Hasil untuk "Decorative arts"

Расторгуев, В.А.

В статье представлен краткий обзор истории возникновения и развития искусства расписной эмали Лиможа, известной во множестве выдающихся образцов в ряде собраний мировых музеев и до сих пор сохраняющей привлекательность как предмет особого интереса для коллекционеров. Цель работы — систематизировать знания о лиможской эмали, проследить путь от средневековых техник до упадка и возрождения интереса к ней, а также обозначить проблемы атрибуции и различия между подлинниками, репликами и подделками. Исследование проведено на основе анализа произведений с помощью формально-стилистического и иконографического методов. Кроме того, применение типологического метода позволило классифицировать произведения по техникам исполнения, а хронологический метод дал возможность проследить динамику развития этого вида искусства. В статье определены хронологические рамки и характерные черты каждого этапа, установлены особенности производства, задачи и ограничения по использованию материалов, а также влияние иконографии и культурных источников (включая работы Бернара Саломона и итальянский маньеризм). Пришедшая на смену средневековой технике перегородчатой эмали, но не связанная с ней прямой преемственностью, расписная эмаль Лиможа достигла расцвета в середине XVI столетия. В последующие века она продолжила развиваться в целом ряде новых форм и к XVIII веку во многом исчерпала свои художественные возможности. XIX век, ставший временем пристального изучения и музейного коллекционирования лиможских эмалей, позволил ряду утраченных техник лиможских мастеров возродиться в виде профессиональных имитаций, и с этим непростым наследием необходимо считаться каждому, кого интересует история данного вида декоративно-прикладного искусства. В статье уделено внимание проблемам атрибуции и осмыслению уникальности лиможской эмали в контексте европейского декоративного искусства, что помогает сформировать основы для дальнейших исследований и профессиональной экспертизы. Избранные автором для иллюстрации своих тезисов произведения из частного собрания совершенно неизвестны отечественному зрителю и публикуются впервые, в чем состоит несомненная научная новизна исследования.

Yaşar Özrili

Deconstruction is not about destroying a whole, but about understanding how it is constructed. It is first taking it apart and then trying to understand the whole. It can also be considered as a kind of self-criticism towards the work of art, which is deconstructed to create paradoxical situations and reconstruct it. It is the breaking down of fundamentalism, of stereotypes, of traditional thought patterns, and the search for new ways and different motivational methodologies in the inspiration jargon of Islamic art. This study is not a technical roadmap on how to apply deconstruction in Islamic arts or the methods by which deconstruction can be realized in Islamic arts. On the contrary, it is based on the hypothesis that some intellectual gaps, contradictions and information pollution can be found by re-evaluating and deconstructing the ornamental and decorative elements of Islamic arts such as architecture, metal, wood, stone, brick, tile, ceramic, calligraphy, miniature, illumination, illumination, binding, marbling, etc. from the perspective of the 21st century consciousness thinking, perception, power to interpret the world, etc. Cult is the reversal of canonical clichés, structures, compositions. Indeed, in an example where cultural and artistic interaction is deconstructed, it is demonstrated that new answers can be found with different questions. Deconstruction in Islamic art is a movement that shows that art is not only an aesthetic experience, but also carries historical, cultural and political meanings, since it is the acknowledgment of the influences of different cultures and traditions rather than a single universal art form.

Marina V. Osipova

In modern scientific literature there is a lack of works on the new forms of Ainu art, which is considered as traditional and utilitarian. The modernity gives the boost to the development of the new forms of art. However, there are no studies in domestic or foreign historiography examining this issue. The purpose of this article is to analyze the problem of the formation and development of Ainu modern art as the adaptive mechanisms of traditional crafts. Based on field work and analysis of sources, using descriptive, historical-systemic, comparative-historical and visual methods, an attempt is made to understand the prerequisites for the transition of Ainu craft and decorative art to fine arts, and the conditions that led to the emergence of highly artistic works. The introduction of the results determined the novelty of this research. We found that the transition of the Ainu crafts to decorative and fine arts was facilitated by three factors: economic, cultural and the need for individual self-identification. This made possible to distinguish three stages in the development of Ainu art: the stage of acquaintance with the Ainu craft, the exhibition and market stages, which led to the development of sculpture, graphics, woodcuts and also to emphasize the importance of cultural exchange with neighboring peoples. The presented work allows us to conduct comparative studies with a similar phenomenon among the indigenous peoples of the Russian Federation and to use it in museum projects.

Gianni Denaro

Fourth Industrial Revolution and digital technologies are driving profound transformations within the classical industrial system. Nevertheless, design and production models in Italian fashion system are not much into these type of changes. On the one hand, because of the cultural reasons related to the concept of Made in Italy – which quality is perceived as inextricably linked to the classic way of production. On the other hand, fashion products are difficult to patent, so companies face a lot of knots on legal protection of innovations. This contribution wants to frame the current relationship between Industry 4.0 and Italian fashion system, presenting the state of innovations and limitations. The analysis of this picture will serve to illustrate how design can interact with other disciplines to manage the practices, the approaches and the tools, able to build a new useful design and productive models.

Nancy J. Troy

In this essay commissioned by Perspective to celebrate the twentieth anniversary of the publication of her book, Couture Culture: A Study in Modern Art and Fashion (Cambridge, MA, MIT Press, 2003), Nancy J. Troy reflects on her intellectual trajectory, beginning with her training during the 1970s as an art historian and culminating in her embrace decades later of fashion studies as an analytically and critically sophisticated field equal in its ambition and its potential to the most advanced art historical thinking of the period. Troy points to numerous interlocutors in explaining how she overcame her initial skepticism about the decorative arts and fashion to produce novel interdisciplinary scholarship about modern art and visual culture exemplified by her most recent publication, Mondrian’s Dress: Yves Saint Laurent, Piet Mondrian, and Pop Art (Cambridge, MIT Press, 2023).

Alireza Sheikhi, Razieh Salemi

Problem Definition: Mirror work is one of the delicate and productive arts related to architecture, which is created by putting together small and large mirror pieces. The mentioned array is usually used in the interior parts of various buildings, including sacred places, palaces, and residential houses, which besides the decorative dimension, also has important practical aspects. Traces of this art were observed in various buildings of the Safavid period, and its development and peak can be seen in the buildings of the Qajar period. In the current research, technical studies and content analysis of motifs and symbols of mirror work in fifteen buildings of Isfahan City have been carried out, according to the time frame. Therefore, the present research seeks to answer these questions: 1. What are the characteristics of the mirror work decorations in Isfahan from the Safavid period to the present? 2. What are the techniques used in the historical building of Isfahan?Objective: This study aims to investigate the techniques and decorative motifs of Isfahan mirror works.Research Method: In the current study, the research method is qualitative and analytical. The data was collected using library sources and field observations.Results: According to the research conducted the most common mirror work from the Safavid period to the present is the embossed and semi-embossed mirroring technique, as mirror work on plaster. Also, concerning the motifs, the motifs of «shamsa» and «mirror-frame» among the geometric and decorative bergamot and among the plant category were found to be the most widely used. Among the motifs, «yellow lily flower» and «wagtail» are among the local motifs related to the region of Isfahan, which were observed in Safavid and Qajar houses.

Jan Dorscheid, Francien G. Bossema, Paul van Duin et al.

Abstract Covered tightly by a thin leather skin, three early seventeenth-century cornetts from the collection of the Rijksmuseum were examined with the focus on their construction and manufacturing. One cornett of the three unexpectedly turned out to have a peculiar construction and to be made out of two sections of different wood species. The question arose whether this could be original or is the result of an extensive restoration. As the internal structure is not accessible for analysis and examination, multi-scale Computed Tomography (CT) scanning was employed to identify the exact regions of interest (ROI) and subsequently perform scans at a sufficiently high resolution in those areas. 3D images of the hollow spaces such as the tunnelling structure caused by the common furniture beetle (Anobium punctatum) criss-crossing the wood species could be computed from the 3D x-ray tomography reconstruction. This allowed to place the occurrence of the insect infestation after the joining of the two sections. Fine tool-marks, signs of construction and potential indications of earlier treatments could be visualized. These results were compared with the other two instruments of the same group and cross-referenced to instruments in other collections, in an attempt to answer questions about the instrument’s authenticity and originality. While the unusual construction out of two wood species might be the result of an extensive repair, another possible hypothesis—based on the combination of the results—is that this unique choice of original manufacturing was intentional, possibly to avoid splitting of the wood when inserting the mouthpiece or to counteract undesired vibrations when played.

Rosário Salema de Carvalho, Alexandra Curvelo, Alexandre Pais

Liudmyla Melnyk, Olena Kyzymchuk, Liudmyla Zubkova

National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.

azita belali oskui, milad yuneci, Zahra Afsharian

Orsi, an Iranian handmade pop-up, has long adorned Iranian buildings, from the Safavid to the Qajar eras, and can be seen everywhere in Iran. In fact, Orsi entered the Iranian architecture during the Safavid period, and undergoing little changes in the Zandiyeh period, it gained considerable prominence in the Qajar dynasty. Existing evidence indicates that Orsi was not used publicly, but in many buildings, including palaces, some mosques and Hussainiyas as well as the homes of those who were financially capable, it was an architectural and decorative element. Orsies are not only decorative and functional elements, but they can include tonality, control of light and heat entering the building, remove insects and creatures, affect the acoustics of space and create a wide exterior view. They have been fabricated and dealt with in various geometric, Islamic or hybrid designs in varying sizes. Orsi is a wooden pop-up with one of the prominent elements in Iranian architecture. Their use has been around for a long time and has been prevalent in many buildings in the regions and cities of Iran. Orsi is one of the original Iranian arts and has never been devoid of Persian monuments from the Safavid period to the Qajar period. From the definitions of Orsi, it can be concluded that the word Orsi refers to windows that open in a specific, sliding, upward manner, leading to a chamber at the top with a nail, or a bolt that lies beneath it. These types of windows can be simple with smooth and colorless glass or even made of iron sheet or genuinely knit and colored glass in which the glass may be found in a certain order according to color, principles and performance. However, it is possible to discuss the type of window and its dimensions. Genuine and traditional Orsi windows are available in single, double, triple, quadruple, quintuple and septuple windows, and in some cases in nine or twelve piers, depending on the type of building in which they are used. Orsies are mostly observed in houses among other buildings and Ardabil houses have not been left without this architectural blessing. Decorative elements are observed in the extensive architecture which remains among Ardabil’s historical monuments and Orsi, with its unique features as an Iranian art, is no exception. The Orsies left in the Ardabil houses have been reminiscent of Zandieh era, and especially the Qajar period. They have a wide range and allow us to examine them in different ways. The question therefore arises: Is there any other component such as ornamentation or proportion to their classification besides the historical delineation of Qajar Orsies of Ardabil?  What are the differences or similarities in their shape, structure, ornamentation or other characteristics in these three time periods, when compared to the Arsacid houses? In order to answer the above-mentioned questions, Orsi, in these three suggested timespans, has been studied in terms of the differences and similarities in frequency, design and role, overall shape, color of glass, orientation, use of vegetative motifs, Quranic verses, divine names as well as construction techniques. Therefore, according to the nature of the research, a descriptive-analytical method was used and the information was collected using library research method as well as field research. According to the researches, it can be said that the Orsies of the Qajar-era houses in Ardabil during the three phases of the Qajar period depict similarities in orientation and design, and many differences in terms of the use of color in the glass of Orsi, as well as the use of vegetative motifs and the divine names on the beadings of the Orsies and their general shape. Given the similarities and differences in the presented analysis, it can be stated that from the first to the third period, the use of colored glass and motifs and patterns as well as other decorative arts in Orsies have been decreased and the decorations have become less frequent and simpler. The quality of the Qajar Orsies in Ardabil has declined during three periods from the early to the late part of this era.

furat jamal hassan

Most of the propositions and researches that dealt with fashions in the Middle East, specifically this region from the world, from a historical perspective have not been sufficient, and were characterized by many aspects of immature thinking, in addition, they have been varied in quality. This can be attributed to many factors including: the focus in the field of researches and Middle East studies is on languages, arts, history, and political thinking of the region. Other factors are the information asymmetry, the differences in sources and references, in addition to differences in the scientific value of these sources added to the difficulty of gathering them at the same time especially that these sources are scattered in many places whether in the literary and non-literary texts written with many Middle Eastern languages. Starting from this standpoint, this study seeks to address the topic of hijab and burqa from the Islamic perspective from a historical analytical viewpoint and their influence in the Islamic fashion system and their development over successive historical periods within certain geographical frameworks, as they are part of the Islamic dress code, let alone being influenced by social, religious, aesthetic, economic and political levels according to the reflection standards on the spirit of the society over the years, based on a group of Islamic documents, manuscripts drawings and paintings, in addition to some important documents about Arab clothes and fashions in the manuscripts, paintings and ornamental pictures, as well as the illustrations in the Arab books that date back to the period between 5thc. and 20th c. From this standpoint, this study seeks to address the topic of the “AL- Burqaa” and the veil in the Islamic perspective, from a historical and analytical point of view, and its impact on the Islamic system and its development through successive historical periods in certain geographical frameworks, as part of the Islamic clothing system, as well as its influence on social, or religious levels , Or aesthetic, economic and political, according to the criteria of reflection on the spirit of society over the years. Depending on a set of documents, manuscripts, drawings, and Islamic paintings, as well as some important data on Arab clothing and fashion in manuscripts, paintings, and decorative pictures, and illustrations found in Arabic books dating back to the period between the fifth century and the twentieth century AD. Among urban and rural residents, or in different societies and social groups, whether Arabs or Muslims.

Hanaa Elsaeidy, Muntaha Saleh Alhashil

Folklore is considered a great wealth of literature, values, customs, popular and cultural knowledge, material traditions, plastic arts and music, a science taught in many Arab and foreign universities. Taking care of it is an urgent priority in our lives. The heritage of Saudi Arabia, especially the Asir region, is one of those arts that retains its timeless personality, which represents its ancient world, which should be studied. Textile hangings are one of the forms of fine art practices that have emerged since the earliest times, and have gone through successive stages where we find multiple forms in the art of Pharaonic, Coptic and Islamic, has come in each era loaded with different plastic and symbolic features due to reflect the philosophical and intellectual values of the era of his . Hence, the research problem can be summarized in the following question: To what extent can we use Saudi Asiri's heritage as a formative value in creating designs for textile hangings that fit with contemporary housing and contribute to the preservation of our heritage and Arab identity? Therefore, the research aims to study the aesthetics of Saudi Asiri heritage and its decorative forms because of its artistic richness as a source of inspiration for contemporary designs of textile hangings of the contemporary dwelling to keep pace with the development of our era and achieve functional value besides aesthetic value, and thus can enrich the process of communication between heritage and contemporary in the preservation of identity And heritage features. To achieve this goal, the researchers made a set of design ideas (10) designs using the decorative elements of the Asir region, which represents their heritage in creating designs for textile hangings. A proposed concept was developed to employ each design idea in the contemporary dwelling. The research methodology was based on the historical and experimental method. Study for some results.1- Heritage is a source of creativity and an infinite source of ideas for designers, where the designer derives his innovative design ideas according to the inspiration given by the source.2- Studying the characteristics and characteristics of the decorative elements of the Saudi Asiri heritage helped to reveal many ideas and plastic values in enriching the designs of textile hangings of the contemporary dwelling to achieve an aesthetic vision appropriate to the cultural and artistic climate we live in.

Noha Naguib, Sohir Osman

Euro-Mediterranean heritage is a form of artistic expression that represents the essence of multiculturalism. It is a modern and contemporary expression of the intersection of East and West and the mutual cultural influence between Europe and the Mediterranean basin on one hand and Islamic art on the other hand .The researcher chose the Euro-Mediterranean Andalusian Spanish Islamic and Mudéjar heritage to study its forms due to the value of its unique cultural forms. It represents a state of convergence between people of different cultural types and there was an exchange between Western and Eastern cultures. The Euro-Mediterranean Andalusian-Spanish Islamic and Mudéjar heritage is a collective heritage that forms a part of the common heritage of mankind. The researcher tackles an artistic study of the most prominent forms of artistic heritage of the Spanish Islamic and Mudéjar through the four Ages of the Islamic: the era of the Caliphate, Taifa Kingdoms, the Almoravids and the Almohads, Nasrid kingdom of Granada, then Fifth: Mudéjar art after the reconquest war that turned Spain back to Christianity, This research demonstrates further evidence of the pivotal role of the Islamic heritage in the Middle Ages, which witnesses tangible forms of artistic heritage in architecture and applied arts including pottery, mosaic works, wood works, metal tools, ornaments, baskets, embroideries, textiles, carpets, costumes and various crafts on its continuity and greatness. The researcher aims to achieve innovative design solutions suitable for the printing of upholstery fabrics inspired by aesthetic values, which comes only after the artistic analytical study of models of Euro-Mediterranean Spanish Islamic and Mudéjar heritage, as it is characterized by originality and the ability to regenerate. The researcher studied analytical models of selected forms of Euro-Mediterranean Spanish Islamic and Mudéjar heritage, and then developed design ideas using the philosophical, aesthetic and artistic values and the formal and decorative elements of this artistic heritage to create printed patterns of upholstery fabrics with a contemporary vision.

Sidhi Pramudito, Gerarda Orbita Ida Cahyandari, Muhammad Ikhsan Arifin

Renovation activities can improve quality or even reduce the quality of a building due to the loss of special elements in the building. One of the element in a building that can give special features to an architectural work is ornament. The aim of this study was to identify ornamental design principles that can be found in several works of Mangunwijaya and their application to the buildings of the Santo Albertus Church in Jetis Yogyakarta. This research using descriptive methods through case studies in the field with analysis through qualitative methods. The methods of retrieving data through direct observation and documentation and supported by literature studies. The results of this study indicate that the ornaments on the Santo Albertus Church has flora and fauna motifs that are made in a combination style and have a style of contemporary ornaments, and the ornaments that are made have a propensity to affect the spirit of the space. Based on these results, it is expected to be a suggestion and consideration for the renovation activities that are currently being carried out, especially in understanding the use and meaning of the ornament, so the building of the Church of Santo Albertus Jetis did not lose the identity.

Minazova Venera, Rachkovskaya Nadezhda, Efimenko Veronika et al.

This article discusses the need for adequate perception and interpretation of emotional states and expressions of students in the process of pedagogical interaction. The connection has been found between the emotional expression of students and their ethnic, social and cultural identities. Based on the research findings of the emotional space of the population in the Russian Far East (Kamchatka territory and Magadan region), the authors demonstrate the specifics of emotional states of students, conditioned by the harsh climate and extreme living conditions, including seismic activity, permafrost and other. The article suggests the ways of forming teachers’ professional skills and knowledge, necessary for a successful professional career in ethnically diverse regions with a high level of natural and technological risks. These include such as: special courses as part of the general curriculum, attending national celebrations, local history museums, familiarity with folklore, decorative and applied arts, which objectify ethnic mentality. This will increase the level of competences of teachers in interpreting emotional states and expressions of teachers.

Nashwa Nagy

The work of creating new designs woven through the development of intellectual abilities and innovation for students of arts and design will certainly lead to an increase in the creative process in the design, which produces textiles fabrics of high artistic value and aesthetic through which we can compete in the markets And to go out to the world markets and this will return to the homeland and society through increased economic growth on the one hand and on the other hand work to develop the taste and sense of the community technically and culturally and on the other hand the production of new decorative elements reflect the time period we live and We translate our thought the Artistic and cultural identity. We can also leave it as a cultural and heritage legacy for future generations, who can benefit from it in different designs. They can also identify this period of time through the cultural heritage that we will leave to them. Of different decorative elements in all subjects as has been left to us the previous generations and the generations of ancient heritage of the rich and vivid, which reflect those periods in a technical and cultural which we have also benefited from it as it is a recording of the movement of art and decorative elements in this era also of During what was activated d The Ministry of Culture and the Sector of Fine Arts and Mass Culture in the work surrounding all the arts and artistic and contemporary heritage, which witness many changes in the society affect the artist and his artistic creativity in all fields, which emphasizes the cultural identity in Egypt in this era as a result Various political, social, cultural, artistic and other changes

Dalia Abdel Moneim

Folk art is one of the most important sources of inspiration to produce new ideas and folk art motifs are of cultural authenticity as riches of intellectual and social implications, the folk art is a source of creativity  in the areas of fine arts, because of its meanings directly related to people's habits, traditions and rituals, and through some miscellaneous icons covered by folk artist in plastic, the folk heritage is one of the important factor of human culture and therefore We have an interest in popular culture icons and from here lies the problems of the research in this  question how popular icons can be used to create designs for ceramic surfaces inspired by folk art? To reach the goal of research in maintaining innate and authentic folk art symbols to produce designs for ceramic mural, where care research study some symbols in folk art used in architectural murals, and follows the descriptive and analytical research in the study of decorative arts forms The search has reached people through attention to folklore to maintain cultural identity and national ceramic murals inspired by ornaments of folk art icons. Research Problem :     Folk art is one of the most important sources of inspiration to produce new ideas; folk art motifs are of cultural authenticity as riches of intellectual and social connotations. The folk art creative source in areas of fine arts because of its meanings directly related to people's habits, traditions, rituals, and through some Z-miscellaneous codes covered by folk artist in plastic. Expressions of folklore are an important factor of human culture. We must pay attention to popular culture icons search problems. In the next question, how can we take advantage of folk art work of ceramic murals Inspired by ornaments of folk art icons? Research Importance : The importance of research returns to: · Take advantage of some folk art icons and employment in the field of porcelain plate · Rooting the Popular symbols in the designs ceramic mural · The use of plastic values of popular decorative units used in ceramic mural · Work on the artistic heritage of popular contemporary form Research Target: The research aims at rooting folk art and to preserve cultural identity and national ceramic murals inspired by folk art icons semantics and vocabulary.   Research assumptions: Research is supposed to: That it can take advantage of popular icons and rephrased to make ceramic murals Research Limits: Spatial: research limits only choose some popular Egypt State symbols Research methodology: the methodology of the research depends on: The syllabus of the Analytical descriptive.

elaheh panjeh bashi, fatemeh doolab

stucco art is one of decorative arts in Iran building architecture decorated most parts of pre-Islamic palaces and buildings. One of unique Iranian stucco is plants patterns, plenty of them were found in Sassanid palaces. These patterns in stucco are abstract patterns of nature and consist of various forms like palm, grape, pomegranate, lotus, and multilateral flower. Sassanid in relief motifs were made of gyps, And play significant role in decorative art and cover brick walls and rubble walls. Gyps were worked as cubic plaque and carving in monarch building decorations in which it was used various plants, Geometric, Symbolic and etc. In Sassanid rock sculpture it was used large in relief motifs with huge stone form in 32 in relief motifs most of them located in Fars. Siraf in relief motifs belong to Sassanid era in which various samples of plant patterns had seen clearly. Due to Siraf motifs following questions raised: <br /> What plant patterns were used in Siraf in relief motifs? <br /> Is there any similarity between Siraf plant patterns with other plant patterns of Sassanid era? <br /> This research aims to study Siraf motifs plant patterns in Sassanid era. It was concluded that Siraf motifs are symbolic forms and also it was emphasized on its decorative aspects. This is an analytic- historical research and data gathered in documentary-library method.

Charlotte Guichard

Art history, and the humanities more generally, have recently experienced a “material turn,” drawing particular attention to the materiality of objects, documents, and gestures. In the realm of painting, this turn positioned itself against a Vasarian perspective that had magnified the Idea of Beauty and developed an opposition between art and craft; against the reminder of the material in an artwork, and the object in art. But times have changed: the digitization of sources and works of art as well as the “global turn” in art history, now confronted with non-Western artifacts, have offered new possibilities for reevaluating the materiality of works of art. The present article maps this new territory in art history, conceived through an interdisciplinary dialogue with the history of material culture, anthropology of objects, and sociology of sciences and techniques. Scholars of the eighteenth century have been particularly receptive to this new set of questions, largely because of the vitality of the history of the decorative arts and the reinvigoration of the history of material culture and collecting. Three notions, reflecting as many different historiographical approaches, test art against the object: ingeniousness, temporality, and materiality.

Mohammad Afrough, Afsaneh ghani

Traditional arts following the advent of Islam and the expansion of its scope were maintained in the Islamic world with a view influenced by this religion. Art of metalwork which was considered one of the most significant traditional arts in this period managed to become one of the most functional and prominent arts in the Islamic world, specifically in Mosul, drawing on the heritage of this art-craft and innovation and creativity in production and various techniques of creation and design, engraving and carving various decorative themes consistent with Islamic world view. Mosul school of metalwork is one of the most exuberant and prominent schools of metalwork in the Islamic era, contemporary to the end of Seljuk reign and Ilkhanid period. During the splendor and prosperity of Mosul– during the rule of Badr al-Din Lu'lu (1233 - 1259 A.D. / 611-637 H.) –  the Mosul artists managed to offer to the patrons and purchasers the most significant metalworks in terms of function and perfectness of form with which beauty and decoration are connected. Due to the important place of the Islamic era metalwork and the unique position of Mosul school of metalwork, a study on the latter based on its methods and techniques of production and decoration of forms and aesthetic form of the pieces seem necessary. Therefore this paper seeks to determine the qualities of the school of metalwork, production techniques and ornamentation and the concepts of Mosul metalworks. Moreover in this study, two stances of works made in this style, the box and the candlestick Badr al-Din Lu'lu, have been examined and analyzed. The results of this study are as follow: the theme of “seated person holding a moon crest in his hand” is a special feature of Mosul school of metalwork, which has been examined for the first time. The fact that the decorative themes and motifs of Mosul metalworks reflect the continuity of Persian-Muslim artists’ experiences with an innovative identity, indicate that the traditional arts have always achieved sublimity and advancement in art through regarding history and innovation, forming itself a new tradition. The applied ornamentations in Mosul metalwork include animal decorations (human, animal, and birds), inscription decorations with Naskh and Kufic scripts. As to the production technique of metal wares in Mosul, the Sasanian era common methods were followed. This production technique which was mainly the molding and casting method especially continued till the rule of local governors and emirs in Mosul like the rule of the Zangids especially Badr al-Din Lu'lu. In Mosul metalwork unlike Persian, Egyptian and Syrian, instead of engraving, works are inlayed with copper, silver and gold. This paper uses the descriptive-analytical method and analyzing documents as data gathering method.