the architectural heritage of the city of Al Ahsa and confirm its validity as a fertile source of renewed creativity. The most important research results show the architectural heritage of Al Ahsa characterized by many aesthetics and spiritual values that made it a fertile source of artistic creativity. The research also recommends strengthening scientific cooperation between heritage and tourism institutions and arts teaching institutions.

Minhee Kang, Jinwoong Hwang, Ji-Eun Lee et al.

The interplay between electron-electron interaction and electron-phonon coupling has been one of the key issues in graphene as it can provide information on the origin of enhanced electron-phonon coupling in graphene by foreign atoms. In ytterbium-decorated graphene on SiC substrate, electron-phonon coupling exhibits strong enhancement compared to that of as-grown graphene. Based on angle-resolved photoemission study, the presence of ytterbium is also found to result in the decrease of Fermi velocity, revealing the enhancement of electron-electron interaction within the Fermi liquid theory. Our finding on the concomitant enhancement of electron-electron interaction and electron-phonon coupling suggests a possibility of the interplay between the two representative many-body interactions in graphene decorated with foreign atoms.

Mikhail Khovanov

The paper explores the relation between noncommutative power series and topological theories of one-dimensional cobordisms decorated by labelled zero-dimensional submanifolds. These topological theories give rise to several types of tensor envelopes of noncommutative recognizable power series, including the categories built from the syntactic algebra and syntactic ideals of the series and the analogue of the Deligne category.