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1
Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (March 2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Litwicki, Ellen. "From the “ornamental and evanescent” to “good, useful things”: Redesigning the Gift in Progressive America." Journal of the Gilded Age and Progressive Era 10, no. 4 (September 28, 2011): 467–505. http://dx.doi.org/10.1017/s1537781411000326.
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This article examines the transformation of American gift giving in the early twentieth century, using prescriptive and trade literature, as well as individual stories. This transformation occurred within the context of the transition from a Victorian to a modernist ethos and from a production to a consumption orientation. Changes in gift-giving practices were shaped by Progressive Era hygiene and home economics reformers and by aesthetic movements such as Arts and Crafts and interior decoration. Gift reformers divorced the gift from the Victorian ideal of ornamental and sentimental items, asserting that a gift's beauty lay in its functionality. This transformation fostered a second shift in the ideology of the gift. Rather than the giver's knowledge of and sentiment toward the recipient determining gift selection, the recipient's needs and desires increasingly dictated the choice. The gift thereby became more consumer-oriented. This change paved the way for the gift registry, which provided a commercial forum where prospective gift recipients could list their preferences.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.
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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.
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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.
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<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Goodwin, Amy. "Signwriting: Ornament as visual language ‐ communicative decoration." Journal of Illustration 6, no. 1 (August 1, 2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.
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This article argues for the use of decorative signwriting as both ornamental and communicative. This examination will be twofold: first, a series of images of twentieth century signwriting in the fairground industry will be offered to this argument: all signwriting is purposefully applied, as decoration, in order to communicate, but unpicking the visual styles will unveil the hidden meanings, expanding the communicative intentions. Secondly, works of signwriting produced and installed as an archive as illustrated space will be dissected to expand on the argument being made. The archive as illustrated space is a framework being theoretically structured and then applied in practice within my Ph.D. enquiry. It advances the theories and workings of both the archive and artistic archive: the space facilitates the collation of dubious and disputed narratives, alongside archival fragments: told through communicative signwriting, it demands the participation of the viewer in its installation. Using the methodology of this practice-led research will contribute to confirming how the application of a visual language to signwriting enables the production of works that are both ornamental and communicative.This argument has been formed, primarily, due to my informed fairground position: embedded within fairground heritage my upbringing has established an appreciation for its rich history, which is reflected in my practice, which blends traditional signwriting and illustrative storytelling. This informed fairground position, combined with my Ph.D. enquiry, enriches the analysis and understanding of the practice-led research within the realm of this article: offering a valuable opportunity to not only comment on the historical works presented, but also to showcase an exploration of how to apply this visual production to contemporary, installation situations.
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.
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The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Bzhahov, M., and A. Sultanova. "THE USE OF THE NATIONAL ORNAMENT OF THE KABARDINS AND BALKARS AS ARCHITECTURAL DECORATION OF FACADES OF BUILDINGS." Construction Materials and Products 2, no. 4 (June 27, 2020): 79–83. http://dx.doi.org/10.34031/2618-7183-2019-2-4-79-83.
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the article presents the results of research on the use of the national ornament of the Kabardins and Balkars as an architectural decoration of facades of buildings, contributing to the increase of architectural and artistic expression of facades of buildings. Classification of the national ornament of the Kabardins and Balkars is given, stylized schemes of the national ornament are considered and variants of their placement on facades of buildings as an architectural decor are offered.
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Horton, Sarah. "Serial killers? Investigating some modernist myths about decoration, pattern and ornament through workplace interventions." Journal of Illustration 6, no. 2 (December 1, 2019): 305–25. http://dx.doi.org/10.1386/jill_00016_1.
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Abstract What is it about ornament that made it so contentious for influential modernist thinkers and practitioners such as Adolf Loos and le Corbusier? According to Loos it was a sign of degeneracy and for le Corbusier best suited to 'simple races, peasants and savages'. By championing the use of ornament as a vital tool for 'resistance' in the sense that Michel de Certeau used the word the practice-led research featured in this article seeks to interrogate some of these myths. Rather than being a passive adornment to an environment the visual artworks presented here tested the potential of decoration and ornament to offer a resistive, critical interruption to everyday spaces. The particular space addressed was that of the workplace, with bespoke artworks being made for three different work-related locations.
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Kim, Hoon-Hui. "The transition and meaning of the ceremonial ornament with bird-shaped thorn(有刺괿器) from Marisan ancient tombs in Haman region." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 33–57. http://dx.doi.org/10.47417/yar.2018.82.33.
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The Malisan ancient tombs in Haman region are the most important sites, as the center of Allakuk(安羅國), in the study of Gaya. In this study, the ceremonial ornament with bird-shaped thorn(有刺利器) excavated from the Malisan tombs were examined. In the analysis of the ceremonial ornament, It attracts attention to the most distinctive part of the bird-shaped decoration. It is largely classified into the old and the new style. It is set to five types of old style and three types of new style. The old and new style differ in appearance and disappearance. The set pattern is observed to change gradually from the early period to the late period. The duration is divided into five stages from the beginning of the 5th century to the beginning of the 6th century. The scale of the wooden chamber tombs and stone chamber tombs and the main artifacts were examined, and the hierarchy was classified. The ceremonial ornament shows the hierarchical feature that is buried only in the middle grave and above. From the time of the emergence until the extinction period, the position as a superior relics was maintained. The position to be buried is changed. Artifacts what was buried near the body, it changes to the form to be placed on the vice chamber or top of the main in the late period. The ceremonial ornament excavated from the Malisan tombs is confirmed a close connection with the Gimhae region in the 4th century. The bird-shaped decoration on back of the armor excavated from the Daeseongdong No. 2 tomb is very similar to that of the earliest period in the old style of the Malisan s ceremonial ornament. From the previous period, the image of the bird-shaped decoration were identified in various artifacts as an important notion of farming rituals, worship of the sky and sun, and ceremonial rituals. It can be seen that the building group of the Malisan tombs placed the ceremonial ornament that has a symbolic meaning on the grave with a high hierarchy continuously.
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Liu, Jun, and Yu Guo Zhuo. "Green Theory Research on Indoor Air Pollution by Overall Process Controlling." Advanced Materials Research 356-360 (October 2011): 1719–22. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1719.
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New green theory is put forward that indoor air pollution is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor air quality becomes important more and more. According to the concept of healthy house to control indoor air pollution through four steps that are green interior design, selecting environmental materials, green decoration and green ornament safe, healthy and environmental green home could be realized.
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Hedges, Susan. "Interior Decoration to Exterior Surface: The Beleaguered Relief." Interiority 2, no. 1 (January 30, 2019): 79–93. http://dx.doi.org/10.7454/in.v2i1.45.
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Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge.
This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior.
Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.
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Riisberg, Vibeke, and Anders Munch. "Decoration and Durability: Ornaments and their ‘appropriateness’ from fashion and design to architecture." Artifact 3, no. 3 (December 16, 2015): 5. http://dx.doi.org/10.14434/artifact.v3i3.3918.
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<p>Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design it is discussed as a Return of ornament, because the aesthetics of Modernism banned ornamentation as ‘inappropriate’ to materiality, construction and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design, where the ‘right’ kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who lead the fight against ornament in early 20<sup>th</sup> century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that points out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and links ornamentation to the aesthetics of durability.</p>
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Liu, Jun, Yu Guo Zhuo, and Jin Xiang Ma. "Research on Indoor Environment Pollutants and Controlling." Applied Mechanics and Materials 178-181 (May 2012): 251–53. http://dx.doi.org/10.4028/www.scientific.net/amm.178-181.251.
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The sources and harm of indoor environmental pollutants was described and a new green theory is put forward that indoor environment pollutants is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor environment quality becomes more and more important. According to the concept of healthy house to control indoor environment pollutants through five steps that are green interior design, selecting environmental materials, green decoration, green ornament and green fresh air, and healthy and environmental green home could be realized.
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Rinaldi and Azmi Dwi Seffiani. "RAGAM HIAS NISAN KOMPLEKS PEMAKAMAN RAJA KOTALAMA, KABUPATEN INDRAGIRI HULU, PROVINSI RIAU." Berkala Arkeologi Sangkhakala 22, no. 1 (January 25, 2020): 45. http://dx.doi.org/10.24832/bas.v22i1.397.
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The cemetery of the King Kotalama complex is the Indragiri royal burial complex of the islamic-style period of Narasinga II. This study focused on the type of ornament that developed in the burial complex of the king of Kotalama. Decoration can provide information about the development of art culture during the reign of Narasinga II. The method used to answer these problems is through morphological analysis and stylistic analysis, in order to find out the types of decorations. The developing decoration shows that the community acculturates the old culture and the new culture. The ornamental variety consists of flora, geometric and calligraphy.
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Lebedeva, Yulia A. "The Ornament on Jewelry of the Siberian Tatars (on Materials of Archeology and Ethnography)." Herald of Omsk University. Series: Historical Studies 7, no. 4 (28) (December 28, 2020): 140–50. http://dx.doi.org/10.24147/2312-1300.2020.7(4).140-150.
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The article describes the decoration and ornamentation of two groups of Siberian Tatars - Baraba and Tara Tatars. As sources are considered jewelry of the 17th - 20th centuries, received in the funds of museums as a result of ethnographic and archeological researches. Special attention is paid to technical methods of performance, motifs, compositional techniques and types of ornament.
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Hoogslag, Nanette. "Decriminalising Ornament: The Pleasures of Pattern: The sympathy of illustration." Journal of Illustration 6, no. 1 (August 1, 2019): 9–32. http://dx.doi.org/10.1386/jill_00002_1.
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This article reflects on the research exhibition Decriminalising Ornament: The Pleasures of Pattern held in the Ruskin Gallery in Cambridge in November 2018 in conjunction with the International Illustration Research Conference of the same name. It considers the role of ornament and decoration in the exhibited works and through this the essential presence of the decorative within illustration.Key is Lars Spuybroek's concept of sympathy, which he develops based on a premodern understanding of ornamentation. In response to Spuybroek's exploration of this concept, this article seeks to extend the notion of sympathy as an essential presence within illustration. Sympathy indicates a human-material relationship not just between the illustrator and the creative materials, but also in the readers connection with this decorative act in the reproduced illustration.
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Lungu, Antonela, Antonius Androne, Lidia Gurău, and Camelia Coşereanu. "Simulating traditional textile heritage motifs by applying CAD-CAM-CAE tool for furniture decoration." MATEC Web of Conferences 343 (2021): 04012. http://dx.doi.org/10.1051/matecconf/202134304012.
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As an interaction of multiple domains including design, the furniture industry may valorise in furniture ornamentation the traditional motifs, and could encourage the creativity of designers to develop original products with a modern design, based on the digitalized technology. The article presents an example of applying CAD-CAM-CAE tools for analysing the possibility of transposing traditional motifs from the textile heritage to the furniture decoration, and to select the appropriate CNC routing method and tool in order to obtain an ornament as close as possible to the original one. Traditional motifs (rose, tulip, bird, North Star) selected from the textile heritage of Ţara Bârsei - a historical and ethnographic region of Transylvania - were drawn in a digital format, using CorelDraw and AutoCAD programs, and then imported for a simulation of CNC routing process on wooden materials, using the software vCarvePro 9.519 developed by Vectric, with two types of tools and two processing methods, namely engraving (Engrave) and carving (VCarve). Following the simulation and the analysis of the obtained images, both visually and by ImageJ software, it was assessed which method is suitable for each ornament, considering also the processing times indicated by the simulation process of the models.
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Lungu, Antonela, Mihai Ispas, Luminiţa-Maria Brenci, Sergiu Răcăşan, and Camelia Coşereanu. "Comparative Study on Wood CNC Routing Methods for Transposing a Traditional Motif from Romanian Textile Heritage into Furniture Decoration." Applied Sciences 11, no. 15 (July 22, 2021): 6713. http://dx.doi.org/10.3390/app11156713.
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This paper presents experimental research on the Computer Numerical Control (CNC) routing of a traditional motif collected from Ţara Bârsei (Transylvania region) using two methods, namely, engraving (Engrave) and carving (V-Carve). The analysis of the CNC router processes includes the calculation of the path lengths, an assessment of the processing time and wood mass loss, and an evaluation of the tool wearing by investigating the tool cutting edge on a Stereo Microscope NIKON SMZ 18 before and after processing the ornament on wood. An aesthetic evaluation of the ornament routed on wood, using both the engraving and carving methods, is also conducted, whilst a microscopic analysis of the processed areas highlights the defects that occurred on the wood surface depending on the tool path.
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Adams, S. "Ornament: a modern perspective * Rethinking decoration: pleasure and ideology in the visual arts." Journal of Design History 19, no. 1 (January 1, 2006): 88–90. http://dx.doi.org/10.1093/jdh/epk008.
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Bourke, Cormac, Thomas Fanning, and Niamh Whitfield. "An Insular Brooch-Fragment from Norway." Antiquaries Journal 68, no. 1 (March 1988): 90–98. http://dx.doi.org/10.1017/s0003581500022502.
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A silver-gilt ornament of Insular origin from a Viking age burial in Norway is here identified for the first time as the pin-head of a ring brooch of pseudo-penannular form. The decoration and typology of the pin-head are discussed in relation to Insular metalwork, and its iconography is considered in the context of Early Christian art. The pin-head and an associated ringed pin are dated to the eighth or ninth century.
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Wróblewska, Wioletta, Łukasz Kopiński, Dariusz Paszko, and Joanna Pawlak. "Unijny eksport i import roślin ozdobnych – zmiany w ujęciu rodzajowym i geograficznym." Zeszyty Naukowe SGGW w Warszawie - Problemy Rolnictwa Światowego 18(33), no. 1 (March 1, 2018): 319–30. http://dx.doi.org/10.22630/prs.2018.18.1.29.
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The aim of the article was to analyze the changes in the value of EU foreign trade in ornamental plants in 1999 and 2014 in generic and geographical approach. Intra-EU trade, and the EU with European countries outside the Community, and Africa, the Middle East, North America, Latin America, and other regions of the world have been taken into account. The analysis covered the export and import of ornamental plants in total and seven groups of floricultural products. The balance, level and dynamics of changes of individual groups of ornamental plants in EU trade were analysed by taking into account the geographical structure of trade. The fixed base index and percentages were used. The foreign trade in ornamental plants of the EU is characterized by the principle of geographical proximity. The main supplier of decorative plants in the EU remains The Netherlands, and the main recipient of ornamental plants from the EU, but of decreasing importance, was Germany. In the EU's foreign trade with other regions of the world, the role of Africa grew as a supplier of mainly cut flowers and seedlings, it diminished the role of North and Latin America as suppliers of mainly cut greenery. Significant recipients of flower bulbs were North America and Asia.
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., Mirza Prastyo, Dr Drs I. Ketut Supir, M. Hum ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "Omprok Gandrung Banyuwangi." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (March 27, 2018): 27. http://dx.doi.org/10.23887/jjpsp.v7i1.13630.
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Penelitian ini bertujuan untuk mendeskripsikan: (1) Alat dan bahan dalam pembuatan Omprok Gandrung Banyuwangi (2) Proses pembuatan Omprok Gandrung Banyuwangi (3) Ornamen Omprok Gandrung Banyuwangi (4) Makna Ornamen Omprok Gandrung Banyuwangi. penelitian ini merupakan penelitian deskriptif kualitatif. Sasaran adalah Omprok (Mahkota) Penari Gandrung dengan memilih Sutrisno, Suwari, Eko Susanto dan Sayun Sisiyanto sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) Observasi, (2) wawancara, (3) Dokumentasi, dan (4)Triangulasi, serta menggunakan Analisis Taksonomi Domain.
Hasil temuan dalam penelitian ini adalah: (1) alat dalam pembuatan Omprok Gandrung Banyuwangi dibagi menjadi dua kelompok, yaitu alat pokok berupa pahat, kuas, jarum, pisau, tindhih dan alat bantu pensil, batu asahan, penggaris. Bahan utama yang digunakan kulit sapi, spon matras. (2) Tahapan proses pembuatan Omprok Gandrung Banyuwangi, yaitu proses pemahatan, proses pewarnaan, proses pembuatan Kuluk, dan proses pembuatan hiasan yang terdiri dari Kembang Goyang, hiasan Gombyok, hiasan Pilis Stenlis, dan hiasan kaca. (3) Ornamen yang ada pada Omprok Gandrung Banyuwangi, yaitu Ornamen pilisan yang terdiri dari bidang pola pilis depan, pilis tengah dan pilis atas, Ornamen wayang Gatutkaca, Ornamen Gajah Uling, Ornamen Tebokan yang terdiri dari pola gunungan dan sabuk gombyok. (4) Makna dari Hiasan dan Ornamen Omprok Gandrung Banyuwangi yaitu bahwa pemimpin dan masyarakat yang mempunyai norma-norma sosial untuk bekerjasama mengatur wilayah Banyuwangi sebagai bentuk puji syukur kepada mahabesar akan anugrah yang diberikan.Kata Kunci : Kata kunci: Omprok, Gandrung, Banyuwangi. The research aimed to describe about, (1) the tools and materials in making Omprok Gandrung Banyuwangi, (2) the process of making Omprok Gandrung Banyuwangi, (3) ornament of Omprok Gandrung Banyuwangi, and (4) the meaning of Omprok Ornament Gandrung Banyuwangi. This study used a qualitative descriptive research. The subject of this study was Suwari, Eko Susanto, and Sayun Sisiyanto as the resource person to know making Omprok (crown) of Gandrung dancer. The collection of data in this study was performed with the techniques of: (1) observation, (2) interview, (3) documentation of (4) triangulation, and use the analysis domain taxonomi.
The results of this study were (1) the tool of making Omprok Gandrung Banyuwangi divided into two groups a staple tool in the from of the chisel, brushes, needles, knives, tindhih and pencil tools, grindtones, stones, of a ruler. the main ingredient use cow leather, sponge mattresses. (2) The stages of making Omprok Gandrung Banyuwangi process which were the process of carving, coloring process, Kuluk making process, and decoration process consisting of Kembang Goyang, Gombyok ornament, Pilis Stenlis ornament, and glass decoration. (3) Ornaments in exist of Omprok Gandrung Banyuwangi were the pilisan ornament that was consisting of the pattern of front pilis, middle pilis and upper pilis, Gatut kaca ornaments, Ornament Gajah Uling, Ornament Tebokan consisting of gunungan and belt gombyok. (4) The meaning of embellishment and Omprok Gandrung Banyuwangi ornaments, namely the leaders and communities who had social norms to cooperate regulating the Banyuwangi region as a form of praise to the enormous as the grace given to us.keyword : Omprok, Gandrung, Banyuwangi.
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Meggers, Betty J. "Advances in Brazilian Archeology, 1935-1985." American Antiquity 50, no. 2 (April 1985): 364–73. http://dx.doi.org/10.2307/280494.
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Although Brazil occupies almost half the continent of South America, its archeology attracted little interest until recently from either nationals or foreigners. This is attributable to the characteristics of the remains. There are no buildings of stone, tools and ornaments of metal, or elaborate artifacts of cloth, wood, and bone. Except along the Amazon, pottery is not noted for its aesthetic qualities; even there, complete vessels with well preserved decoration are scarce. Shell middens along the southern coast are spectacular in size but deficient in cultural content. Other sites are predominantly shallow middens containing fragments of pottery, or flakes and minimally shaped tools of stone.
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Biddulph, Michael. "Moughtin, Cliff, Oc, Taner and Tiesdell, Steven, "Urban Design: Ornament and Decoration" (Book Review)." Town Planning Review 67, no. 2 (April 1996): 245. http://dx.doi.org/10.3828/tpr.67.2.d71288x86162684u.
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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.
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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.
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Michałowski, Andrzej, and Andrzej Sikorski. "Ornament sznurowy na ceramice ludności kultury amfor kulistych z Poznania-Nowego Miasta (stan. 314)." Folia Praehistorica Posnaniensia 13 (November 1, 2018): 175–85. http://dx.doi.org/10.14746/fpp.2005.13.13.
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The article discusses a corded decoration on pottery from the Amphorae Globular Culture seasonal camp. Analysis of impressions on the pot outer surfaces revealed that this characteristic motif was produced by a simple textile template. Fragments of a five-stranded cord (S/3S/2Z) - certainly not a two-stranded one - were sewn on a net 'band' (item of a sprang type). This technique guaranteed a precise layout and space between particular impressions (ca. 2 mm each) on a soft amphorae (?) surface irrespective of an angle of ornament placements and decorative element joints.
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Lyman, R. Lee. "North American Paleoindian Eyed Bone Needles: Morphometrics, Sewing, and Site Structure." American Antiquity 80, no. 1 (January 2015): 146–60. http://dx.doi.org/10.7183/0002-7316.79.4.146.
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AbstractEyed bone needles have been recovered from Paleoindian sites over the last 70 years. Specimens 13,100–10,000 calendar years old average 1.81 ± .58 mm in diameter, similar to 2500–1000 year-old specimens in the Aleutians which average 1.67 mm in diameter. Use of industrial steel needles and experiments with replicated bone needles indicate the broken eyes and mid-length fractures of Paleoindian bone needles are the result of use. Some specimens said to be Paleoindian eyed bone needles are ≤ 3 mm in diameter and likely represent behaviors distinct from those with diameters ≤ 2.9 mm. Many smalldiameter needles have been recovered from sites that also produced ornaments. Small-diameter Paleoindian needles may have been used to attach decorative items to clothing; decorative items could have served as identity icons as human groups became sedentary and established home ranges a few centuries after colonization. Paleoindian residential sites that have produced multiple specimens of small-diameter needles reveal clustering of needle specimens in limited areas, and Varying degrees of association with hide-preparation and needle manufacture and maintenance tools such as gravers, scrapers, and awls. Paleoindians, like some ethnographically documented people and some industrial-age people, had sewing specific activity loci.
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MAHARLIKA, FEBRY. "STUDI MULTIKULTURAL PADA ORNAMEN BALI PEPATRAAN: PATRA CINA." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 67. http://dx.doi.org/10.28932/srjd.v2i1.478.
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Ornaments are one of the decorative elements that can not be separated from Balinese culture. In addition to decoration, ornaments also contain philosophical content, especially for Hindus in Bali. One type of Balinese ornament is well known is pepatraan. Pepatraan applied to traditional Balinese building by sangging creativity, also obtained from acculturation result between a local culture with other culture that came to Bali, one of them is patra china. Patra china can be found in traditional Balinese buildings as a decorative element placed among other Balinese ornaments. This study describes one of the local cultural products formed by the influence of other nations. A Form of Patra china is described with qualitative interpretative method then attributed to traditional Indonesian archetype. This study also described the history of Patra China, which allegedly originated from China. From the analysis of the form and history of the Patra china, it is concluded that the Patra china is a patra whose basic pattern refers to the pattern of the traditional form of Indonesia, but takes the form Flower Shoes originating from China. The benefit of this research is to developing knowledge about the values contained from patra china ornament as a traditional artwork which created from the process of acculturation of Balinese and Chinese culture. Keywords: Bali; multicultural; ornament; patra china
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Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.
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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft materials of late 19th - the 1980s, wooden objects of the first half of the 20th century. In some cemeteries of the Nogai District of the Dagestan Republic, carved stone sepulchral stelae (‘syntas’) of the19th - 20th cc. were studied. Two authors albums with traditional Nogai ornaments, unique stencils made of white paper and used as a silhouette base of patterns in felt carpets (‘kiyiz’) and for decoration of clothes, head-dresses, tobacco pouches, shoes, pillows, and blankets were revealed during the field studies and recorded. During the research, all the revealed objects of the Nogai decorative and applied art with traditional ornament were photographed, their detailed inventory and large-scale sketches were made. The stencil patterns and drawings from the albums were copied. As a result of the researches in 2014 - 2016, a database of the Nogai folk ornament has been replenished with 942 objects and 1102 kinds of stencils and drawings.
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San Juan, Rose Marie. "The Function of Antique Ornament in Luca Signorelli’s Fresco Decoration for the Chapel of San Brizio." RACAR : Revue d'art canadienne 12, no. 2 (1985): 235. http://dx.doi.org/10.7202/1073675ar.
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Frese, Pamela R. "Artifacts of gendered space: American yard decoration." Visual Anthropology 5, no. 1 (January 1992): 17–42. http://dx.doi.org/10.1080/08949468.1992.9966576.
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Danbury, Elizabeth A., and Kathleen L. Scott. "THE PLEA ROLLS OF THE COURT OF COMMON PLEAS: AN UNUSED SOURCE FOR THE ART AND HISTORY OF LATER MEDIEVAL ENGLAND, 1422–1509." Antiquaries Journal 95 (September 2015): 157–210. http://dx.doi.org/10.1017/s000358151500044x.
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The court of Common Pleas was one of the most important courts in the English legal system for more than 600 years, until its abolition by Act of Parliament in 1873. The cases heard before this royal court were civil disputes between the king’s subjects, often relating to land, inheritance and debts. The purpose of this paper is to introduce readers to the ornament and imagery that appeared on the headings of the main records of the court of Common Pleas between 1422 and 1509 and to explore the origins and contemporary context of the images and representations employed by the clerk-artists who wrote and decorated these headings. The decoration they chose ranged from simple ornament to representations of plants, birds, animals and people. Great emphasis was placed on the role of the sovereign as the fount of justice, and this emphasis was reinforced by the incorporation of words and phrases, acclamations and verses from the Psalms chosen to underline the majesty and power of successive monarchs. The illustrations provide an important insight into the art, history and politics of late fifteenth-century England.
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Laksitarini, Ike Niken, Yan Yan Sunarya, and Chandra Tresnadi. "PARE'S VISUAL ADAPTATION AS KARAWANG’S BATIK DECORATION." VISUALITA 8, no. 1 (August 10, 2019): 25–38. http://dx.doi.org/10.33375/vslt.v8i1.1778.
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Batik is one from of art and has become an acon of Indonesian indigenous culture and Batik Karawang is one of them. Its exixtence is not yet as popular as batik from other regions. However, several efforts have been made by cultural observer Karawang Regency and related agencies in introducing and developing Batik Karawang. Geographically, Karawang Regency is an area that has extensive agricultural land. Even though it is a coastal area, the agricultural land in Karawang Regency is an area that is able to produce good quality rice, this is because Karawang Regency is located adjacent to the Citarum River which functions to irrigate all agricultural land in Karawang Regency. So it is not surprising that the batik ornaments created are dominated by rice plants or bitter melon as the main decorative variety. Pare in Indonesian means rice, while sagendeng means one tie. The use of ornamental names that refer to the natural and cultural elements of the Karawang district has symbolic meaning that refers to the ideas and expectations of the local community for good. From the results of the study obtained a relationship or relationship that the aesthetic elements contained in the Karawang Batik decoration is a form of visual adaptation (culture) of Karawang regency society which is correlated with the discovery of the name kekembangan on Sundanese terms found in Lalakaon ti Karawang script. This study aims to unravel the form of adaptation to the Pare ornament. This research is expected to provide insight for the general public regarding the existence of Batik Karawang so that it can develop the potential and economy of UMKM (Usaha Mikro Kecil dan Menengah) on Karawang regency. The type of research used is qualitative research with a descriptive approach. From the results of the study it was found that most of the basic patterns of Karawang Batik motifs were ridiculous. Ceplokan is one of the batik motifs which consists of repetition of the ceplok pattern unit so that as a whole it forms a single unit.
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Afrianto, Damar Tri. "Ornaments as a tourist attraction at the King Binamu Tomb Complex in Bontoramba District, Jeneponto Regency." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 3 (September 25, 2020): 366–75. http://dx.doi.org/10.34050/elsjish.v3i3.11012.
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The existence of ornament which adorns almost the entire walls of the tomb functions as decorative or symbolic. Ornamen provided information about the life of Raja Binamu when he was still victorious. The analysis is described in a descriptive qualitative manner with an interpretive approach. The discussion is described based on problems related to how the ornament is able to be an attraction of visitors or tourists. The scavenger began by analyzing the ornament in the tomb with Thomas Murno's ornamental composition theory which was developed in Guntur, according to Murno, organizing the composition in art works in this case there were four models of ornaments, namely: composition based on expediency, composition based on representation, composition based on expository, and thematic based composition. It also uses concepts that are based on tourism science strategies. The results obtained in the form of an understanding that the ornaments there contain two understandings, namely ornamentation as a decorative element, namely the presence of thematic repetition ornaments such as parengreng flower motifs. The symbolic ornaments explain the life and activities of kings during his life and have a moral message. Related to its potential as a tourist attraction, the presence of ornaments needs an understanding and image strategy in the form of 1) bringing up ornaments or ornaments in each of the promotional media, 2) providing information about the types of decoration or ornaments in books (booklets) tourist guides and 3 ) creating merchandise taken from ornamental motifs in the Raja Binamu tomb complex
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Brown, Douglas. "Ornament and Decoration in Islamic Architecture2001169Dominique Clévenot, Gérard Degeorge. Ornament and Decoration in Islamic Architecture. London: Thames and Hudson 2000. 224 pp, ISBN: 0 500 51032 6 £28.00 Originally published as écors d’Islam d.Citadelles & Mazenod, Paris." Reference Reviews 15, no. 3 (March 2001): 37. http://dx.doi.org/10.1108/rr.2001.15.3.37.169.
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Mammaev, M. M. "SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 54–73. http://dx.doi.org/10.32653/ch13454-73.
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This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.
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Pane, Imam Faisal, and Ribka A. Sianipar. "THE INFLUENCE OF NIEUWE BOUWEN ARCHITECTURE ON DUTCH COLONIAL BUILDING IN MEDAN CITY." DIMENSI (Journal of Architecture and Built Environment) 45, no. 1 (July 31, 2018): 37. http://dx.doi.org/10.9744/dimensi.45.1.37-44.
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Nieuwe Bouwen Architecture came and involved in Indonesia is carried by the young Dutch architects, also influenced Dutch colonial building in Indonesia to include Medan city. This study aims to determine what kind of Nieuwe Bouwen that control Dutch colonial buildings in Medan and find the form of the authority. This study used the qualitative method. There are 6 (six) aspects studied in this research that is the dynamic form; expressive ornaments; the building has a tower; nonstructural elements; glass, steel, and concrete materials; elements of air, light, and space. Analysis results show that PD Pasar Office Medan, Paradiso Swimming Pool, and Mandiri KC Medan City Hall Bank are influenced by Nieuwe Bouwen expressionism. Besides that, the form of expressionism on PD Pasar office Medan are of the curved shape of the building, unique, the expressive ventilation has the ornament and decorative element on its facade. As well as Paradiso swimming pool has curved shape, decoration and decorative element on its façade and tower. While at Mandiri KC Medan Cityhall bank, there is the geometric decoration, decorative element, and balcony also tower have expressive shape.
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Popovic, Ivana. "Gilt fibula with Christogram from imperial palace in Sirmium." Starinar, no. 57 (2007): 101–12. http://dx.doi.org/10.2298/sta0757101p.
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The foot of gilt bronze fibula was discovered in 2005 during archaeological investigations of locality 85 in Sirmium, that is assumed to have been the remains of the imperial palace. Ornament on the foot enclosed within rectangular field is executed in the niello technique. End of the foot is bent at the right angle and the Christogram is engraved on it with Greek letters alpha and omega engraved above its side arm. The preserved part of fibula makes possible reconstruction of its appearance and attribution to the group of massive bronze crossbow fibulae, which were produced in the second half of the 4th century and characterized by decoration consisting of gilding, niello, Christogram motif and/or the busts of young men in medallions.
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Tibbe, Lieske. "De Leer van het ornament: Versieren volgens voorschrift, 1850-1930, (The Theory of Ornament: Decoration by the Book, 1850-1930), in Dutch with English summary. Mienke Simon Thomas." Studies in the Decorative Arts 6, no. 1 (October 1998): 127–31. http://dx.doi.org/10.1086/studdecoarts.6.1.40662670.
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Мельник, Л. М., А. С. Конотоп, and О. П. Кизимчук. "ЗАСТОСУВАННЯ ТРАДИЦІЙНИХ НАЦІОНАЛЬНИХ ЕЛЕМЕНТІВ ОЗДОБЛЕННЯ В СУЧАСНОМУ ОДЯЗІ." Art and Design, no. 2 (June 15, 2018): 51–58. http://dx.doi.org/10.30857/2617-0272.2018.2.6.
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The purpose of this work is to establish the possibility of the decorating of modern women's clothes with artistic elements and ornaments of traditional national clothes of Ukraine different regions and their subsequent reproduction in knitwear. Methods of literary-analytical review and visual-analytical research are used.The elements of clothing decoration that are characteristic of ethnic Ukrainian clothing have been defined during the research. The structures of knitted fabrics based on on openwork, plated and interlooping with unrolling, which simulate different merezhka of traditional Ukrainian embroidery, have been developed in this study. The few variants of simple mesh are offered: narrow one made on the basis of the rib 1 + 1 with an unrolling; narrow complex canvas - on the basis of openwork interlooping; wide (more than 2 cm) canvas - on the basis of a plated interlooping. The model of the women's dress is executed in the semi-regular way on two-bar flat-knitted machine, using the developed variants of knitted fabric structures. Taking into account the traditions of an arrangement of the embroidery decoration elements and modern fashion trends, it is proposed to use a narrow simple snap-net to decorate the neck of the product, a wide snap-net, having a plant ornament to knit 2/3 of the bottom of the sleeve. The narrow canvas is also used as a connecting element of the sleeve parts made with various interlooping. The decoration elements of national Ukrainian clothes have been investigated and reproduced in women's knitted dress by new knitted structure creation taking into account modern technology. Research results can be used to expand the range of modern women's clothing
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Smith, Gabriella Lynne, Gina Fitzgerald, and Don Thompson. "Cardiovascular Health Behaviors and Risk Factors Among Argentine and American University Students." International Journal of Public Health Science (IJPHS) 3, no. 2 (June 1, 2014): 117. http://dx.doi.org/10.11591/ijphs.v3i2.4683.
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<span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">Cardiovascular disease is the leading cause of death in adults in both the</span><br style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial;" /><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">United States and Argentina. Scientific literature has consistently shown the effects of behaviors and risk factors on cardiovascular health; however, few have investigated cardiovascular behaviors and risk factors in early adulthood. We assessed the associations between main cardiovascular behaviors and cardiovascular risk factors among 594 young adults in a crosscultural analysis between the United States </span><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">and Argentina through a webbased survey and vital statistics measurements. We tested our data through principle component analysis, bivariate correlations, and independent sample T-tests.After thorough analysis we saw that, cross culturally, correlations exist between cardiovascular risk factors and behaviors that are consistent in both populations. Health habit, health knowledge, health history and BMI are all significantly correlated with mean arterial pressure. T-tests showed that population groups with a higher risk factor mean also had lower behavior means, indicating that populations with poor cardiovascular behaviors correlate with an accumulation of cardiovascular risk factors. In conclusion, young adults with low prevalence of cardiovascular health behaviors have low prevalence of cardiovascular health risk factors.</span>
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Smith, Gabriella Lynne, Gina Fitzgerald, and Don Thompson. "Cardiovascular Health Behaviors and Risk Factors Among Argentine and American University Students." International Journal of Public Health Science (IJPHS) 3, no. 2 (June 1, 2014): 117. http://dx.doi.org/10.11591/.v3i2.4683.
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<span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">Cardiovascular disease is the leading cause of death in adults in both the</span><br style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial;" /><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">United States and Argentina. Scientific literature has consistently shown the effects of behaviors and risk factors on cardiovascular health; however, few have investigated cardiovascular behaviors and risk factors in early adulthood. We assessed the associations between main cardiovascular behaviors and cardiovascular risk factors among 594 young adults in a crosscultural analysis between the United States </span><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 10px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">and Argentina through a webbased survey and vital statistics measurements. We tested our data through principle component analysis, bivariate correlations, and independent sample T-tests.After thorough analysis we saw that, cross culturally, correlations exist between cardiovascular risk factors and behaviors that are consistent in both populations. Health habit, health knowledge, health history and BMI are all significantly correlated with mean arterial pressure. T-tests showed that population groups with a higher risk factor mean also had lower behavior means, indicating that populations with poor cardiovascular behaviors correlate with an accumulation of cardiovascular risk factors. In conclusion, young adults with low prevalence of cardiovascular health behaviors have low prevalence of cardiovascular health risk factors.</span>
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Agustin, Dyan, Nur Rahmatul Lailiyah, Mu'ammar Fadhil, and M. Ferdiyan Arya. "Kajian Ornamen pada Rumah Tradisional Madura." NALARs 19, no. 2 (June 29, 2020): 97. http://dx.doi.org/10.24853/nalars.19.2.97-104.
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ABSTRAK. Ornamen merupakan suatu hiasan yang dibentuk dengan mengembangkan dari bentuk-bentuk yang ada di alam. Ornamen pada bangunan tradisional berbentuk ragam hias dimana teknik maupun pengungkapannya dibuat menurut aturan-aturan, norma serta pola yang telah digariskan dan menjadi kesepakatan bersama dan diwariskan secara turun temurun. Pada rumah tinggal Madura, terdapat ornamen dalam elemen arsitekturalnya dimana keberadaan ornamen tersebut tidak lepas dari adanya akulturasi kebudayaan antar suku yang menetap di Madura. Penelitian ini membahas akulturasi kebudayaan mana saja yang mempengaruhi bentuk, warna ornamen di rumah tradisional Madura serta makna dari masing-masing motif ornamen yang digunakan. Metode yang digunakan adalah metode kualitatif dengan analisis deduktif untuk mengetahui rupa visual dari ornamen pada rumah tradisional di Madura. Hasil analisis menunjukkan beberapa motif yang digunakan pada rumah tradisional Madura antara lain motif flora, fauna antara lain motif ekor ular, naga, burung phoenix dan motif swastika. Pada motif flora-swastika merupakan akulturasi kebudayaan dari Cina, Jawa hindu, dan Madura. Motif flora fauna didominasi dengan hasil akulturasi budaya antara Madura dengan Cina. Untuk area penempatan ornamen bagian atap, dinding, pintu, kolom. Sedangkan penempatan ormanen pada komplek hunian Tanean Lanjhang adalah roma tongghuh (rumah induk) dan Roma na’poto (Rumah Anak). Sedangkan pada kobhung (langgar), tanean (halaman), dapor (dapur), kandhang (kandang) tidak terdapat ornamen karena tempat tersebut lebih diutamakan segi fungsinya. Kata kunci: Ornamen, Rumah, Madura ABSTRACT. Ornament is a decoration that is formed by developing from the forms that exist in nature. Ornaments in traditional buildings are in the form of decoration. The techniques and disclosures are made according to the rules, norms, and patterns that have been outlined and become collective agreements and passed down from generation to generation. In Madura's house, there is an ornament in its architectural element where the decoration's existence is inseparable from the acculturation of cultures between tribes who settled in Madura. This study discusses which cultural acculturation influences the shape, the colour of ornaments in traditional Madurese homes, and the meaning of each ornamental motif used. The method used is a qualitative method with a deductive research method to determine the visual appearance of ornaments in traditional houses in Madura. The analysis results showed several motifs used in traditional Madurese homes, including flora and fauna motifs, including snake-tailed motifs, dragons, phoenixes, and swastika motifs. The flora-swastika motif is an acculturation of culture from China, Hinduism, Java, and Madura. The motif of flora and fauna is dominated by the results of cultural acculturation between Madura and China. For the ornamental placement area of the roof, walls, doors, columns. The placement of people in Tanean Lanjhang residential complex is Rome Tongghuh (main house) and Roma na'poto (Children's House). While in kobhung (langgar), tanean (page), dapor (kitchen), kandhang (cage), there are no ornaments because the place is preferred in terms of function.Keywords: Ornament, House, Madura
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Zhubanova, Zh. "Kazakh ornament: from traditions to the new combinations of shapes in contemporary art." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 195–203. http://dx.doi.org/10.51889/2021-1.2077-6861.26.
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In the training of specialists in the art education field, it is essential to know the continuity in the evolution of national art. In Kazakh folk art, the semantic content and structuring of ornamental forms and compositions are the result of a long historical development and spiritual experience of the nomadic people. In the decorative and applied art of the people, the mental processes of society are represented. The artist-nomad is a spokesman of the Kazakh nomadic mentality, which is characterized by the originality of spiritual experience and traditions and is formed as a result of the long development of historical eras and periods under the influence of geographical, social, cultural conditions of life. In the Kazakh arts and crafts, a system of expressive means and images has been formed, which reveal the specifics of the nomadic way of life. The ornaments are a historical source that sheds the light on the peculiarities of the beliefs, the way of life of the nomads. The artistic vision of the Kazakh people is manifested both in the forms and in the decorative decoration of the dwelling household items, military equipment, jewelry. In the products of decorative and applied creativity, the artistic picture of the world of their creators is reflected ideas about heavenly bodies, natural phenomena, animal and plant life. Ornament plays a role of a kind of tool for symbolic and sign thinking. A stable system of specific signs and combinations of units is recorded in the Kazakh ornamental language. Craftsmen and contemporary artists, using the language of ornaments as an important visual communication tool, have filled their artworks with non-verbal messages and mental information.
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Volodarets-Urbanovich, Ia V. "ABOUT ONE TYPE OF JEWELRY OF THE HEAD OF THE SLAVS: ON THE MATERIALS OF MALYI RZHAVETS AND MARTYNIVKA TREASURES." Archaeology and Early History of Ukraine 30, no. 1 (March 25, 2019): 201–17. http://dx.doi.org/10.37445/adiu.2019.01.16.
Full textAbstract:
The article analyses «bobo-similar» plates jewelry from Malyi Rzhavets and Martynivka — four specimens. In 1889 near the village Malyi Rzhavets was found a small treasure of women’s jewelry. In 1907, in the village Martynivka was found another treasure that included the women’s and men’s jewelry and Byzantine wares. Both complexes belong to the treasure of «Martynivka» type or the first chronological hoard-group by O. A. Shcheglova. One can assume the interpretation of these products as large temple ornament or decoration of scythe. Quite similar (though not entirely similar) bronze ware — lamellar temporal rings — are known in the antiquities of Roman times in Central Lithuania. The chronology of these jewelry — the phase B2 or B2 / C1 — 100—230 АD. Finds from Central Lithuania and treasures from Malyi Rzhavets and Martynivka differ in some design features, ornamental motifs and sizes. This can explain the chronological difference.
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Tebben, Maryann. "Seeing and Tasting." Gastronomica 15, no. 2 (2015): 10–25. http://dx.doi.org/10.1525/gfc.2015.15.2.10.
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Drawing from historical cookbooks, literary works, and contemporary sources, this article traces a shift in the conception of the French dessert course from an adjunct but fully edible form in the seventeenth century to a mainly visual element in the eighteenth and nineteenth centuries to the current balance between edibility and “legibility” in iconic desserts. What was once simply fruit and then pure ornament is now at once delicious and symbolic. The essay argues that present-day desserts represent a merging of taste and aesthetics, with the “decoration” now in the form of a colorful and sometimes invented history. When the dessert course was democratized in the nineteenth century—open to bourgeois tables—specific dishes became “textualized,” codified by name and form and inscribed with origin stories that connect these dishes to French identity, making dessert both symbolically and materially accessible to a wider public.
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Musaev, Makhach A., Shamil Sh Shihaliev, and Magomed G. Shehmagomedov. "EPIGRAPHIC DISKS AND HORSEMEN RELIEFS ON THE STELAS FROM THE FAMILY CEMETERY OF KAITAG RULERS." History, Archeology and Ethnography of the Caucasus 15, no. 2 (June 25, 2019): 259–81. http://dx.doi.org/10.32653/ch152259-281.
Full textAbstract:
The paper presents some of the study results of the family cemetery of hereditary rulers of Kaitag, located in Qala-Quraysh. During several expeditions in 2017–2018, more than 40 stelas, dating XIV c. – 1803/04, were studied. Names of the deceased, dates of their death, and other historical information, as well as poems, religious sayings, prayers and Quran Ayat in Arabic are inscribed on them. The stelas are made with high craftsmanship, distinguished by the refinement of the ornament and the elegance of epigraphic ribbons. Each stela of the necropolis can be described as a work of art. Among other interesting finds there are ten epigraphic disks on the stelas of the XVI–XVIII c. They are carved on the backsides of the monuments, have common composition, ornament, and similar contents: prayers to Allah for mercy on Judgment day. The article also describes horsemen relief images on two stelas of the early XVIII c., as well as a false horseman, carved on the tombstone of the late XVI c. Compositional decision of the relief is such that the weapons and armor are located above the horse, creating an effect of the rider’s presence, although the rider himself is not there. If the image weren’t stained, it would be impossible to reveal that it is not a horseman. The effect of presence is achieved by different artistic techniques. Among them is the image of a moving horse.The introduction of stated elements of tombstone decoration into scientific circulation contributes to dating of monuments with identical decor, and revealing interregional connections in stone carving craft.
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Kolich, Tomáš. "Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry." Gothic Studies 22, no. 3 (November 2020): 266–84. http://dx.doi.org/10.3366/gothic.2020.0061.
Full textAbstract:
Even though Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’ (1892) has received a lot of critical attention, there have been only a few attempts at the visual analysis of the wallpaper. This article approaches it as a case of the intricate pattern – an optically unpleasant and complicated ornament that can be depicted. This motif is present in gothic narratives (Poe's ‘Ligeia’, 1838), films (Robert Wise's The Haunting, 1963) as well as outside the genre. With a connection to wallpapers, it was discussed publicly during Gilman's time. This article reconstructs this discussion with examples from the contemporary interior decoration manuals, guidebooks for nursing and medical literature. The aim is to contextualize Gilman's story and to analyse the ways in which her descriptions of the wallpaper are similar to the rhetoric of the guidebooks. This context can enrich our knowledge about the period, reception of the story and possibly even about Gilman's sources of inspiration.