Hasil untuk "Decorative arts"

Еремова, Е.З.

Статья посвящена исследованию творчества современного художника Императорского фарфорового завода Татьяны Васильевны Афанасьевой в контексте традиций российского фарфора. Актуальность работы обусловлена угрозой утраты уникальных художественных и технологических навыков на предприятии в условиях современного индустриального и коммерческого давления, а также недостаточной научной освещенностью профессионального творчества современных художников завода. В исследовании использованы методы сравнительного и образно-стилистического анализа произведений, интервьюирование. В статье рассмотрены произведения Татьяны Афанасьевой, созданные в разные периоды ее творческой деятельности, выявлены особенности художественного стиля, его развитие от ранних пейзажных и натюрмортных работ к более декоративным, абстрактным сериям, отражающим современные тенденции в фарфоровом искусстве. Анализ показывает, что творчество Т.В. Афанасьевой — яркое продолжение традиций, основанных на многовековом опыте и преемственности поколений мастеров, оно служит примером сочетания современных художественных приемов с классическими канонами. Автор поднимает вопрос возможного кризиса традиционного фарфорового производства на заводе, вызванного акцентом на упрощении качественных свойств продукции и потерей индивидуальности. Исследование обогащает знания о современном состоянии декоративно-прикладного искусства России, в частности о характерных особенностях петербургского фарфора, и способствует пониманию механизмов трансляции культурного наследия. Результаты работы важны для понимания путей дальнейшего развития Императорского фарфорового завода, сохранения национального достояния и популяризации традиционной культуры через современное искусство.

Rita Anggraini, Zulfi Hendri

Indonesia is rich in cultural heritage, yet many traditional arts and crafts, such as the ornaments of Pura Mangkunegaran Surakarta, remain underappreciated.  This research emphasizes integrating cultural heritage into decorative arts education to preserve cultural identity. Using a qualitative approach, the study identifies and analyzes various types, forms, and meanings of ornaments found in Pura Mangkunegaran Surakarta, their relevance, and the curriculum at SMPN 1 Mojogedang. The findings reveal that these ornaments, which reflect Javanese, Chinese, and European influences, not only enhance aesthetic appreciation but also foster critical thinking and creativity among students. By incorporating local cultural materials into educational practices, the research contributes to a deeper understanding of cultural backgrounds, instilling pride and a sense of responsibility in preserving heritage. This integration significantly enriches students' learning experiences and promotes cultural preservation within the educational framework.

Rosalena Aprizia, Yofita Sandra

This study aims to develop Prezi-based video learning media in Fine Arts learning on Decorative Drawing material for grade VII students of Junior High School 6 Padang. This study is a development research or Research and Development (R D). The model used is the development of Borg Gall. The results of the study showed that the assessment results from language experts were 94.3%, the assessment results from material experts were 93.3%. The assessment results from media experts were 94% and the assessment results from teachers were 98%. This shows that Prezi-based video media is very feasible to use. The main field trial on the student questionnaire obtained 86% while the test results obtained 84%. The operational trial on the student questionnaire obtained 93.35%, while the test results obtained 91.2%. After being converted with an assessment scale, it shows that Prezi-based video media is very feasible to use. This shows that Prezi-based video media in Fine Arts lessons on Decorative Drawing material can improve student learning outcomes and is very suitable for use as a learning medium for students and teachers at State Junior High School 6 Padang.

Hugues Morisse

Built between 1929 and 1935 by architect Roger-Henri Expert, the French legation in Belgrade stands out as one of the most accomplished examples of diplomatic architecture conceived as an instrument of cultural and political influence. In a context where France sought to reaffirm its position in Central Europe after the First World War, this building – situated on a site of exceptional prominence – was intended as a reflection of a republic rooted in its artistic traditions and geopolitical ambitions. Beyond its monumental exterior, the edifice reveals a sophisticated decorative programme, the highlight of which is the rotunda salon, or Paquebot Salon, entirely adorned with a monumental stucco tapestry. Created in collaboration with the sculptor Carlo Sarrabezolles, this ensemble offers a synthesis of art, craftsmanship and diplomacy. Through the use of stucco – a material historically associated with grand ceremonial decors – the State asserts the enduring excellence of its craftsmanship by reinterpreting its traditional know-how in a contemporary manner. This article examines how this decorative stucco ensemble contributes to the construction of a space of political representation, and how Art Deco, far from being a mere style, becomes a vehicle for a republican imaginary designed to embody modernity while magnifying a centuries-old cultural heritage.

An Nguyen Thi Tam, Eakachat Joneurairatana, Veerawat Sirivesmas

As one of the crucial components of the microsystem system in human development, the educational environment plays a significant role in shaping young children’s holistic development. Preschool interior space could be one of the most important places where children first interact in school life. Specifically, the interior space of preschool is the place where young children spend a lot of time in their lives surpassing the home environment. In Vietnam, research on preschool interior design, particularly in the context of color usage, remains limited despite there is high demand to build preschool buildings to adapt to the increasing number of young children going to kindergarten each year, such as in Ho Chi Minh City (HCMC). This paper explores color designs in preschool interiors in HCMC, Vietnam; aiming to propose colors that align with children’s developmental needs and pedagogical practices. Through conducting the data from reviewing academic articles and papers, on-site observation case studies in both public preschool and private preschools, focus on interior classroom space, visual-spatial, and color comparative analysis, and utilizing Adobe's palette extractor for color palette, this paper explores the application of color design in preschool interior space. The findings suggest the potential benefits of using bright and cool tones for background colors, complemented by vibrant hues such as blue, red, yellow, or orange for accents in interior spaces. Aligning with pedagogical practices, the use of color can create stimulating environments that encourage children to explore and discover. Additionally, attention should be given to factors such as flooring materials, cultural context, and spatial functionality. The findings of this paper contribute to the limited academic resources on color space design in Vietnam, providing valuable insights for architects, interior designers, teachers, and educators to make informed decisions when designing preschool environments.

Yanyan Zheng, Guikun Guo

This article traces the long transformation of liuli 琉璃 (Sanskrit vaiḍūrya) in China—from imported blue-green gemstones (typified by beryl) to man-made glass and, after the Song, to glazed architectural ceramics. Combining archaeological finds, textual and Buddhist sources, and mineralogical data, it argues that: (1) the wide circulation of Roman–South Asian glass imitations drove a dual shift in China, moving liuli from a natural gem to artificial glass; (2) Buddhist ritual and donation practices “sacralized” glass, integrating it into jewelry, vessels, and sacred spaces; and (3) this shift profoundly reshaped Chinese decorative arts, recasting color-and-light aesthetics and the material toolkit—from Han–Jin beadwork and containers, through Sui–Tang elite display, to the post-Song architectural palette epitomized by liuli tiles. The millennial journey of liuli shows how materials acquire new meanings through global exchange and local reinterpretation, and how man-made glass helped redefine Chinese decorative practice over the course of two thousand years.

R. Pylyp

A historical overview of the for- mation of art education, particularly the de- velopment of decorative art in Transcarpathia, reveals a rich and distinctive heritage. The complex historical processes involved in the establishment of art educa- tion, along with the creative achievements of prominent figures, had a significant impact on the development of decorative art in the region and on the formation of the Depart- ment of Decorative and Applied Arts at the Transcarpathian Academy of Arts. Today, the department’s staff relies on the traditions of art education initiated by the Uzhhorod Art and Industrial School, where decorative art has historically been a princi- pal focus of professional training. The article highlights the key stages in the formation of the decorative art school within the broader system of art education in Transcarpathia. It clarifies the prerequisites for the emergence of decorative art and ex- amines the influence of teachers and mentors on its development during the second half of the twentieth century. The creative achieve- ments of scientific and pedagogical staff who laid the foundations for the establishment of the Department of Decorative and Applied Arts at the Transcarpathian Academy of Arts are also characterized.

Andrii Kravets

The purpose of the article is to carry out a theoretical and practical reflection on the clarification of the image mission of art projects of decorative and applied arts of Ukraine, to outline the specifics of their conceptual and semantic meaning in the world art space. The research methodology includes general scientific principles of systematisation and generalisation of the problem under study, which allowed to determine and scientifically substantiate theories, conceptual approaches to understanding the content of the concepts of ‘decorative and applied arts’, ‘art project’, ‘image mission’. The purpose and objectives of the article determined the use of an axiological approach, which allowed to reveal the interdisciplinary nature of the considered theories, to identify personalised scientific positions. The use of the analytical method allowed to identify conceptual principles for further theoretical and practical art historical perspectives in the perspective of studying the mission phenomenon of art projects of Ukrainian decorative and applied arts in their global-local dimensions. The scientific novelty consists in carrying out a theoretical and practical understanding of the main image components of art projects of decorative and applied arts of Ukraine in view of the specifics of their conceptual and semantic content. Conclusions. The image mission of art projects of decorative and applied arts of Ukraine consists in the purposeful representation of Ukrainian art in the international cultural space, the formation of a positive cultural image of the state, cultural representation and is a tool of cultural self-identification and cultural diplomacy. Effectively planned and successfully implemented art projects become ambassadors of Ukrainian art, spreading its unique and inimitable image. Art projects perform a strategic function in cultural diplomacy, form trust and interest in Ukrainian decorative and applied arts. Art projects acquire a special mission during the war, where through artistic images, symbols, and artistic practices they strengthen faith in victory, support morale and contribute to the consolidation of the nation. Art projects fulfil the mission of emotional support, are a source of hope and spiritual support. The image mission is to representatively convey to the world the truth about the war, demonstrating the strength and resilience of Ukrainians.

A. Diachenko

The purpose of the study is to identify the role of decorative and applied arts of Ukraine as a tool of cultural diplomacy in the process of forming the international image of the state. Research methodology. In the course of the scientific study, general scientific methods of cognition were used, in particular, analysis, synthesis, generalisation, comparison, systemic and culturological approaches. The scientific novelty lies in proving the thesis that decorative and applied arts continue to perform the function of preserving ethno-cultural codes, while adapting to the global context through the integration of digital technologies, new materials and design solutions. It has been studied that in the theoretical dimension, cultural diplomacy through art is based on the concepts of soft power, public diplomacy and nation branding, forming a platform for positioning Ukraine as a subject of the European cultural space. It has been shown that decorative and applied arts themselves become an effective tool of cultural communication, since they are able to represent national values through universal symbols. The examples of international exhibition projects ‘Amidst Cries from the Rubble’, ‘Beyond Tradition’, ‘Rushnyky: Sacred Ukrainian Textiles’, ‘Mariia Prymachenko: Paintings on Show in London’ are analysed, which confirm the significant potential of Ukrainian folk art in creating a positive cultural image of the state. Conclusions. It is concluded that through the symbolism of the towel, sunflower and Easter egg ornament, Ukraine broadcasts messages of humanism, resilience and spiritual revival to the world, affirming its own identity even in conditions of war. The results of the study show that the current state of decorative and applied arts in Ukraine is characterised by a harmonious combination of tradition and innovation, which is reflected in the synthesis of folk techniques with the latest artistic searches.

A. Diachenko

The purpose of the work is to highlight and systematise the leading authentic stylistics and techniques of modern Ukrainian artistic and industrial art, as well as to analyse the ways of their transformation under the influence of socio-cultural changes of the independence era. Research methodology. The work uses a comprehensive approach to the analysis of stylistic and technical transformations, which includes culturological, art historical, and comparative analysis. The research is based on an interdisciplinary methodology taking into account postmodern concepts and modern theories of visual culture. Scientific novelty. For the first time, current style trends (neotraditionalism, art deco, art nouveau, baroque, conceptualism) and corresponding artistic techniques in the work of modern Ukrainian artists are systematised. The phenomenon of integration of traditional aesthetics into a globalised visual discourse is revealed. The author’s vision of the evolution of artistic and industrial art in the post-Soviet and postmodern periods is proposed. Conclusions. Modern Ukrainian artistic and industrial art combines the traditions of folk art with a current conceptual search. Key trends include synthesis of utilitarian form with conceptual thinking; intellectualisation of the artistic image; increased attention to environmental issues and themes of identity. Modern stylistic trends are analysed: neotraditionalism (through postmodern symbolism), art deco and secession (with local flavour), baroque (in sacred compositions), conceptualism (as a form of ideological deconstruction). The practical significance lies in the preservation and popularisation of national artistic and industrial traditions in the context of modern art.

Nataliia Benyakh, Ostap Patyk

In the article, the main emphasis is on the development of modern art education in Ukraine and its relationship with the new challenges facing artists-pedagogues in modern conditions. Special attention is paid to higher art education in the field of decorative and applied art, where a number of problems and tasks arise that require immediate solutions. The author emphasizes the vulnerability of such art forms as artistic wood, glass, ceramics, textiles and metal in the context of modern changes and technological influences. Changes in the concept of "decorative and applied art" are reflected in the blurring of boundaries between fine and decorative and applied art, which requires new approaches in art education. The terminological challenges in the modern art of Ukraine are considered. The history of the formation of art education in the western Ukrainian lands and the role of the department of artistic wood at the Lviv National Academy of Arts in the education of future specialists in decorative and applied art are analyzed and considered. The article discusses the challenges facing artists who work with wood and the woodworking industry as a whole in today's environment. These challenges are not only a threat, but also a source of new opportunities for the application of modern technologies in artistic wood. They encourage artists to creatively search for solutions to not only technological, but also figurative aspects of works, opening new perspectives for the development of this material in modern art.

tayebeh hosseinpoor derakhshesh, habib shahbazi shiran, mohammad ebrahim zareei et al.

To convey the content of Lime stuccowork carvings, artists have used encryption and symbolism and designed the carvings in a symbolic and stylized way, transmitting their message to the audience with the simplest design. The research method is descriptive, historical-comparative, which has been done through field investigation and library studies. Research questions are as following: 1. What motifs do the Lime stuccowork decorative elements include and what is the relationship between the motifs and the founders of the bathhouses? 2. From which sources the decorative arrays of the bathhouses are adapted? The results of the research show the employed decorative patterns consist of geometric, arabesque, vegetal, flower and vase, and animal and bird motifs. These decorative elements drew inspirations from nature, ancient beliefs, and archaism. Lime stuccowork has an important place among the decorative arrays of bathhouses. Due to the easy hammering of lime and its use as a resistant building material, it has been used in hot and humid areas of the bathhouse. The peak of this decorative art is related to the Qajar period. The use of plant, geometric and animal motifs, especially the image of birds such as peacocks and birds of paradise, has been used to decorate the main space of the Qajar bathhouses. What can be seen in the decorations of the Qajar era bathhouses is the evolved stage of the Lime stuccowork motifs and decorations of the Safavid and Zandiya periods. Some of the later motifs, such as arabesque and toranj, have evolved, but many others, such as Cedar motifs, lotus flowers, khatai, six feathers, and geometric motifs have their original shape. In addition to the decorative aspect, plant motifs in Qajar period arts are a symbol of omen, blessing, benevolence, fertility, immortality, and permanence of the kingdom. In the Qajar period, we see the growth and spread of images with literary and mythological themes that started from the Zandiyeh period. The presence of elaborate decorations in different spaces of the bathhouse shows the importance and status of the mansion owners. Mythological and symbolic animal motifs have been noticed in the decoration of the bathhouse walls. The use of a peacock in the Moshir Diwan and Sheikh al-Islam baths shows fertility and beauty, and the character of a goat shows being a leader. According to the social status of local judges, the lion is a symbol of power, and the sword in the hands of the lion and the talons of the eagle represent the administration of justice. The role of the lion, sun and sword in the decoration of these baths, as well as the use of balance and symmetry in most of its motifs, is probably related to the position of the builders of the buildings.

Martin Zach, Jiří Tauber, Přemysl Dohnal et al.

Using modern methodologies in the sectors and subareas of industrial design, where they currently find only marginal application, brings a potential for interrelating technology, the arts, and fine arts. To illustrate this, we present model procedures and options for designing a versatile storage cube that integrates magnetic structural components facilitating easy and quick assembly. In addition to being an item of real furniture, portable and readily convertible into a table or soft stool, the cube supports children’s creative games and helps to develop their overall skills in the present-day household and in pre-primary and primary education. The basic material rests in birch plywood, and the joint edges between the individual walls are covered with smooth plastic guards manufactured via additive 3D printing from corn fodder-based filament. Thus, an interesting structural detail, namely, plastic edges, is generated, reinforcing the entire product. The walls comprise decorative, multicolor, polyurethane foam-based elements that can be removed and reinserted. Regarding the manufacturing technology, CNC machining and laser shaping are widely employed on the main parts, and the plastic edges are 3D-printed. In terms of the original idea, the product responds to customer requirements within a specific design project. The robustness and stability tests have proved that the cubes fully satisfy the relevant standards.

Gulrena Mirza

M. V. Galkina

The article examines the historical and cultural aspects of the processes of formation of artistic tradition in Russian decorative and applied arts and folk crafts from the XI to the middle of the XV century. Using the example of outstanding pieces of various types and directions of decorative art, the main periods and stages of the formation of the general stylistics of the masters’ creativity and the ways of spreading similar artistic and figurative solutions are determined. The examples given by the author touch upon issues directly related to the processes of integration of Russian traditional crafts and decorative art with the creativity of Byzantium, Scandinavia, Central Europe and the culture of the peoples of the European part of Russia, which were subjected to the expansion of the Northern Slavic tribes. The author defines the development of the Russian artistic tradition as the active introduction of individual elements and figurative solutions of various sources into the basic Slavic culture, based on the preserved monuments of architecture, art and printed writing. The research is based on the works of archaeologists, art historians and artists, which are fundamental works on the history and theory of decorative and applied arts (A.N. Kirpichnikova, M.A. Orlova, B.A. Rybakov, etc.). A comparative analysis of the current state of certain types of Russian decorative and applied arts, traditional and folk crafts, taking into account the influence of technological transformations on authentic techniques and materials. The author’s conclusions are based on many years of experience in studying decorative and applied arts as a factor in the development of professional competencies of students of art universities and institutions of additional education in the process of becoming independent masters and artists.

N. Mitrofanova

The article is devoted to the construction of the concept of “textile as a type of decorative and applied arts” in Russian art history. An accurate and fully formulated definition helps to build a coherent scientific theory. The need to develop a theory of textiles is long overdue, due to its significant role in the life of society. The difficulties of definitions of textiles as an object of research are related to its interdisciplinary nature and the need to take into account all qualitative characteristics. In the course of the work we analyzed groups of domestic and translated bibliographic sources: reference editions, works of theorists and historians of decorative and applied arts and art textiles. It has been revealed that domestic publications have not yet formulated a universal concept of textile, which would reflect its essential qualities. The methodological argumentation, with the help of which definitions are constructed, has not yet been applied to textiles as a type of decorative and applied arts. In order to form a universal concept, we propose to turn to the proven methodological tools of the method of two-level triadic decoding of categories of the theory of dynamic information systems, which has already shown its heuristics in different fields of knowledge. Identification, comprehension and structuring of fundamental aspects of textile as a kind of decorative and applied arts in the course of consistent application of this method allowed us to formulate the following definition: textile as a kind of decorative and applied arts in the format of dynamic information system is an object or a set of objects of a certain purpose (utilitarian, symbolic, decorative), made of fiber (natural, artificial, synthetic) by means of technology (manual, industrial). The full definition of the category expands and deepens the formal-logical definition that existed earlier in the scientific literature. The present study allowed not only to construct a conceptual apparatus, but also to identify the main categories of the definition, to designate the elements and subsystems of the phenomenon for a more detailed study and formation of the theory of textiles.

Qureshi Saadi Ahmed saeid

It is known that visual art is the art that is capable of making the spectator turns from state to another. Cinema is considered one of the most powerful and effective visual arts, and it has the ability to influence and persuade.In the beginning, in the field of visual effects cinema depended on traditional and simple methods that commensurate with the culture of the spectator at this time, then the technical progress was clearly and rapidly followed in the technological fields that helped to apply all kinds of optical illusions, which greatly contributed to change the shape and content of the movie."The art of Makeup” is considered one of the most important branches of optical illusions.Where it comes to mind that the art of makeup is only related to beautifying artists and hiding facial flaws to show them brilliantly, but the truth is that the art of makeup is the art of changing the appearance of the real face of the actor in a way that suits the character he performs, by using powders, colors….etc., to create certain facial features required to express the character or to be reincarnated.In addition to its application by many people to attend various artistic and masquerade events, and we often notice many people are using it in daily life, and they are often teenagers.Also cinematic makeup can deliver any kind of information to viewers without using words or wasting time, make-up in dramas differs from ordinary make-up, as it is subject to study as a self-stand art, because make-up has to be compatible with bright lighting, decorative angles and accessories.This type of art has become a pillar that specialized institutes are opened based on it, where young talents who found inspiration in cinematic works and other arts to paint them on faces and bodies using various colors and accessories could be contained, so that this type of art opens doors in front of their imagination to be creative and show their ideas no matter how strange and crazy it seems.

C. Emilia

Introduction Considering the development of this study, we selected cases where art therapy played a central role in the educational/therapeutic process. Studied 130-150 cases per year on average, for 25 years (1996-2021), including children and adolescents aged between 2 and 18 years of both sexes, different social backgrounds in terms of housing, culture, and education: education/ clinical art therapy ( Mental Health Center for Children and Adolescents ward of the Cluj-Napoca Children’s Emergency Hospital) and non-clinical education/art-therapy. The activities also have components of artistic creation, research, and teaching with students, within the disciplines “Art therapy in institutional contexts” and “Artistic play and experiment in group dynamics”, within the University of Art and Design section Pedagogy of Plastic and Decorative Arts from Cluj-Napoca Romania. The results are published at the international and world congresses to which we were invited together with the practitioners under supervision. Objectives The aims of occupational therapy, which include art therapy and play therapy, are to facilitate the use of creative process and symbolic communication, associated with narrative and imitation, to develop new ways of communication, self-expression and seeing things. Methods We use materials and techniques that are specific to visual arts (painting, sculpture, graphic, multimedia, photography, film, animation, and digital media), but also traditional ones, specific to tridimensional arts, such as pottery wheels and sculptural modeling. Activities are structured according to the following dimensions: • The making of art or the production of other crafts resembles a situation test • The analysis of the products allows the beneficiaries to attain a certain level of introspection and to “work through” their problems in constructive manner • The execution of an operation requires sensory, cognitive, and affective intervention; • Psychological dimensions, which include the individual’s intrinsic need for self-improvement, for obtaining competence and self-knowledge; • The socio-cultural and symbolic dimension of the act; • The spiritual dimension, related to the meaning of the occupation for the individual; • The temporal dimensions of the occupation (referring to the time or period of time required for recovery). Results By interacting with these factors, the individual gets to know his own potential and limits, but also those of the environment in which he lives. Image: Image 2: Conclusions An equidistant trialogue and circular relations between art, religion and science, without any specific supremacy, is created, which can offer from the start the possibility of lasting harmonizations, of informational transfers and professional enhancements that support developments, ennobling the human being through positive reorientations and beneficial recoveries. Disclosure of Interest None Declared

M. Baş, Funda Özpulat, Birsel Molu et al.

BACKGROUND Nurses use their critical thinking skills and creativity to solve complex problems. Nursing students should access effective and appropriate educational materials to develop critical thinking skills and creativity. OBJECTIVE This study investigated the effect of the "decorative arts" course on nursing students' creativity and critical thinking dispositions. METHOD The study was conducted in the nursing departments of two universities between May 2021 and December 2021. The sample consisted of 141 nursing students. Data were collected using a sociodemographic characteristics questionnaire, the Critical Thinking Disposition Scale (CTDS), and the Marmara Creative Thinking Dispositions Scale (MCTDS). RESULTS Fourth-year students had a significantly higher mean CTDS score than third-year students (p = 0.009). Participants who took the "decorative arts" course for two semesters had a significantly higher mean CTDS score than those who took it for one semester at most (p < 0.05). CONCLUSION The "decorative arts" course helped nursing students develop critical thinking skills and creativity.

S. Aytıs