Hasil untuk "Decorative arts"

Aurélie Petiot

This article explores the way the design patterns of William Morris, a leading figure of the Arts and Crafts Movement, are reinterpreted by contemporary British and Canadian artists from an anti-imperialist perspective. Drawn from a variety of sources (Celtic, medieval, Persian, among others), these patterns are now being reused as a critical tool: far from being simple decorative borrowings, they become a means of rethinking the UK’s colonial past and craft production alike. The artists considered here appropriate Morris’s heritage in in order to challenge dominant narratives. The reuse of Morris’s forms and ideas reflects a desire to see the pattern as a medium of contemporary political involvement and in this way, makes that heritage a dynamic reference for the present.

Rafael Assis, Cyril Conesa, Emeline Pedoni et al.

UV curable inks have emerged as an ecofriendly promising solution in the last years for several fields including graphic arts, coding, additive manufacturing, robotics, decorative coatings, electronics, tissue engineering, medicines manufacturing and so on. Thanks to its versatility, UV inks can be used in association with a large variety of printing techniques such as direct ink writing (DIW), digital light processing (DLP), digital inkjet printing and so on. This review article provides an extensive state-of-the-art overview of the recent advances in formulation and troubleshooting presented according to their application fields. Special attention is given to inkjet applications and near UV-LED curable inks.

M.S. Shirokovskikh

The article shows the results of a studying of three design schools in Russia. The relevance of this topic is necessary to clarify a number of terms for their functional application in art history, pedagogical practice and design. The last two decades in Russian art history have been marked by significant interest in regional schools of ceramics, textiles, and artistic metal processing. It is necessary to update the terminology and clarify some key concepts for further studying of Russian design schools. The purpose of this article is to determine the essential features of the concept of “school” in the decorative art and design. The objectives of the research are: 1) to study the features of the formation of design education in Russia from 1820s to 1990s; 2) to identify the main Russian centers of decorative arts and design were developed, 3) and find out the degree of their conformity with the concept of “school”. The research methodology is based on an integrated approach and includes systematization and generalization of historical data about the development of the design universities in Moscow, St. Petersburg and Yekaterinburg; studying of the research works, literary sources on this issue and archival materials. The author notes that in the USSR the term “design” was less common than the phrase “industrial art”. This circumstance had a significant impact on the self-determination of regional design schools in Russia. Significant similarity in the processes of formation of the Moscow and St. Petersburg schools of decorative arts and design is presented at the end of the article. According to the author, the educational institutions were a part of the “school-industry-artist” system. In conclusion, the definitions of the concepts “school of decorative arts” and “design school” are formulated.

Ismet Zaatov

n the article an attempt is made to trace the stages of development of the process of the Kypchak-Tatar – Turko-Seljuk Turkization and the beginning of the process of Asia Minor–Central Asian Islamization of the population of the peninsula and formation of artistic culture and decorative art of the Crimean Tatars during the formation of the foundations of the Crimean Tatar statehood in the Black Sea uluses of the Golden Horde.

Bruno Montamat

The Laurens Château at Agde in the Hérault department is an outstanding example of the decorative eclecticism that was in fashion around 1900, and its bathroom, designed by the Parisian artist Eugène-Martial Simas, can be seen as an ideal example of the paradoxes of Art Nouveau. It is a unique decorative ensemble, conceived in a rational manner based on the union of art and industry. Simas, who was primarily a theatrical designer, was attracted by the industrial arts. For this hygienic bathroom designed to honour the blessings of water, he made ample use of the products manufactured by the Sarreguemines glazed earthenware factory and by the Paris metalworking firm of Fontaine. But the presence of tiling and metalwork created by the leading lights of the ‘Art dans Tout’ movement (Félix Aubert, Alexandre Charpentier) seemed to cast the owner of the chateau, Emmanuel Laurens, in the role of some forgotten aesthete from the Midi. This is to ignore the important part played by local decorators and designers, perfectly aware of the latest fashions likely to appeal to the bourgeoisie keen on expressions of a certain modernity. And in its theatricality, this ceramic interior in fact expresses a subtle kind of symbolism in keeping with the spiritual theories of Laurens, the somewhat obscure ideas of a man who was an Occitan speaker and a great admirer of mythical Cathar asceticism, in which water had important purifying virtues. The 1898 bathroom can be seen then as the first act in the foundation of a place dedicated to Nietzschean excess, emerging from fin-de-siècle Christian esoterism.

Jill Vaum Rothschild

Shcheglova T.К. , Rykov A.V.

In this paper, the contribution of the staff of the Research Institute of Art Industry to the study of Russian long-term resident population on the territory of the Altai Krai, which up to 1990 included Gorno-Altai Autonomous Region, is presented and analyzed. The analysis is conducted on the basis of studying the collection of the field materials by identifying all expeditions which took place, their routes, participants, and results of the field research. The main sources of the research were represented by the archival funds of the institute, which appeared to be fragmentary. The main part of the materials was deposited to the Russian National Museum of Decorative, Applied and Folk Arts. For the subject of this paper, the reports on scientific topics and field trips are of the most interest; an extensive body of visual sources (sketches and photographs) have been used as well, whose superior quality was achieved through participation of professional staff artists and photographers in their production. The population of the Altai Krai (modern Altai Krai and the Altai Republic) were embraced in the field work in the 1950s — 4 expeditions (1951, 1954, 1955, and 1956) and one in 1979. The initial interest was in the culture of the Turkic-speaking population and Turkic traditions of rug weaving and ornamentation. The later expeditions were conducted by two groups — on the study of Turkic and Russian populations. The main objects of the research were architecture, house construction and decoration, weaving, homeware and household appliances and other items which preserved the traces of the long-term residence culture. The revelation for the researchers from the institute was the abundant presence of wooden house carving, both as fragments and as whole complexes. The objects and pieces of art recorded by the researchers are the unique sources which had already disappeared by the 1970s. Part of the collections kept in the Russian National Museum of Decorative, Applied and Folk Arts has primary field materials. These sources were partially published in the works of art historians, but their great ethnographical potential is not yet exhausted.

sara mostafa mansor el daposy

Folk art is considered one of the richest arts as it expresses the people, their beliefs, their lives and all the patterns of their living behavior and conveyed to us in abundance through art and its decorative elements. Preserving the Egyptian folk cultural heritage is one of the goals of the contemporary artist as he tries to express his artistic and cultural heritage in new and contemporary ways, so the current research By linking the folk arts and the structural systems of engineering grids by investing the principles of engineering in the design of engineering grids, as it is considered one of the broadest structural systems used in the construction of decorative design since ancient artistic times until the present time. The design was done through a student experiment on a sample of design students in the fourth year. The experiment aimed to train students to create decorative designs based on the geometric grid system, through which students can apply the aesthetic rules of design in an easy and simple way. The creation of the grid relied on the elements of Egyptian folk art as a heritage art It is original and was specifically chosen for its simplicity and geometric abstraction and its reduction to details and shade A light that makes its decorative elements suitable as a contemporary decorative geometric grids building unit

Carole Delhorme

This paper aims to assess the influence of Ruskin’s ideas on Oscar Wilde’s aesthetic theories. It examines to what extent Wilde’s aesthetic stance is indebted to the teachings of the Slade Professor, but also why Wilde ultimately disavowed his Ruskinian heritage. The series of lectures Wilde gave in the US in 1882 testify to the influence of one of his mentors. As Wilde was tasked with spreading the Aesthetic gospel overseas, he decried the ugliness of the modern urban and industrial environment as well as the capitalistic modes of production, thus echoing Ruskin’s writings. He highlighted the importance of beauty in the artist’s environment, asserted the link between beauty and utility, and put forward the social mission of art. Yet, almost ten years later, as Wilde rejects imitation in Intentions (1891) and dissociates art and utility in the Preface to The Picture of Dorian Gray (1891), his theories run counter to Ruskin’s teachings. Even though this rejection of Ruskin’s ideas can partly be accounted for by the evolution of Wilde’s stance itself, it may also be seen as symptomatic of the deeply ambivalent relationship that Ruskin had with the Aesthetic Movement as a whole, and with the doctrine of art for art’s sake in particular. On the one hand, the importance given to beauty and to the purely aesthetic qualities of works of art sets Ruskin as a precursor to the Aesthetic Movement. On the other hand, the link between art and morals in his scheme of thought makes him one of the strongest and most vocal opponents to the doctrine of art for art’s sake. Thus, the ambivalence of Wilde’s Ruskinian heritage actually reveals Ruskin’s own paradoxical position towards the Aesthetic Movement and towards aesthetic modernity in general.

Muhammad Ridwan Basalamah

Tourism has now developed into one of the largest industries in various parts of the world by providing many benefits in each sector In addition this study also aims to determine whether there is an influence of the perception of tourists in the Jolotundo area as an ecotourism attraction in the village of Seloliman. Ethnography was used to conduct this study. Qualitative data related to local wisdom were obtained through several techniques. Interview and observation were used to gain the main data, while secondary data were taken from related document analysis. The result The most frequent activity of visitors to Jolotundo is at night. On certain nights, such as on the full moon night, Friday night legi, 1 Muharram night, and on the night of one Suro. On that night Jolotundo was full of pilgrims, many thousands of pilgrims came to hold rituals with a specific purpose. Every day the Jolotundo temple is crowded by visitors. Many of them are carrying out activities in the temple. Every activity carried out by the community varies depending on their desires and beliefs. Some visitors who come to Petirtaan Jolotundo also have a need for recreation "refreshing the mind" and can also be used for study tours because the natural panorama of Petirtaan Jolotundo tourism is indeed very beautiful and cool on the western slope of Mount Penanggungan, so it also right to refresh the mind

Abolfazl Sadegpour firuzabad, Seyyed Mahmood mirazizi

The changes that have emerged after the Sassanid defeat by the Muslim Arabs and the religious changes that have emerged in Iran have had a dramatic effect on the arts, industries and techniques of the early Islamic centuries. One of these arts is metal art, which is more evident in various Islamic periods, especially in the Buyid period. The study of the evolution of Iran's art of metalworking during the Islamic period, and especially the period of the Buyids, illustrates the fact that the growth, development and early development of metal art has taken place along the ancient traditions of this land, especially the traditions of the Sassanid period. But combining the ancient traditions with the Islamic worldview has also created a strong spiritual relationship between the artist and the artwork on one hand and a deep and eternal bond between appearance and meaning on the other hand. It should be acknowledged that without the works of pre-Islamic metal art, it is impossible to understand the effect of the Sassanid decorative style on the early Islamic art of Iran. The continuation of the method of decoration of the Sassanid period in the first century of Islamic rule, especially in silverware, is quite evident, to the extent that some of the remaining examples are mistakenly attributed to the Sassanid period, and only the inscriptions on them make them distinct. Thus, there are a number of medals or coins and dishes with symbolic, court, hunting scenes, and some visual subjects that belong to Sassanid art, and on some of them the name of their owner is written in the Pahlavi letters. The purpose of this study was to investigate the fact that a large part of the principles and techniques of the Buyid period are derived from the Sassanid-era metalwork, and the artists of this period, using their culture, refer to the Sassanid kings. The most important questions that the present research seeks to answer are as follows: what are the common visual features of Sassanid and Buyid metalwork? What are the most important transmissions from Sassanid metalwork to Buyid examples? And what are the main reasons for the transfer of themes and patterns from Sassanid metal containers to the Buyid works? This research uses a descriptive-analytical and comparative method to compare the metalworks of the Sassanid and Buyid periods. The information is collected using library sources and examples of museum works with an attempt to provide a comparative presentation. Some of the examples of metalwork show the expression and reflection of common motifs and themes, the style and method of art of Sassanid art in the Buyid works. Subsequently, the reasons for the continuity and influence of the Sassanid art have been analyzed. As a result, it became clear that the paintings that have been part of Iranian symbols and used to be drawn as Sassanid motifs, are the main patterns and themes in Buyid metalwork. The most important common visual features in Sassanid and Buyid metalwork include symmetry and contrast, proportionality, enclosed framed designs, formal features, repetitions, and abstract patterns. The most commonly used animal designs are lion, eagle, peacock, goat and cock; vegetable motifs include Aggressive Leaves, Tree, Slavic and Abrasive motifs, and symbolic motifs are the Tree of Life and the role of Gilgamesh which are depicted on the Sassanid and Buyid metalwork. Animals in these two periods are often enclosed within circular frames, and the empty spaces around them are filled with plant designs and abstractions. Common themes include topics such as litigation, court, war, hunting and symbolism. In response to the questions posed in this study on the role of Sassanid metalwork on the Buyid examples and the important reasons for the transfer of these motifs, it can be said that using the descriptive-comparative method and with reference to visual and library sources, the influence of Sassanid motifs on Buyid metalwork has been investigated and according to the images presented in this research and the presence of feminine and decorative motifs together, it was discovered that the artistic elements used in the Sassanid metalwork can be clearly identified in the Buyid metalwork alongside further common features in the metalwork of these two periods.

A. Kmita

Maisra Al-Mutaiy

The problem of the research can be framed in the following main question: What are the considerations to be followed when designing the visual identity of any establishment, institution, service organization, industrial or commercial entity to produce a design guide for advertising campaign publications? The research aims are to achieve several objectives: 1. Access to the list of visual identity design criteria to produce a guideline for the publication designer must be followed when designing the identity of institution publications. 2. Develop a list of criteria for logo design within the Visual Identification Guide System. 3. Develop a list to classify the design patterns of logos commonly used within the visual identification guide system. Competitiveness in the world of consumer societies today, whether produced or imported, requires what is known as visual identity or marketing identity (Branding), and the enterprises with its different activities compete to develop a guideline to this identity that distinguishes it and distinguishes its products. Therefore we as teachers of design in Department of Printing, Publishing and Packaging, Applied Arts faculty should care for studying the required considerations of designing the visual identity of the facility, institution, or organization either commercial, industrial, or service. The Conclusion of the study is that the design of the visual identity could be formed as a publications guide through five factors; First is following the criteria of the design idea of the logo, second is using the style of the logo design, third is designing of a distinctive decorative unit, fourth is choosing distinctive colors, Fifth is designing a distinctive typography. Also it’s proved through the statistical results of the research, that the design criteria, design style, design of the distinctive decorative unit, chosen colors, and the typography style are indicators of the standards of visual identification.

Naser Osman

I devoted a small amount of research on Islamic arts to the study of Islamic arts in the Ottoman era. My interest in the Ottoman Islamic arts has been for many years. This interest enabled me to know the artistic and aesthetic value of this art and to explore the innovative and creative aspects of it.  This opportunity provided me with the opportunity to access many of the works and researches of Ottoman art, especially those of a generation of pioneers such as Jalal As'ad Arsafan, Oqtay Aslan Aba, Uznaz Ouz, Hasan Al-Basha, Rabeeed Hamed Khalifa, Suad Maher, etc. Turkey occupies great importance in both East and West. It enjoys a strategic location distinguished between Asia and Europe. It takes the form of a rectangle representing a geographical area between Europe and Asia with an area of ​​452 and 779 thousand square kilometers, of which 688 and 755 thousand kilometers are located in Asia. This area is Anatolia and the remaining area is 764 and 23 thousand kilometers A square located in Europe, a region of Thrace.  Turkey borders the north-west of Bulgaria and Greece, the Black Sea to the north, Georgia to the east, Armenia to the east, Iran to the Azerbaijani region of Naxikan, southern Iraq, Syria to the Mediterranean and the Aegean to the west. Turkey is the official religion of Turkey. Turkey is a pivotal regional country with a strategic location which is of great importance on the map of the world. It is the heir to the Ottoman Empire, the largest Islamic country that lived for a long period of time extending to six centuries (13th - 19th centuries) Three continents and their conquests represented a form of globalism in Asia, Europe and Africa, which extended to Vienna in Europe. As for the subject of the study, which is the development of the decoration of Ottoman carpets (8-12 / 14-18), Ottoman carpets are a distinct school among Islamic carpet schools. It enjoyed a distinguished position during the 8th-12th / AD 14th-18th centuries. This status was not confined to the Islamic world but also extended to Europe. This is in addition to knowing the technical characteristics of these two types (decorative and industrial) as well as tracking the change in the technical methods during the various stages as the era of Sultan Suleiman legal era of the golden Ottoman Empire of the Islamic architecture and the Ottoman Sultan during the reign of Sultan Suleiman law during the most eras of science and thought And literature and philosophy has reflected the features of wealth on the role of existing science and the next established universities, colleges, hospitals and charitable endowments and a role for talk and offices for young women has seen the first time in Istanbul cafes, which was frequented by the educated and intellectuals Waha Without scientific discussions. As well as the obvious progress in the use of modern scientific methods in the manufacture of carpets in general and Ottoman carpets in particular. Conclusion and results First conclusion Presented in my research Islamic arts in the Ottoman era. Through the study of the evolution of the decoration of the fabric and carpets Othman in the period of the century (8 AH to 12 AH / 14 AD - 18 m) and most of these arts was a mirror that reflected clearly, and ratified the various technical stages experienced by this important branch of Islamic art over five centuries . According to the rules of scientific research and the methodological steps to prepare research, research and research usually ends with a harvest of results. The value of any research and its importance depends on the issues raised by the study and its questions emerge from new studies. This allows researchers and specialists to contribute to enriching the science and New realities, as well as shed more detailed light on various phenomena and deepen understanding of multiple problems. And my choice of theme (the evolution of textile decoration and Ottoman carpets in the period of the century (8 e to 12 e / 14 m - 18 m) is a period of time I wanted to be enriched by scientific research. In the eighth century AH (14 AD) we noticed the obvious impact of the art of the Seljuks of Anatolia (Seljuks of the Romans) on the Ottoman arts, noting that the collapse and fall of the Seljuk state of Anatolia in Konya did not lead to the disappearance of their art. In the period of the ninth century AH (15 AD) and especially during the last decades of the Iranian influences began to appear clearly in the Ottoman art applied especially Timorese techniques, and therefore this period represents the Timurian style in Ottoman art. These influences continued to find their way into the country and became more evident during the first half of the 10th century AD as a result of the migration of some Iranian artists to Anatolia and the bringing of some sultans of the Ottoman Empire to a group of artists from Iran, especially from the city of Tabriz to work in the Ottoman court. This period also witnessed the emergence of some Mamluk influences in Ottoman art, especially after the annexation of the Levant and Egypt to the possession of the Ottoman Empire and the transfer of a group of craftsmen and craftsmen to Istanbul, as well as the transfer of many Mamluk artifacts to the vaults of the Ottoman palaces. If we leave the first half of the tenth century AH (16 AD) and moved to the second half of this century, it is noted that the Ottoman art has turned to a new and innovative character, whether in the form or decoration or designs and decorative designs or colors or industrial methods. The artists were able to create molds and artistic frameworks that became the embodiment of the Ottoman art. Over time, there are technical rules that all the craftsmen work through, with the opportunity to diversify and change in some cases. This may explain to us a few of the signatures of the craftsmen on Ottoman artifacts compared to others. From other Islamic artifacts. The period of the eleventh century AH (17 AD) is an extension of this period, which was witnessed at the end of the 12th century AH (18 AD) influenced the Ottoman Islamic art trends in art in Europe, especially those derived from Baroque and Roccoan art printed Osmani. As for the textile industry, it was woven in the Ottoman era, as we explained different types of fabrics, some of which appeared for the first time, such as silk, silk, hattai, and alaga, and the decorations of the royal fabrics were particularly luxurious, embroidered with gold and silver threads. In fact, the production of textiles in the Ottoman era was of great economic importance. Many woven and embroidered silk fabrics constituted a large part of the volume of the country's exports. The tapestry industry is considered to be one of the most successful and successful artisans in the Ottoman period. Ottoman Turkey achieved a clear advantage in this area, which brought it to Iran, which is famous in the carpet industry. It is noted that most of Turkey's Ottoman production of carpet is small-sized species, which were usually used for prayer. Second, the results I ended my research with several results: 1- Arts is a link between different peoples Each people is influenced by the arts of other peoples that relate to or affect them. 2- This influence and vulnerability vary in strength and weakness depending on the circumstances under which the people live. 3- From here we noticed that the Ottomans before settling in Asia Minor had contacted the Iranians and the Chinese and there is no doubt that they were influenced by the arts of these two nations. 4- Ottoman conquests in the East and West and the contacts of the Ottomans with the civilizations of the country which subjected them to their authority and the use of the artists of this country in their works of art. 5- The Iranian element was the most powerful element that influenced the Ottoman arts, which can be said that the Ottomans were Turks in their race Iranians in their culture and could not get out of Iranian culture only after a long time on their backs on the stage of history. 6- meant the sultans of the Othman first on the use of the Iranian language has been imposed some of them poetry and mention, for example Sultan Mohammed Al-Fatih and Sultan Selim I, who said poetry in Iran. 7- The direction to output a new composition of borrowed items and give it a new spirit. 8- The Ottomans played a prominent role in Islamic art and immortalized in its record the pages of bright 9- Studying the Ottoman buildings that still exist in Istanbul and other cities of the Islamic world. Studying Ottoman artifacts distributed among different museums.10- 11- The Ottomans were influenced by the technical methods that flourished in Syria, Egypt, Byzantium, Iran, and the island, but they realized that they were spread in a harmonious and harmonious pattern in which the art world appeared. 12- The features of the Turkish Islamic civilization were characterized by a combination of pre-Islamic heritage and Persian-Arab heritage in Asia Minor.

Baillot, Elodie

By studying objects from the former collection of the French collector Gaston de Saint-Maurice (1831-1905) now in the Louvre and the Musée des Arts décoratifs in Paris, this article elucidates different aspects of the taste for reuse of architectural elements and decorative artefacts in the 19th century. Known for his collection of Islamic art (acquired by the South Kensington Museum in 1883), Saint-Maurice also collected European decorative arts showing his taste for historical decors. This article also raises the question of the appropriation of such artefacts by museums today.

A. Denker

The Great Temple of Bel in Palmyra was a unique edifice which had blended the well established lines of Greco-Roman architecture with the art and taste of the Orient. With the gilded bronze capitals of its 41 Corinthian columns it was the product of enormous effort and budget. It was the gem of a remarkable epoch of wealthy Palmyra and mighty Roma. With its splendidly decorated adyta ceilings it became a source of inspiration and imagination for Western architecture and decorative arts. While continuing to captivate the World, it was leveled and vanished as a grim result of conflict based vandalism. The aim of this work is to piece together this, the most eloquent and stupendous monument of the Roman East, from its ruins and reconstruct it as it was once extant. Its loss is irreplacable, but its photo-realistic reconstruction can offer some solace by waking the memories of the great temple as in the past. The lost reality of the Great Temple of Bel is revived here by digitally constructing its “ghost images".

Jen Katz-Buonincontro

Dr. Ali Hussein Khalaf د. علي حسين خلف

The research topic of the impact of the pattern of teaching aids in the collection knowledge to students in the Department of Education in patterning of decorative materialTo achieve the objective researcher ( 6 ) null hypotheses address the research variables with limited border on the first –grade student in the D department of Art Education .College of Fine Arts . University of Babylon . for the academic year 2012 – 2013 Second semester in the patterning of plant material .The second chapter .where the first two topics .Teaching aids look philosophical .The second pattern means . Included in the third quarter . The research sample consisted of ( 32 ) male and female students .Divided into four groups of three including a pilot and the fourth officer. Each group included ( 8 ) students .Where the studied experimental group using the first and planned educational way . Studied in the experimental group using a second monitor . the studied with the experimental group using third photographers . Either the control group were examined according to the usual way And subjected to the test of the four groups posttest . According to the researcher . as grades obtained by students according to Asthmas to especially designed for this purpose .The results of the research outweigh the experimental group first used it means the planned educational methods used on the other . Among the recommendations is the need to recruit the planned educational display educational materials because of its positive features . it is recommendation proposals in other materials and observe its impact in improving the level .

Erin J. Campbell

To transcend the divisions in art historical research between high art and decorative art, this study proposes an ecological approach. Drawing on research in the social sciences and humanities, and using the early modern domestic interior as a case study, the essay develops the concepts of environment, ecology, meshwork, assemblage, distributive agency, vital materiality, and matter as social performance, which appear in the work of political scientist Jane Bennett, feminist philosopher Karen Barad, sociologist Bruno Latour, anthropologist Tim Ingold, and others. As the study argues, such concepts provide a phenomenological, integrative, and non-hierarchical framework for the study of the decorative arts within the institutions and practices of art history, allowing art historians to analyse the processes through which the human and the material are intertwined.

Kimi Coaldrake