Hasil untuk "Decorative arts"

Wang Yichen

This study examines how shifts in porcelain decoration among the Peranakan community reflect broader transformations in cultural identity during the Straits Settlements period. By focusing on the transition from Nyonya porcelain to British-made ceramics in the late 19th and early 20th centuries, the research investigates both the symbolic meaning of the decorative and the sociocultural factors that contributed to this shift. Drawing on a comparative historical approach, the study demonstrates how material culture—specifically porcelain—serves as a visual archive of the evolving Peranakan hybrid socio-cultural identity. Despite its cultural significance, Peranakan porcelain remains under-examined in scholarly discourse. This paper contributes to filling that gap by analyzing the intersection of aesthetics, social mobility, and cultural affiliation embodied in porcelain decoration.

Alexandra-Sorana Eșanu

This article explores the growing influence of Artificial Intelligence in film and theatre, focusing on fears surrounding the replacement of human performers. Through examples such as virtual actors, digital doubles and the AI-generated character Tilly Norwood, it examines concerns about authenticity, labour rights and creative value. Industry responses—from scepticism expressed by unions and artists to advocacy from filmmakers who view AI as an useful tool - reveal an ongoing negotiation between technology and embodied performance. The discussion concludes that while AI reshapes production practices, human emotion and presence remain essential, making full replacement unlikely in the foreseeable future.

Azarm Markazi, Mohammadreza Sharifzadeh, Mohammad Aref

Paratextuality, as a branch of Gérard Genette’s broader theory of transtextuality, is a contemporary approach for examining the influence of a text on its surrounding elements and especially on its readers. Initially developed for analyzing the book as a text, this theory provides a framework for exploring the reciprocal relationship between a work and its paratextual environment. The presence of Qur’anic verses in diverse works produced across the Islamic world has been one of the earliest and most distinctive features separating “Islamic art” from the arts that preceded it. Manuscripts of the Qur’an reflect a wide range of information about the art, culture, and civilization of their era. The ornaments that frame this most significant historical text and the miracle of the Prophet Muhammad (PBUH) have undergone substantial transformations over time. This study investigates the evolution of these ornaments, their types, and their mutual interaction with the Qur’anic text from a paratextual perspective, employing a descriptive-analytical method and situating the discussion historically within the framework of the Persianate world. The findings reveal that ornaments, as paratexts, create a communicative network that mediates between the divine word and its readers, inviting engagement with the text. Furthermore, the study examines their grammar as a medium, categorizes the functional, symbolic, and decorative conventions present in this network, and traces their historical transformations.

Prosen Milan

This year, 2025, marks the celebration of two anniversaries: the centenary of the honoured International Exhibition of Decorative and Industrial Modern Arts (Exposition Internationale des Arts Décoratifs et Industriels Modernes) in Paris and six decades since one of its leading figures, Dragiša Brašovan (1887–1965), permanently departed the Serbian and Yugoslav architectural scene. On this occasion, we wanted to study the two hand-in-hand, in order to highlight aspects of the development of the Art Deco style, which was named after the aforementioned exhibition, and to emphasize the place that Brašovan’s oeuvre occupies within the framework of this stylistic phenomenon and its reception on the domestic scene.

Volodymyr Khyzhynskyi, Mykola Lampeka, Valerii Strilets

The article is devoted to the study of the history of the emergence and development of additive technologies in world artistic ceramics. The article analyzes information on the history of the emergence of additive technologies. The principle of operation of 3D printing equipment, features of its use, the most common areas of use and materials used in 3D printing have been considered. An analysis of the specifics of the technical characteristics of 3D printers and technologies for 3D printing with ceramic masses has been shown that the use of ceramic materials as raw materials for 3D printing is a progressive trend due to the emergence of the possibility of forming ceramic objects and products that are practically indestructible reproduction and replication using traditional methods. In this article, the authors have been analyzed the advantages and disadvantages of manufacturing ceramic products by 3D printing. It has been established that the main difference between the production of three-dimensional plastic or metal elements and ceramic elements is the main feature of the ceramic manufacturing technology, namely that the printout is not a ceramic product before firing in the oven, that is, without firing, it is simply an element printed from clay materials (that is, such a printout before firing is called the "green part" – an unprocessed element). Currently, there are no 3D printers that can immediately produce ready-made ceramic products, all elements printed from ceramic materials require drying and firing. But, despite this nuance, printers that print with clay materials are called ceramic 3D printers. As 3D printing can accurately realize the creative thinking of artists and designers, 3D printing technology is increasingly used in the creation of ceramic products and contemporary ceramic works. The authors of the article emphasize that three-dimensional printing with clay provides ceramists with completely new opportunities for creating ceramic products with a complex configuration, texture, etc. Ceramic artists from all over the world are already actively using this technology in their work. Therefore, part of the study is devoted to examples of the use of 3D printing technology in world artistic ceramics, as well as to the description and analysis of the most interesting achievements in this direction of creativity, according to the authors.

Junxiang Yao, Jan Aarts

Superconducting junctions with a ferromagnet as the weak link, where triplet correlations can transport supercurrents over a substantial distance, have been of long-standing interest. In this work, we study the triplet transport in planar La$_{0.7}$Sr$_{0.3}$MnO$_3$ (LSMO) nanowire Josephson junctions with NbTi superconducting contacts. By meticulous ion etching with an artificial Pt hard mask, the NbTi/LSMO bilayer is structured to form an LSMO bridge without damaging its top layer. We observe superconducting (critical) currents of the order of 10$^{9}$ A/m$^2$ in a junction with a length of 1.3 $μ$m, and distinguishing superconducting quantum interference (SQI) patterns when sweeping a magnetic field perpendicular ($B_\perp$) to the plane of the wire or parallel ($B_\parallel$) to the plane and along the wire. The observed Gaussian-shaped SQI pattern is attributed to the diffusive transport of triplet pairs in the LSMO. Our work demonstrates that combinations of oxide magnets with conventional ($s$-wave) alloy superconductors can be a promising new route to realizing superconducting spintronics.

Agnieszka Kluczewska-Wójcik

Oriental influences present in Polish culture since the Middle Ages and incarnated by the idea of “sarmatisme” were re-evaluated or outright rejected by the young modernist generation. In fact, at the turn of the nineteenth and twentieth century the traditional Polish “Orientality” was replaced by a wave of interest for the aesthetics of Islamic art, a reflection of the European “Oriental renaissance”. The Polish imaginarium had long associated the art and culture of Islam uniquely to the Middle East and its craft. The romantic epoch brought with it a new interest for medieval Spain, Granada in particular, its history and monuments, reflected in the poetry of Adam Mickiewicz and the museographic realisations of Izabela Czartoryska at Puławy or Tytus Działyński at Kórnik. If architectural projects, principally of “Moorish” synagogues and internal decorations for aristocratic and bourgeois palaces still belong to a nineteenth century oriental current, they do however already reveal a will typical of pre-war decades by virtue of granting significance to Islamic decorative principles. In the first decades of the twentieth century, “à l’orientale” motifs recurrent in fashion and the visual universe, as witnessed by contemporary novels, found a sort of counterpoint in propositions made by representatives of the Polish applied art revival movement, successful hybridization of European, oriental and popular models: fabrics, carpets, metal and leather objects of artists from the Warsztaty Krakowskie (Cracow workshops, founded 1913) such as Józef Czajkowski, Wojciech Jastrzębowski, Bonawentura Lenart, and Karol Tichy, “javano-cracovian” batiks of young workshop apprentices or even the glazed ceramics of Stanisław Jagmin. Displayed at the 1925 Exhibition of Modern Decorative and Industrial Arts in Paris, the Cracow Workshop adherent’s productions draw the attention of the European public and critics on this peculiar breed of national “primitivist” style tainted with Orientalism. 

Putri Herlia Pramitasari, Suryo Tri Harjanto

Indonesia has a variety of vernacular architecture. The various of local wisdom values from Indonesian traditional houses have succeeded for local identity strengthening. On the other hand, residential housing currently prioritizes functional needs only, while aspects of formal characteristics and local wisdom values are not the main considerations in the design of today's residential housings. The role and characteristics of local wisdom values as an approach in residential design is certainly interesting to study more deeply. Descriptive analysis research method through field observation and literature study which was carried out as an effort to answer the research problem. The results show that the optimization of the passive design strategy of residential buildings by adapting local wisdom values is expected to increase indoor thermal comfort levels, achieve building energy efficiency, strengthen the urban identity, preserve architectural styles, also develop of sustainable architecture. In this way, healthy housing with local character can be realized throughout Indonesia.

Linda Mohammed Aldadi Alhuthali

Cultural globalization has sparked controversy with its positives and negatives that unleashed ways of thinking, and led to the interaction of different countries, and to confirm the cultural identity of the Kingdom of Saudi Arabia against the facts of the accelerating development of globalization.Hence the importance of emphasizing the creative role of the designer to enhance the cultural identity by emphasizing the decorative art and strengthening its qualities and characteristics, and promoting the transmission of identity from one generation to another with renewed visual visions of the decorative unit, and transforming it into an entity replete with multiple and absolute values ​​that do not threaten the identity with annihilation and dissolution, but rather reshape it with the present and the future.Creative thinking is a process directed by a desire to find original creative solutions characterized by originality and flexibility. One of these creative starting points that can be used to solve the problems facing the designer in an idea-generating manner is the “scamper” strategies. Therefore, the researcher believes that it is possible to benefit from the effectiveness of “Scamper” strategies in reformulating the decorative units with new visions, and to achieve this, she followed the applied approach: using the computer program (Adobe Illustrator). To reach the following results: The possibility of benefiting from “scamper” strategies in enriching the decorative unit. It recommended the application of strategies in various decorative units as an enrichment process, and to benefit from thinking strategies in teaching arts.

Lvova I.A., Bakhlova N.A.

The long period of distance learning in higher education has set difficult tasks for teachers. The article analyzes the course and results of an experiment that was conducted at the Department of Folk Art Crafts of the Moscow State Regional University in 2020. The experiment involved three groups of students in two fields of study: 54.03.01 Design, specialty Costume Design (CD) and 54.03.02 Decorative and Applied Arts and Crafts (DAAC). Students independently identified problems that could arise during distance learning. These are objective factors, such as: insufficient mastering of skills of working with materials and tools, the inability to correct errors and shortcomings immediately, etc.; and subjective factors: psychological problems, deterioration of health indicators, etc. The authors of the article followed the changes in the problems of teaching and made analytical conclusions about how the students’ attitude to the process of remote learning changed. Despite the positive dynamics in students’ perception of online communication with teachers, some of the problems remain unsolvable. For example, the main problem in teaching creative disciplines, in our opinion, was the lack of direct contact between the master and the student, when the skill of artistic work is transferred “from hand to hand”. The authors conclude that the teaching of creative disciplines cannot be completely taken online.

Bogaichuk Lyudmila , Borysiuk Zinaida

The article presents some aspects of teaching and training future specialists in the sphere of decorative and applied arts alongside some issues devoted to the development of their opinion that modern artistic textiles are innovative means of decorative and applied arts and play a significant role in the development of creative competence of textile artists. The need to rethink the history of textiles in Ukraine and analyse the problems of its current artistic and industrial state, especially in the Southern regions, has been grounded. It has been proved that the role of artistic textiles, together with carpet weaving and batik, in the socio-cultural and economic development of Ukraine’s artistic space remains relevant today. Special attention is given to the genetic basis for using Ukrainian textiles (the spiritual component of the ornamental carpet) through the symbolism of which representatives of all segments of the population tried to identify with Ukraine, this basis being an integral component in the development process of the professional competence of future specialists in the sphere of decorative and applied arts. It has been substantiated that one cannot forget the ancient traditions of textile art; it is necessary to revive them in original modern forms, to promote the development of experimental tendencies, to work creatively with textiles while teaching the course "Decorative and Applied Arts", to show how promising it is in its artistic and cultural essence, to provide an analysis of the exhibition activity as a guarantee for the development of creative search, a stimulator to the creative activity of a future specialist in decorative and applied arts. The purpose of the article is to identify the interrelations and interactions of folk and professional art; to outline the role of profession-centred art education in the development of artistic textiles in Ukraine; to analyse experimental tendencies and concepts of Ukraine’s modern professional textiles. The conclusions state that the language and style of the Ukrainian textile art has always depended on traditions and national sources, as well as on the latest trends in Western European Art. The analysis of the existing methodological approaches to teaching future specialists in decorative and applied arts, aimed at searching for new methods of improving the quality of education, and developing their professional competence enables us to assess the idea of innovative learning, teaching and assessment in a new way. An important condition for successful training of future professionals in the sphere of decorative and applied arts is the development of their creative competence, which includes the ability to emotionally perceive the environment, to creatively transform it, the awareness of the culture of peoples and nations in different periods of society development, to master universal human values, including creative values, providing creative self-realisation and self-development.

Li Xian, Joneurairatana Eakachat, Sirivesmas Veerawat

Architects and designers realize that new buildings cannot completely replace old buildings in the process of urbanization in the world. To establish a method of the new building and the old building coexist and to create the new paradigm of the new building construction in the old district is the responsibility faced by the contemporary architects. This paper first analyzes the old building renovation projects in Berlin and Paris in the 1980s and puts forward the symbiotic relationship between the old and the new buildings in the new era, thus obtaining the research objectives, trying to redefine new buildings and old districts, and creating the new paradigm of contemporary building construction in old districts. Using workshop as an exploration method, this paper conducts data research and sampling analyses on the Chinatown area in Bangkok, and explores the combination mode and paradigm transformation of new buildings and old districts in the city, aiming to seek solutions utilizing art exploration.

Willem van Jaarsveld, Joachim Arts

We consider the canonical periodic review lost sales inventory system with positive lead-times and stochastic i.i.d. demand under the average cost criterion. We introduce a new policy that places orders such that the expected inventory level at the time of arrival of an order is at a fixed level and call it the Projected Inventory Level (PIL) policy. We prove that this policy has a cost-rate superior to the equivalent system where excess demand is back-ordered instead of lost and is therefore asymptotically optimal as the cost of losing a sale approaches infinity under mild distributional assumptions. We further show that this policy dominates the constant order policy for any finite lead-time and is therefore asymptotically optimal as the lead-time approaches infinity for the case of exponentially distributed demand per period. Numerical results show this policy also performs superior relative to other policies.

Gert Aarts, Aleksandr Nikolaev

A discussion on the electrical conductivity of the quark-gluon plasma as determined by lattice QCD is given. After a reminder of basic definitions and expectations, various methods for spectral reconstruction are reviewed, including the use of Ansätze and sum rules, the Maximum Entropy and Backus-Gilbert methods, and Tikhonov regularisation. A comprehensive overview of lattice QCD results obtained so far is given, including a comparison of the different lattice formulations. A noticeable consistency for the conductivities obtained is seen, in spite of the differences in the lattice setups and spectral reconstruction methods. It is found that in the case of quenched QCD little temperature dependence of $σ/T$ is seen in the temperature range investigated, while for QCD with dynamical quarks a reduction of $σ/T$ in the vicinity of the thermal crossover is observed, compared to its value in the QGP. Several open questions are posed at the end.

Stéphanie Brouillet

Porcelains adopting the form of ancient bronzes and their cover imitating bronze and its oxidations are characteristic of the Qianlong period (1735-1795). They are proof of the importance of ancient bronzes – a cultural, social, political, and artistic reference under Qianlong’s reign. The Emperor was eager to prove its reign to be part of the Chinese dynasties by shedding light on older productions and paying them tribute through contemporary creations. These fake bronzes in porcelain also reflect the way Qianlong controlled every aspect of the artistic production, and his love of “trompe-l’oeil” in the decorative arts.

Rokan G. Shayia

This research is a step towards identifying the rhetoric science in the literature of Kurdish. The birth and existence of rhetoric science are evidenced in the classical poems and verses. Awni as a poem was born amid this literary school. That is why the name of this famous poet remains in the history of Kurdish literature immortally. Decorative science with its two categories is clearly and widely manifested in the poem collection of this great poet. I can say that there is no piece of the poet's poems without being rhetorically expressed. This in itself reflects the intelligence and capability of the poet who was successfully dominating in such arts. In addition, the poet was aware of past poet's poems before him and he was reading them, which made him to be competent and qualified in mastering this science. The poet, we can say, had invented in his peoms by integrating more than three arts in one line in his poems. In this discussion, we explain the two types of decoration namely, (lexical and semantic). Also, we mention more than twenty arts with the two categories and showed them with elegant and nice examples. At the end, I hope that I have served this great Kurdish poet, history of Kurdish literature and rhetoric science

Mohammad Yaser Mousapour

In architecture and decorative art, ornament is a decoration used to embellish parts of a building or an object.  Most ornaments do not include human figures, and if present, they are small compared to the overall scale. Architectural ornament can be carved from stone, wood or precious metals, formed with plaster or clay, painted or impressed onto a surface as an applied ornament; in other applied arts the main material of the objects or other things such as paint or vitreous enamel may be used. In recent centuries a distinction between the fine arts and applied or decorative arts has been applied, with ornament mainly seen as a feature of the latter class. Ornaments have been known as some conventional cases such as Cementing, Moqarnas & Tiles. Usually ornamentation is associated with some concepts like glory so Researchers of ornamentation field are less interested in "Rural Housing" as kind of low-cost architecture and indigenous workforce. Housing has been one of the concerns of human for various stages of life.  Its formation in different periods of history has been based on the physical and emotional needs of both human beings in the forest and human beings in the caves and their tools.  Rural native housing is a picture of the life style and context of the rural which serves a specific way of human activity and they have deep relation with the environment and depend on it. The rural houses which are built with poor budget and in a short time are the significant cases for this study.  If we assume ornamentation as some human needs to aesthetics or meaning, the question is “Can we identify the trace of ornament on a rural house?” This research has been done in two stages of the field and library. The first stage involves visiting and documenting rural dwellings and recording empirical evidence, and the second stage, including the review of literature related to decorating and rural housing, then analyzing and rational reasoning around the subject. The overall structure of this research is based on the qualitative research method. Qualitative research generally refers to research whose findings have not been obtained through statistical processes and for quantitative purposes. The data of this type of research is collected through observation, interviewing or oral interactions, and focuses on the meanings and contributions of the participants. ‎So the Ovan village was chosen for this research and 8 houses were chosen as samples for the study. Desk and field study were done together. Ovan Village is situated in a mountainous area 80 km northeast of Qazvin city. People of Ovan village mostly earn their livelihood by working in the fields of agriculture and animal husbandry. The two sources of agriculture, that is good soil and water, can be found amply in the village. Older houses of the village are built with adobe, clay, wood and stones, while newer houses are made of materials such as brick, cement and iron. Apparently, the lifestyle of its residents has affected the form and structure of residential units. As a result, houses in Ovan usually have large yards, a living room, guest room, kitchen, balcony, storehouse for keeping agricultural products, a small garden and at times a special space for keeping fowls and cattle.The results show that in the rural houses of Ovan, the ornament has emerged as a “nonfunctional order between functional elements of architecture”.

Loïc Foissy

Typed decorated trees are used by Bruned, Hairer and Zambotti to give a description of a renormalisation processon stochastic PDEs. We here study the algebraic structures on these objects: multiple prelie algebrasand related operads (generalizing a result by Chapoton and Livernet), noncommutative and cocommutative Hopf algebras (generalizing Grossman and Larson's construction),commutative and noncocommutative Hopf algebras (generalizing Connes and Kreimer's construction),bialgebras in cointeraction (generalizing Calaque, Ebrahimi-Fard and Manchon's result). We also define families of morphisms and in particular we prove that any Connes-Kreimer Hopf algebraof typed and decorated trees is isomorphic to a Connes-Kreimer Hopf algebra of non--typed and decoratedtrees (the set of decorations of vertices being bigger), through a contraction process,and finally obtain the Bruned-Hairer-Zambotti construction as a subquotient.

Hend Mohamed

In view of the interaction with the beauty of Islam, we find that the amount of knowledge of human movement in any time and place to reveal the secrets of creation and seeking more of science and knowledge to end to know the Creator would gel, recognize his greatness Almighty. And awareness of the Islamic aesthetic is awareness of thinking and meditation, brings us to the second aspect of beauty, a faith side. Thus the need Ngdoa aesthetic when Muslim basic need of faith linked to the lives of Muslim spiritual and practical.Like many civilizations, it excelled Islamic civilization, and excelled since the beginning of Islam and to the end of conquests, and the era of formation of Islamic civilization in the covenants of the Umayyad and Abbasid, excelled and excelled this civilization in the fields of architecture, fine and applied arts, and this creativity demonstrated the vitality of the Islamic religion Bnzation and his laws, as demonstrated It also demonstrated the Muslim man’s ability to use nature and meditation in which to deepen his knowledge and culture, the parent who enabled him to complete the work of a high aesthetic character of a wonderful, raised by the wide diversity of human components of the Islamic world, which seized in Islam and adopted and nurtured in his quest noble to become the Islamic civilization, through the various covenants an example of a flourishing communities, the high and the outcome of the taste and the sense of technicians to what preceded of civilizations and cultures, all this in spite of wars and clashes that accompanied the formation and establish the rules of this great civilization, because the permanent obsession was creativity and continuous innovation in these arts, so to beautify the reality of life for the Muslim man. The development caused by Islam in people’s lives and Ovka Wareham develop a year radically, and the miracle of Quranic brilliant put human in front of a new aesthetic consciousness finds its manifestations in thought and language, behavior and art, and with the friction of the Islamic religion and other cultures appeared variations in this aesthetic awareness, but he has not given up theses aesthetic of uniformity, unity, which is a very Islamic thought. The goal of this research is not only detect the aesthetics of Islamic securitization but is to reach solutions plastic updated in building decorative painting in teaching decorative designs faculties of arts and art education that combines tradition and modernity. Search problem: The securitization in Islamic art and is a Jabna of human culture an essential element in the structure of cultural builders, and this research seeks to how to maintain humanitarian continuation of Islamic art and rehired its units using modern techniques and employing cultural and civilizational heritage between tradition and contemporary in the fields of decorative designs element Find evident problem by trying to answer a set of the following questions: - 1. You could make use of securitization in Islamic art to be a new gateway to update the intellectual and technical practices in the field of decorative designs with as provided for in the design approach second year at the Faculty of Art Education. 2. Can you detect some aesthetic solutions to the underlying securitization of Islamic Art By tracking systems engineering and rhythmic List in these systems are built on a new vision of contemporary plastic arts. Research goals: Research aims to shed light on the importance of securitization in Islamic art shroud of national cultural and civilizational heritage should be preserved and its importance for the component to continue. 1. extraction systems engineering and rhythmic securitization in Islamic art, in order to detect the aesthetic values and identify the technical methods followed by the various Islamic artist and applications through innovative designs for a second band of students of the Faculty of Art Education shows through how to invest securitization education in the field of decorative designs through foundations and elements design.

Rossella Froissart, Merel van Tilburg

In the late nineteenth century the questioning of divisions between the fine and applied arts enabled a “renaissance” in tapestry. Subsequently this art’s complex relations with painting, architecture and – from the 1960s – sculpture were hotly debated in an endless quest for laws that would give tapestry aesthetic autonomy. Through criteria such as murality, the structuring of surface through color, symbolic meanings, functional qualities and the creation of a spatial environment, the creations of the past were brought into dialogue with the Paris School, modernism and post-modernism. In France the prestige of the Manufactures nationales and the workshops of the Creuse contained the revival within the bounds of a hierarchical relationship between painter and weaver, reflected in the extraordinary expansion of production in the 1950s and 1960s. Meanwhile in Germany, Eastern Europe and the United States, the pictorial paradigm gave way to ideas based on the practices of the Bauhaus, paradoxically relocating the textile medium within the “fine art” field.