Hasil untuk "Decorative arts"

Yue Li, Yue Yuan, Nor Azlina Abu Bakar et al.

Recognizing the ecological and cultural significance of hot springs, the Chinese government has adopted protective legislation. However, these measures are being undermined by local governments’ failure to adopt Inclusive Landscape Governance (ILG). Therefore, this research aims to provide an understanding of public views on the challenges facing the implementation of inclusive governance for the protection and management of hot spring landscapes in Linyi City, China. Inclusive governance requires the participation of multiple public stakeholders—including residents, local business owners, and tourists—in decision-making processes. This qualitative study employed semi-structured interviews to gather insights from public stakeholders in Linyi City, China. A coding process was used to analyze the interviews, and the data were examined to identify challenges to inclusive governance. The analysis revealed eight challenges: lack of shared responsibility, ineffective planning and management, complex relationships and trust, knowledge variability and limited awareness, differing levels of interest and need, policy deficiencies, development concerns, and limited public participation. By identifying these challenges, this research contributes to the development of more effective strategies for inclusive governance, ultimately promoting the sustainable management of hot springs.

Éléonore Marantz

This contribution takes a fresh look at what remains of Art Deco in Marseille. Without ignoring the few buildings that still mark the urban landscape, its starting point is the paper heritage that bears witness to a fruitful period of creativity in the fields of architecture and the decorative arts. Dynamic port city open to international trade, Marseille experienced the exhilarating inter-war period with great intensity. It became a particularly fertile artistic hub, whose influence extended to the other side of the Mediterranean. Since then, the Art Deco works have often been seriously damaged or even disappeared altogether. Nevertheless, the archives of architects, artists and craftsmen, the specialist press and the photographic collections testify of the prolific activity of their creation time. Our analysis aims to show how this iconographic corpus allow a new appreciation of the architecture and decoration still existing and, above all, documents the today missing part of Marseille's Art Deco. More generally, it provides a better understanding of how a "paper heritage" is not only a primary source of knowledge about the artistic production of a particular period, but also a heritage that needs to be considered and enhanced.

Magali Théron

The use of plaster in Provençal buildings is significant and long-standing, and the taste for gypseries (plasterwork) led to the specialization of the gipier (plaster worker) profession in the late Middle Ages, similar to that of the stucco maker in Italy. This profession, attached to the guild of masons, brought together all craftsmen using plaster for both construction and decoration. Although gipiers became established on decorative building sites in the early seventeenth century, they soon faced competition from stone and wood sculptors. The aim of this study is to examine the changing status of these decorators in Provence, and the reasons why, at the end of the century, they broke away from the building guilds to join the guilds of painters and sculptors. A sign of the recognition of the superiority of the sculptor’s status, seen as a creator of form, compared to the gipier, who was seen as a craftsman with essentially technical knowledge, this transition may also reflect a re-evaluation of the perception of the decorative arts.

L. Korzh-Radko

The article is devoted to the development of art education in Transcarpathia and, in particular, to the establishment of the Transcarpathian Academy of Arts. Special at- tention is given to the history of the first mas- ter's defenses in the specialty "023 Fine Arts, Decorative Arts, Restoration" at the second level of higher education within the educa- tional program "Painting." The article analyz- es the topics of qualification works of the "Painting" program at the Transcarpathian Academy of Arts from the first public defense in 2018 to 2024. It focuses on the develop- ment of modern visual forms of expression in the qualification works of the Department of Fine Arts. Over a relatively short period – from the foundation of the higher art school in Transcarpathia to the present day – signifi- cant changes have taken place in the under- standing of the objectives of contemporary art education and its role in shaping young people’s consciousness. The issue of self- identification has gained particular signifi- cance in our time, marked by the full-scale military intervention in our country.

Mohammad Jafari, Naser Nikoubakht, Ebrahim Khodayar et al.

AbstractVisual arts have witnessed the emergence of various roles and themes throughout history, resulting in the development of diverse methods and platforms within the industry. In the realm of urban music, specifically in Iran, musical instruments are adorned with various images, becoming integral accessories to this art form.In the 6th century AH, along the banks of the Aras River in the region historically known as the Kingdom of Sharvan, Khaghani Sharvani, a poet and musicologist, highlighted the unique role of Daf, a percussion instrument adorned with depictions of domestic and wild animals, especially in hunting situations. This article employed a historical-analytical method and relied on library studies to explore this topic. Multiple factors contribute to the significance of Daf in this context, making it difficult to pinpoint a single definitive reason. However, considering the historical connection between similar practices among the shamans of Siberia and the Caucasus, as well as Khaghani Sharvani's emphasis on the association between Daf and the hunting grounds of the kings of Sharvan, this explanation emerges as the most compelling and informative among the various reasons that can be discussed.Keywords: Collection of Khaghani Poems, Hunting Ground, Daf, Images of Animals, Reason for Painting on Daf.IntroductionUtilization of various motifs derived from inanimate objects, plants, animals, and other natural elements in Iranian visual arts has been a prevalent practice, extending across different mediums, such as containers, pages, coins, textiles, and more, continuing into the present era. This artistic motif is not limited to a specific region but has adapted to different climatic and cultural conditions, playing a significant role. Beyond its decorative purpose, these motifs often carry symbolic meanings. The range of symbolic patterns and their application is extensive, especially when considering Iranian musical instruments used in urban settings and various regions of Iran, which encompass diverse elements.Exploring the poetry of Khaghani Sharvani from the 6th century AH, it became evident that this artistic craftsmanship had flourished in the region of Sharvan and its surrounding territories. Khaghani Sharvani, a poet in the court of the Sharvan dynasty during the reign of Manuchehr and Akhsetan, frequently and distinctively portrayed an instrument known as Daf in his poems. This suggested that the art form may have originated in that specific region or, at the very least, within the court of the Sharvan shahs. Khaghani repeatedly referenced incorporation of wild and domestic animals in combination on the surface of this instrument, a unique and distinguishing characteristic not found in historical references or the poetry of other Persian-speaking poets, similar to the depiction that can be observed today on the instrument of "Dayereh" from Kerman Region, which bears resemblance to Daf.Materials and MethodsThe research problem was identified through a combination of comparative studies and historical and analytical methods. This study bridged the fields of historical musicology and literature (music-literature), contributing to a deeper understanding of Khaghani's poetry on the subject and shedding new light on the history of Iranian music. Research FindingsRegarding the reasons for depicting and occasionally engraving animal figures on the instrument of Daf in Sharvan Region or at least within the court of Sharvan kings, the following could be stated: The Influence of Mythology and Shamanic Culture:The influence of mythological and shamanic cultures on Iranian religious and mystical art forms is significant. Depicting animal forms in art is a recurring theme in Iranian mythology and religious art, aligning with shamanic culture. Shamans often integrate animal symbolism and imagery into their rituals and ceremonies. The use of drums in shamanic rituals also bears resemblance to Sufi musical traditions in Iran, specifically the use of Daf. The drum played a central role in shamanic rituals, similar to the function of Daf in Sufi music. The geographic proximity of regions where shamanism was practiced, such as Siberia and the Caucasus, to the land of Sharvan further suggested the potential influence of shamanic culture on Iranian art and religious practices. Cultural exchange and interaction between these regions may have contributed to the incorporation of shamanic elements into Iranian religious and mystical art forms. Depiction of Animals in Hunting Situations:Khaghani was found to refer to the depiction of animals on the instrument of Daf twelve times and in most instances, the pictures followed a specific theme—the gathering of animals in a hunting situation. These depictions portrayed animals entangled in a hunting ground, sometimes attacking each other, sometimes coexisting peacefully, and sometimes praising and congratulating the king. The circular shape of Daf aligned with the circular hunting technique called "Pareh" or "Jargeh" practiced in Iran where animals were surrounded in a circular fashion and then hunted within the circle. This could potentially explain the recurring theme of hunting depicted on Daf. Connection to Animal Skin:The reliance of Daf instrument on animal skin, typically sourced from sheep, goat, or deer, for resonation is another significant point. Khaghani had made multiple references to this aspect in his poetry. Association of Music with Hunting:Association of music with hunting could be another reason for the depiction of animals on Daf instrument. In the past, Daf was used as a musical accompaniment during hunting activities. Continuity of Feast and Hunting in Iranian Art:Continuity of feasts and hunting and their role in the depiction of Iranian artworks from pre-Islamic times to the present also provided context for the recurring motifs on Daf instrument.By exploring these findings, a deeper understanding of the cultural, historical, and symbolic significance of animal depictions on Daf instrument in Sharvan Region or within the court of Sharvan kings could be gained.Discussion of Results and ConclusionThe findings of this study highlighted the intricate nature of artistic creation and emphasized that the choice of motifs in art was influenced by a multitude of factors. In the case of painting on Daf instrument, it was evident that there were multiple reasons for the selection of animal motifs.The spiritual and ecstatic function of Daf coupled with its round shape emerged as significant factors in the decision to incorporate animal imagery onto this particular instrument. Association of Daf with ecstatic practices and its interpretive potential stemming from its circular form contributed to the prevalence of animal motifs in its decoration.Significantly, it was observed that animal imagery was absent in other musical instruments, such as Barbat, Azerbaijani Tar, Harp, and Rabab. This observation prompted a deeper exploration of why these motifs were limited to Daf. The distinct characteristics and functions of Daf, including its association with ecstatic experiences and artistic possibilities afforded by its circular shape, were the key factors that explained the prevalence of animal motifs in its adornment.This perspective emphasized the importance of comprehending the cultural and functional contexts of artistic expressions and how these elements influenced the selection of motifs in different art forms.In conclusion, the research findings shed light on the significance and complexity of the animal motifs depicted on Daf instrument. The enduring presence of this artistic style in Iran for over 9 centuries underscored its cultural significance. By delving into the multifaceted reasons behind the depiction of animals on Daf, we gained a deeper understanding of the interplay between artistic expression, cultural practices, and functional attributes of musical instruments. This knowledge enriches our appreciation of the diverse factors that shape artistic creation in different contexts.

Xin Tian, Xiaodan Liu, Cheng Lu

This study employs grounded theory methodology, utilizing open coding, axial coding, and selective coding techniques, to conduct a systematic analysis of Pang Xunqin's "Chinese Decorative Pattern Collection." A theoretical framework is constructed to explore the fusion of traditional Chinese patterns with modern decorative art design. As a pioneer in this domain, Pang Xunqin's oeuvre not only bridges historical gaps in Chinese decorative arts, but also offers innovative insights for the progression of contemporary Chinese art and design. The coding analysis of the study reveals the adept integration of traditional patterns into modern design practices by Pang Xunqin, thereby enhancing cultural identity and artistic vigor. Additionally, a dynamic model is introduced, charting innovative pathways for the modern evolution of traditional patterns and fostering their global cultural dissemination and innovation. This model enriches our comprehension of the amalgamation of tradition and modernity and presents a novel perspective for the observation and application of traditional culture in contemporary settings.

Chrisna Trie Hadi Permana, Hakimatul Mukaromah, Winny Astuti

As the global trend is going into circular economy paradigm. The trend encourages business entities to focus on the production of durable, efficient, and reusable commodities to promote sustainable development. On the demand side, the market also gradually adjusts its preferences to commodities with sustainability values. With limited scale of capital, networks, and technology, Small and Medium Enterprises (SMEs) are usually lagged behind in catching new knowledge, especially those exchanged internationally. Sustainability, which is as an important knowledge under the circular economy trend, has caused serious problem for SMEs because those unable to catch the knowledge will be incompetent to serve the new market preferences and vulnerable to survive. Urban planning practices introduce the business district as one of spatial concepts to mediate the problem. It encourages enterprises with business linkages to locate next to each other and share activities and facilities. In Indonesia, the creative kampong is a local translation of business district concept, which emerges as a national hype. This research aims at studying the empirical case of the creative kampong and its knowledge transfer effectiveness for SMEs. By using the logic of Actor Network Theory (ANT) and focusing on the case study of four creative kampongs in Surakarta, we unravel the level of understanding of SMEs towards sustainability. Our data are based on stakeholder interviews and documentary reviews. The findings reveal that the majority of SMEs were understand of sustainability, and the creative kampong provided a significant contribution to ease the transfer knowledge process.

reham shalaby

Effective use of digital technology and employing its capabilitiesIn achieving artistic values in decorative designResearch summary in EnglishThe research aims to investigate the effectiveness of using digital technology and to employ its capabilities in achieving artistic values in decorative design, as technology has become the basis for the artist to support his creative and innovative capabilities, by adapting computer software not only in the field of design, but also in the field of implementation because of the possibilities provided by technology. Of an interactive nature between the innovative and productive process, and high flexibility, and dealing with the design process variables.The research concluded that The digital technology can be used and its capabilities can be used to achieve artistic values in decorative design by developing the design formulas used to enrich decorative designs, by combining traditional and novel plastic methods such as construction, assembly and mating between materials, and preserving the nature of the material from the plastic side. With the diversity of plastic formulas for decorative panels in terms of texture, color, different levels, and the intermarriage of multiple materials, as well as the diversity and change in plastic formulas to build an innovative vocabulary for contemporary decorative panels by making use of designs created using computer software used in digital arts. With the emphasis that the decorative paintings combine multiple materials to achieve a new expressive and formal vision in terms of using a variety of vocabulary, employing computer software technologies and digital arts, and making use of various techniques to form contemporary decorative paintings for graphic design formulas.

Lisa Dwi Wulandari, Elsa Intan Pratiwi

Culture became a city character that will keep developing through times, Grebeg Maulid of Madiun is one example of developing culture into tourism sites. Madiun’s Government was so intensively introducing Madiun as a religious tourism sites. This research discusesabout ritual communication presented by the people through cultural spacesthatareformed in Madiun’s town square area during grebeg maulid ceremony. Method used in this research is descriptive qualitative with etnographic approach, using Dell Hymes theory for the guidelines. Collected data or information and result centres oncommunication form of grebeg maulid in madiun’s town square. It is hope that this studycould be a new start towards deeper researchusing etnographic method about grebeg maulid. It is expected that this study will bring a furtherimage for the government’s planning in developing culture into tourism sites (religious tourism sites) without losing its meaning.

Zemfira I. Kurbanova

The article discusses the collection of objects of the Karakalpaks’ decorative and applied art in the funds of the I.V. Savitsky State Museum of Arts of the Republic of Karakalpakstan. The collection of folk-art objects is concentrated in the funds of the ethnography department of the museum. It comprehensively reflects the traditional everyday culture of the Karakalpak people. The objects of decorative and applied art of the Karakalpaks are concentrated in the following repositories: the fund of carpet products, jewelry, embroidery, wood, metal and leather products. Thematically, the collection is divided into jewelry items, horse equipment, carpets, yurt, clothing, kitchen utensils, and dishes. The author attempts to give a thematic and quantitative assessment of the collections of the Department of Ethnography. The analysis of the accession of exhibits did not allow identifying them by the area of existence, the place of purchase due to the absence of such information in the documentation. Most of the exhibits have only the information about the name of the object and its functional purpose. To create a complete picture of the accumulation of applied arts objects, statistical data on the accession of objects from 1967 to 2021 has been referred to, the dynamics of replenishment with exhibits is presented.

huda awad hamdan alhelfi alrashidy

The research dealt with the organic Islamic decorative units, and how the Muslim artist reached the highest degree of perfection in the architectural decoration and what was influenced by it in his various decorative arts in the Islamic eras, beginning with the Umayyad, Abbasid, Fatimid and owned ... etc. They are not just shapes, they are forms that have a symbolic function, This is what the artist sought in terms of the monotheistic belief, and also dealt with the Islamic character and the decorative arts in the modification of the decorative elements and the reasons for the modification that the Muslim artist turned to, and the identification of the performance methods that took place during the Islamic eras, and the clarification of the distinctive features and artistic and aesthetic values of the wooden decorative tapes in those ages The various artistic methods used in forming and processing them, and the decorative elements that were used to decorate and beautify the surfaces of the strips in the woodwork. And the Islamic cultural contact with the civilization of the Romanian Christian state by Byzantine, and this is one of the factors affecting the emergence and development of Islamic motifs, and the expansion of the Islamic empire, which extends from the Arabian Peninsula and moved to the Levant and Iraq and to the countries of East Asia, the countries of Asia Minor, the countries of North Africa, and the interest in the Muslim rulers With the arts of the countries they entered, and the social events that arose out of the new religion, namely the economic and scientific life, trade and stability that prevail in the country, this is what leads to the emergence of arts, and the emergence of Islamic art schools in different political roles and eras such as(The Amiriya, Abbasid, Egyptian, Iranian, Turkish, and Andalusian schools), and these schools have their own style and can be influenced by other schools, and the design and implementation of some of the woodwork that are compatible with our present and our needs, and keep pace with the nature of the era, in addition to it bearing the features of our Egyptianity The prestigious, inspired by the authentic Islamic art.

Kevin Mochamad Oktafarel, Mario, Dinda Nadhila Augusta et al.

Coffee culture has existed in Indonesia for ages and has a long history. Its existence is indicated by coffee shops in various regions and areas in Indonesia, e.g., in heritage buildings or areas. This research aims to analyze coffee culture in historical coffee shops and coffee shops built in heritage buildings, followed by finding the benefit and impact of heritage value on their coffee culture. This research was done on two coffee shops in Jakarta (Kopi Es Tak Kie and Starbucks Filateli) and another two in Bandung (Warung Kopi Purnama and Starbuck Asia Afrika). Observation, literature study, and in-depth interviews with visitors, employees, and employers were conducted to gather the required information and data. This research shows that heritage values increase the attractiveness and value of the coffee shops mentioned, even though their way of interpreting and upholding them is different. The family-owned coffee shops uphold their heritage values by highlighting the shops' history, while the chain coffee shops uphold theirs by taking advantage of the historical buildings or areas as the main component of their identities.

Martin Anfinsen

Setsuko Kurioka studied at the Trondheim Academy of Fine Art and later worked from Lademoen Kunstnerverksted. The artist is now based in Asker, near Oslo, where she has her studio. Currently, Kurioka works on a grant from Arts Council Norway, and her pieces has been featured multiple times in the annual Autumn Exhibit. Her work has also recently been acquired by the National Museum of Decorative Arts.

Morten Spjøtvold

På Pariserutstillingen i 1900 anskaffet den unge kunsthistorikeren Jens Thiis (1870–1942) en betydelig samling av fransk art nouveau til Nordenfjeldske Kunstindustrimuseum i Trondhjem. Innkjøpene har ikke tidligere vært gjenstand for inngående undersøkelser, og denne artikkelen argumenterer for at de kan leses som uttrykk for Thiis’ holdninger til samtidens kunsthåndverk. Gjenstandene analyseres i lys av sentrale strømninger i europeisk kunsthåndverk rundt 1900, deriblant japonisme, industrialismens påvirkning på samtidens gjenstandsproduksjon samt nåtidsstil.

Galina Dekova

The aim of the paper is to give a glimpse of the syncretism and complexness of the work of Nikolay Raynov and to propose an approach that would show his methods of implication of artistic historical ideas into paintings and works of decorative art. Furthermore, it is a reflection about the 130th anniversary exhibition of Raynov's paintings at the Sofia City Art Gallery1 from the perspective of its historical place in European art and its actual insight.

Xavier-Philippe Guiochon, Philippe Bettinelli

Through the National Centre for Visual Arts (Centre national des arts plastiques, Cnap) and the various institutions that preceded it—including the Bureau des travaux d’arts—the French State has undertaken a decoration policy for its places of power. This policy is based on a double system of works of art purchased directly at the artist’s studio or on the market and deposited at the place of power, and public commissions for site-specific works.  From the end of the Second World War II up to the present day, what does the State tell us about itself through this decorative policy? Under the Fourth Republic, art works made for these places can either glorify the unity of the nation, using an iconography inherited from the Resistance movement, or develop regionalist themes on painted panels in prefectures or town halls. After an important decrease of public commissions for administrations during the first years of the Fifth Republic, the practice reappears in new forms with the creation of the Public Commission Fund (Fonds de la commande publique) in 1983. Even if some themes linked to the sovereignty of the State or to regional identities survive, the art pieces destined to administrative buildings tend to lose all iconographic specificity in favour of a broader policy supporting contemporary art, regardless of its destination.

Juwito, Junianto, Erna Winansih

To accommodate the daily activities of a small family, efforts are needed to present are presentative residence. harmony with nature, humans, and the built-in environment, sustainably and sustainably is the Start Point. The ‘Ecological Architecture’ approach in planning the Residence in Nganjuk is chosen as the guiding line. The basic thing is whether there is an alignment between the architectural concept and the end result of his work. This research methodology uses descriptive and literature studies. this research attempts to analyze the design work with the concept of ecological architecture, based on the theory of ecological architecture from (Heinz Frick., 2006). The results of this study indicate that this Residence is a small example of the application of ‘Ecological Architecture’.The parameters can be seen from Adjusting design work to the environment, maintaining environmental resources, saving natural energy sources, utilizing natural resources around the area for building systems, both related to building materials and for building utilities. Implement 4R (reduce, reuse, recycle, repair) on the material used. the type of material that can be returned to nature in accordance with the cycle. with a building orientation pattern (east-west) to dominant vista facing north-south to become the center of sensing into the interior layout along with the parks and water spots.

Hashim Kudheir Hasan

This research attend about Alienation form for ornament’s clouds in Quran, which includes four parts, the first part talks about the research problem, the researcher identified by following question :( what’s the Alienation form for ornament’s clouds in Quran?). And then the research importance. The research goal talks about Alienation form for ornament’s clouds in Quran. And also research borders, likes means objectives borders, places borders, As well as Terms Definitions, in second part talks about Theoretical framework and previous studies, includes two parts, the first one study Alienation form, meaning and understandable, the second one talks about Alienation form in Islamic arts, As well as the researcher find only one study has relation with this study, after that’s his foxing for Theoretical framework Indicators , the third part of this study talks about (research procedures), and then rely to Descriptive analytical method to analysis The samples, (4) (50%) Of the total (8) samples according to goal of research. Then find some Results Including: 1- The Alienation form can found it in the movement of snack like (1, 4) (50%), this type of cloud is characterized by giving manifestation physically and aesthetically distinct. 2- The Alienation form lobular Heart pinned like form (1, 2, 3) (75%).this type used for Repetition property. 3- The ornament’s cloud makes inverse rotation Organize like (S) letter in English (3) (25%). 4-The ornament’s cloud makes Free regulation (1, 3) (50%). This Organize has Diversity design, because Get rid of the monotony, to give the ornament’s clouds Exciting and attract the attention. The Conclusions Including: 1- Employ the decorative for floral decorations Design, to add new decorative Reflect Functional and aesthetic results. 2- The Alienation form gives many design options to make good forms Compatible with Core Area. After the Conclusions, the researcher talks about Recommendations and suggestions

Anamaria TOMIUC

<p>Once with Romania’s integration in the EU, a long series of structural reforms have been at the core of the national, regional and local policies. There are three major aims of this paper. The first is to investigate the culture-oriented policies that have been envisaged in post-communist Romania, before and after joining the EU, in order to point out the correlation with the European cultural agenda, and to observe the transition towards a decentralized vision on culture that would redirect the cities’ contributions to their urban development. The second is to analyze what types of development strategies and cultural policies have been developed and implemented in Cluj-Napoca (Romania) that frame a new vision on the city and propose the concepts of ‘participation, creativity and university’ at the core of its transformation. The third is to question the role of the festival use (as a cultural form involving large participation) and to discuss the specificity of the city of Cluj-Napoca where the enthusiastic support from the local authorities for this type of actions is balanced by a more reasonable consideration within the cultural strategy. The research is based on document analyses and interviews with decision-makers and stakeholders’ representatives</p>

Olga Shikirinskaya

The article deals with the “Sister Arts” tradition as the interrelationship of various art forms (poetry, fiction, painting, theatre, music etc.) relative to the Baroque period. “Sister Arts” criticism, based on E.G. Lessing essay “Laocoön…” uses the inter-art analogies to appreciate the importance of literature in the Arts, as well as to comprehend aspects of the modern approach to the synthesis of the arts. The article presents the aesthetic concept of Baroque art and its realization in architecture, sculpture, decorative and applied arts, music and literature on the background of the European and Ukrainian cultural tradition.