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1
Rachmayanti, Sri, Christianto Rusli, and Anak Agung Ayu Wulandari. "Cultural Acculturation in Interior and Architecture of Old Straits-Born Chinese Lasem House." Humaniora 8, no. 3 (October 19, 2017): 279. http://dx.doi.org/10.21512/humaniora.v8i3.3718.
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The long-term goal of this research was to make variety ornament documentation on architecture and the interior of Indonesian historical buildings, especially for buildings having the combination between western and eastern. The original plan of this research was to achieve some cultural preservation efforts, they were (1) to find various styles of design art, including the variety of native straits-born Chinese ornaments, Art Deco, and Neoclassical, or found that there are any acculturations among the ornaments in an interior. (2) To understand characteristics of each style and applied it appropriately in the interior space. (3) To find on how the building functioned and how to preserve as cultural heritage. The method began with a survey, interviews, and observations by documenting the application of Indonesia art and culture for cultural conservation, especially on interior design. The case study was straits-born Chinese buildings in Lasem, Central Java. The observation and research concerned with design styles applied in architecture, interior, and home decoration. The observation and research were followed by summarizing and analyzing the material obtained from field surveys result by comparing two samples of Chinese houses in Lasem that also supported with literature research. Researchers find several differences of art styles which had been applied. The styles are original Chinese decorations, Art Deco, and Neoclassical decorations.
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Маммаев, М. М. "STELE OF THE 16th с. FROM KUMUKH VILLAGE — A HIGHLY ARTISTIC WORK OF ISLAMIC ART." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 13 (February 15, 2022): 973–82. http://dx.doi.org/10.53737/2713-2021.2021.25.61.037.
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В статье рассматриваются особенности декоративной отделки надмогильного памятника начала XVI в. из селения Кумух Лакского района Республики Дагестан. Этот памятник привлекал в прошлом внимание искусствоведов, историков, эпиграфистов, но как памятник камнерезного искусства и высокохудожественное произведение исламского искусства оставался подробно не изученным. Исходя из искусной резьбы стелы, четкой, ясной, хорошо продуманной композиции декора, каллиграфически выполненных рельефных арабских надписей в гармоничном сочетании с растительным орнаментом, автор рассматривает ее как высокохудожественное произведение средневекового камнерезного искусства Дагестана. Автор допускает возможность датировки стелы несколько более ранним временем, чем предшествующие исследователи, а именно началом XVI в. с учетом особенностей ее декоративного убранства. Судя по размерам, отделке надмогильного памятника и эпитафии, можно полагать, что погребенный имел высокий прижизненный социальный статус и погиб мучеником (араб. шахид ас-са’ид) в сражении в период военного противостояния Гази-кумухских шамхалов и Кабардинских князей. The article examines the features of decorative decoration of the tombstone of the beginning of the 16th century from the village of Kumukh (Lak district, Republic of Dagestan). Earlier this stele drew attention of art critics, historians, epigraphists, but as the monument of stone-cutting art and highly artistic work of Islamic art not studied in detail. Proceeding from a skillful carving of the stele, the accurate, clear, well thought decor composition, calligraphic Arab inscriptions in a harmonious combination with a vegetable ornament, the author considers it as highly artistic work of medieval stone-cutting art of Dagestan. The author admits the possibility of dating the stele a little earlier than previous researchers, namely the beginning of the 16th c. taking into account the features of its artistic. Judging by the size, decoration of the stele and epitaph, it can be believed that the buried man had a high lifetime social status and died as a martyr (Arab. shahid al-sa'id) in the battle during the military confrontation between the Ghazi-Kumukh shamkhals and Kabarda princes.
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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.
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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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Liu, Shi Ming, Zhu Lin Yang, Hui Zhao, and Xiao Ke Li. "Structural Design and Artistic Expression of Landscape Multi-Span Arch Footbridge." Applied Mechanics and Materials 438-439 (October 2013): 1160–64. http://dx.doi.org/10.4028/www.scientific.net/amm.438-439.1160.
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In order to perfectly make the bridge function, structural style, architectural art modeling with the surrounding environment, this paper, based on the design of landscape five-span arch footbridge, studies the span arrangement, structural style, building materials, railing shape, ornament style and color, and lamplight illumination of the bridge considering the factors such as hydrology, geology, surrounding environment (e.g. buildings and park), traffic flow and entire urban planning. To reduce the stress of main arch and the horizontal thrust of substructure, the new structure of T-frame with sloped plate was put forward to bear the deck loads with the assistance of main plate arch. The thin concrete walls were cast on the top sides of the main plate arch, which were decorated by fine stone with the modern decoration construction technology. The white marble railings present lively morphology with carved lotus and pomegranate on the column cap, and many kinds of flowers on the panels. The spotlights make dramatic night sense for the bridge. Therefore, the landscape footbridge in the classical arch graceful shape was constructed by the modern building material and the optimized reinforced concrete structure, which presents the unity and coordination of structural design and artistic expression.
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Mammaev, Misrikhan M. "NEW STONE RELIEFS-ARCHITECTURAL DETAILS OF THE 14th – 18th CENTURIES FROM KUBACHI WITH ORNAMENT AND ARABIC INSCRIPTIONS." History, Archeology and Ethnography of the Caucasus 17, no. 2 (July 1, 2021): 304–29. http://dx.doi.org/10.32653/ch172304-329.
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The paper describes stone reliefs of the architectural decor of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, discovered by the author in different years of the 20th – 21st centuries in the villages of Kubachi and Shiri, which are currently stored in museum collections. This paper is a continuation of a previous study of the stone reliefs from the village of Kubachi. The author provides the description of 20 reliefs, of which one (№ 12) is stored in the State Hermitage, seven others (№ 13–18, 20) – in the National Museum of the Republic of Dagestan (NMRD); eleven reliefs (№ 1–11) were revealed by us in Kubachi, and one relief (№19) – in the village of Shiri. The Kubachi reliefs are inserted in the structure of various residential or cult buildings (mosques) of the upper, middle and lower livings districts of the village. The reliefs had been obtained from the ruins of old buildings and installed into walls of new ones during their construction for decorative purpose. The integrity of the reliefs varies: some remained in a satisfactory condition, some have defects (break-offs, splits, etc.), others are incomplete, i.e. in fragments. Most of the reliefs considered in the article were drawn with estampage prints, which were then transferred to A1 paper sheets with the use of ink.
The restoration of the broken-off details of the decoration of the reliefs № 7 and 16 was carried out by us. The Arabic inscriptions of some reliefs (№ 13–14), which are kept in the National Museum of the Republic of Dagestan, have not been translated into Russian due to the difficulty of reading or poor integrity. Many reliefs of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, found in the masonry of the walls of some residential and religious buildings, especially the quarter mosque in the lowest part of Kubachi, are still not included in the article. The location of the reliefs in the upper parts (third floor) of buildings erected on a very steep slope makes it impossible to photograph them properly.
The dating of some reliefs (№ 1–4, etc.) is preliminary. It can be further clarified on the basis of analogies after the publication of unpublished reliefs preserved in the village of Kubachi and those stored in museums – the State Hermitage and NMRD.
Accurate dating of medieval art monuments in Kubachi without dates is one of the challenges in studying them.
Description of the reliefs revealed in Kubachi is given in the order of recording them at different times and in different districts of the old part of the village.
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Shigurova, Tat'yana Alekseevna. "Shoulder Ornaments in the local version of the Moksha Women's Costume." Человек и культура, no. 4 (April 2022): 21–35. http://dx.doi.org/10.25136/2409-8744.2022.4.38641.
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The article fills in the missing knowledge in science about the shoulder element of the kavlalks (armpits) of the traditional women's costume of the mid-nineteenth century of the villages of Levzha, Perkhlyai, Suzgarye of the Insarsky district of the Penza province, presents a complete description of its constructive and decorative specifics and the names of the details of the decoration in comparison with similar elements in the Mordovian costume and in comparison with the correspondences in the costumes of the peoples of the Middle Volga region. The materials of the archive of the Russian Geographical Society (hereinafter referred to as the SBI "RGO") are investigated as the main sources. Along with general scientific methods, systematic, comparative-historical and art criticism approaches were also used. The novelty of the work is due to the study of the original decoration of the local version of Moksha clothing, previously not mentioned by researchers. It is established that the existence of the shoulder decoration until the middle of the nineteenth century reflects the complex ethnogenetic processes in the Oka-Sur interfluve of the XVI – XVIII centuries. The technical, technological, artistic and stylistic features of the element of the Moksha women's costume reveal an affinity with the decoration of the ozhanuchka, preserved until the twentieth century in the Erzya women's costume of the Temnikovsky district of the Tambov province. The scientific contribution is determined by enriching the classification of Mordovian costume jewelry with a unique variant of the strap-type decor, known only to the Mordovian people.
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Travin, Ilia Aleksandrovich. "To the question of place and time of the beginning of the process of development of culture of Sami people on the example of cultural succession of applied art." Культура и искусство, no. 10 (October 2020): 17–28. http://dx.doi.org/10.7256/2454-0625.2020.10.34092.
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The subject of this research is the cultural succession of decorative elements of the ethnic ornament of Sami people. In light of the migration past, the question is raised on the possibility of simultaneous assimilation and introduction into their culture of ornaments and words by the Ancient Sami population. Special attention is given to the examples of explicit concurrence of the elements. The author sets a scientific task to find the evidence of residence of the Ancient Sami people in the territory of northwest of Kostroma Region in Russia from the perspective of cultural succession. The main research method consists in the synthesis of various sciences. Archaeological research alongside the data from historical records and toponymic studies allow comparing the data in the field culture and applied art. Leaning on the analysis of literature and images, the author structures the chain of logical reasoning . The acquired data give understanding of the visual expression of the regional cultural heritage and possible assimilation of the elements of decor by the people who abandoned the territory centuries ago. The result of this research consists in providing the evidence of cultural succession, determination of timeframe and geographical area with regards to assimilation of the elements applied art of other ethnoses by the Ancient Sami population. The novelty of this work lies in comparison of decorative patterns of different generations and ethnoses, and the fact of formation of the general basic culture of Sami people. The conclusion consists in detecting the presence of decorative elements of the Mari ornament in the Sami ornament based on the analysis of various sciences. This proves the succession of cultural heritage of this region throughout multiple generations.
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Orelli-Messerli, Barbara von. "The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries." Palíndromo 12, no. 27 (May 1, 2020): 011–33. http://dx.doi.org/10.5965/2175234612272020011.
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From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.
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Mammaev, Misrikhan M. "TWO ARTISTICALLY FINISHED MUSLIM STELES OF THE 14th CENTURY FROM KUBACHI (DAGESTAN, RUSSIA)." History, Archeology and Ethnography of the Caucasus 18, no. 3 (October 10, 2022): 793–804. http://dx.doi.org/10.32653/ch183793-804.
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The article describes two tombstones of the XIV century. in the form of high trapezoidal stone slabs (the lower end is narrower than the upper part) from the largest artistic center of Dagestan - the village of Kubachi. They are located in the medieval Muslim cemetery "Bidakh Khuppe" (in the lane with Kubach - "Cemeteries on the other side"), 1.5-2 km south of the old part of Kubacha, in the lower half of the northern slope of Mount Tsitsila. The monuments under consideration are decorated at a high artistic level with late Kufic relief Arabic inscriptions and floral ornaments. The inscriptions were made at different times in the “blooming kufi” style by the same master stone cutter, calligrapher and ornamentalist, which is proved by the commonality of the forms of both monuments, the technique of their carving, the peculiarities of their decorative finishes, the ornamental style, and the unity of the compositional schemes of the decor. The name of the master who made these monuments is unknown. The article clarifies the existing in the decor of the monuments and certain differences in the style of the letters of the Kufic inscriptions, the details of the ornamental compositions of the central fields, which, obviously, are associated with the different times of the manufacture of the stelae. On the monument number 2 there is a date - 783 AH / 1381-82. (according to the Gregorian calendar); there is no date on monument No. 1. The author of the article believes that monument No. 1 was made 12-15 years earlier than monument No. 2.In the article, both tomb stelae are considered as highly artistic works of Muslim art based on the features of the decorative finish of the letters of the relief Arabic inscriptions of the curb strips, their proportionality and proportionality, as well as taking into account the expressive floral ornament of the central fields and the framing epigraphic border strips, the unity and interconnection of the details of the compositions of the central field (stele No. 2) and upper side corners.
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Dobrydneva, A. S. "Aleksandr Deineka’s Works in the Context of the Art Deco Style." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 168–75. http://dx.doi.org/10.24833/2541-8831-2020-3-15-168-175.
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This paper analyzes the founding bases of comparisons between the Aleksandr Deineka’s artistic works and the art deco, the connection between Deineka’s works and European and American art of the 1930s Deineka’s early works refer to the avant-garde and the late ones are usually related to socialist realism. The novel artistic language is the most important link between the Soviet art and the art deco style, making the artist its most prominent USSR proponent. In this respect, the key event is the artist’s trip to the USA, France and Italy in 1935. What made Deineka engage in the intercultural discussion on artistic styles were industrial, urban, mundane and sport themes the Soviet art and art deco (mostly American) shared. A dialogue with the US Skyscraper style influenced a series of paintings and sketches, including New York. Central Park, The Road to Mount Vernon, Baseball, The Boredom. The Soviet experience contributed to Deineka’s few American works. In the most clear and general manner the art deco ideas and practical solutions were incorporated in the 1938 project of Deineka – in the decoration of the Mayakovskaya metro station, Moscow. The idea was to create a series of allegoric and technically new mosaic plafonds. Both spirit and techniques of late Deineka were partly inspired by the American art deco.
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Yao, Gui Yang, Wei Ping Hu, and Huan Huan Tian. "A Contrastive Study between Chinese Traditional and Western Classical Column within Style Decoration." Applied Mechanics and Materials 117-119 (October 2011): 1418–20. http://dx.doi.org/10.4028/www.scientific.net/amm.117-119.1418.
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Compared with the column style of Chinese traditional and Western classical from chapiter, trunk, column base in detail. Analysis of the column of the Eastern and Western Art Deco and shape differences. By comparing ,absorb the essence of both for the theoretical and practical of modern style column type decoration.
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Garunova, Saida M., and Ahgela S. Saidova. "DAGESTAN INJECTION CRAFT BY METAL ON WOOD: FROM FOLK CRAFTMANSHIP TO PROFESSIONAL ART." History, Archeology and Ethnography of the Caucasus 16, no. 2 (July 12, 2020): 418–38. http://dx.doi.org/10.32653/ch162418-438.
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The article contains an analysis of the principles of decor and the peculiarity of the artistic style of ornamental notches with metal on wood - one of the most significant types of crafts in Dagestan. The sources and stages of development of this type of craft to the level of professional art are traced. On the example of the work of the national artist of the Russian Federation, Gamzat Gazimagomedov, the importance of professionalizing an art notch with metal on wood in the preservation of this type of folk art is shown. Consideration of the most significant works of G. Gazimagomeddov in the context of the traditional Untsukul ornamental notch art and decorative arts of the Russian Federation as a whole made it possible to identify the stylistic features of the compositional construction of the Avar ornamental notch art in the artist’s works, to present his artistic contribution as a treasury of the decorative and applied art of the Russian Federation and Dagestan, and in solving practical problems of preserving and developing the national x art crafts of the country.
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Kotliar, Elena Romanovna. "Jewish branch of cultural text of the Crimean ethnic ornament." Человек и культура, no. 5 (May 2021): 1–12. http://dx.doi.org/10.25136/2409-8744.2021.5.33470.
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The subject of this research is the continuum of ethnic symbols of the ornament of the Crimean Jews. The object is the traditional decorative and applied art of the peoples of Crimea following Judaism: Ashkenazi Jews, Karaite and Krymchaks. The symbolism of ethnic art is viewed based on the analysis of traditional decor. The article employs the methods of comparative analysis, analysis of previous research, method of synthesis in conclusions pertinent to connotations of symbols. The author explores the morphology and semantics of visual symbols in decorative and applied art of the aforementioned people, as well as connotations of symbols. Special attention is given to aspects that characterize polyethnic cultural landscape of Crimea in the context of phylogenesis. The main conclusions are as follows: 1. Crimea is a polyethnic region with various cultural processes – from reception to inculturation and integration of ethnoses, which ultimately formed the Crimean cultural landscape. Its peculiarities are represented by ethnic ornament, such as decorated household items and ritual attributes 2. Symbolism of the elements of traditional art of Ashkenazi Crimean Jews, Karaite and Krymchaks has common connotations due to the Torah that underlies the religious confession of all three ethnoses, as well as similar morphology. The art of Karaite and Krymchaks are more identical to each other than to Jewish. The author’s special contribution lies in systematization of the morphology of visual symbols in the art of the three ethnoses. The scientific novelty consists in carrying out a comparative analysis of the art of three Crimean ethnoses, revealing foundations of the genesis and continuum of its elements, their similarities and differences.
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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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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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KHAZBULATOV, A. R., and A. I. IBRAGIMOV. "ORNAMENT AS A LANGUAGE OF CULTURE: TRADITION AND MODERNITY." Pedagogy and Psychology 48, no. 3 (September 15, 2021): 265–76. http://dx.doi.org/10.51889/2021-3.2077-6861.29.
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The Kazakh folk art clearly reflected the distinctive features of the applied national culture. Its origins go far back centuries, and it is nourished by the same inexhaustible source of folk art, which gives rise to any kind of art. This long-standing and eternally young art is brought to life by various kinds of people's desire to figuratively reflect their aesthetic perception of reality. From generation to generation, unnamed artists passed on their rich experience, contributing to the formation of a national style, national artistic traditions, which determines the unique originality of any folk art. Traditional folk culture in the past is universal, defining and regulating all aspects of community life: lifestyle, forms of economic activity, customs, rituals, adaptation of social relations of community members and attitudes towards nature, the world, beliefs, beliefs, knowledge, language and folklore, in the traditional symbolic expression. In folk art, we most often think that decoration is the carrier of the main ideas of the artistic form and the basis of tradition. When adornments are most often used as fine adornments in professional art, they play a special role in traditional art, especially as a language. The ornament is directly called "specific folklore", which is extremely important for revealing its meaning. We will not consider the artistic and spiritual integrity of the decoration itself, because this is impossible in this article, so we will dwell only on some of its aspects. The research was carried out within the framework of the project of the Ministry of Education and Science of the Republic of Kazakhstan AR09259280 "Languages of Kazakh culture as the basis of ethnic identity: semiotics and semantics".
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Odrekhivskyi, Roman. "LIGHTING IN THE INTERIOR DESIGN OF RELIGIOUS BUILDINGS IN GALICIA (THE SECOND HALF OF THE 19th AND THE FIRST THIRD OF THE 20th CENTURIES)." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 223–32. http://dx.doi.org/10.31866/2410-1915.22.2021.235918.
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The purpose of the article is to analyse the typology, design features and carved decor of the wooden lamps in the interiors of the religious buildings in Galicia. The research methodology is based on the general principles of scientific work: consistency, authenticity, historicism, logic. The author of the article applies a comparative and typological method to analyse the design features of the lamps. And the methods of hermeneutics and semiotics were used to analyse ornamental and compositional systems of decoration. The scientific novelty of the work is the introduction of the unknown artefacts of church art into the scientific circulation. The author collected these data himself during his scientific expeditions to museums or directly in churches — both in Ukraine and abroad. Conclusions. The study of the design features and decor of the analysed lamps has shown that table lamps, as a rule, are smaller than candelabras (stavnyk), although sometimes according to the principle of composition, they are the same as candelabras, as, for example, the candelabra from the Kryvorivnia Church of the Nativity of the Blessed Virgin Mary. The study has confirmed that the lamps harmoniously fit into the design of the church interior, complementing the ensemble. For example, in the church in the village of Duliby or Pozdiach. In fact, the design ensembles of these religious sites are made in the same style. The author of the article provides an analysis of the image design solution and the nature of the decor of specific samples of the lamps, and argues that the development of the lamp art (as well as other elements of church equipment) occurs in two directions: imitation of historical styles in line with eclectic versions and the use of ornamental and compositional structures of traditional folk art. The features of a successful combination of these trends in the image solution of the spider chandelier from Galicia, which is kept in the collection-exposition of the National Museum in Lviv, have been demonstrated. The study has shown the original use of Hutsul folk carving traditions in the decoration of the spider chandelier from the Church of St. George in the village of Duliby, made by the famous master Vasyl Turchyniak: he used traditional geometric ornaments with ancient symbols. The significance of the © Roman Odrekhivskyi, 2021 The article was received by the editorial office: 11.08.2020 study lies in the possibility of using the processed material in the restoration of the old and construction of the new churches.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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Florea, Eleonora. "6. Design – Synthesis Phenomenon: Art, Science and Technology." Review of Artistic Education 1, no. 24 (April 1, 2022): 215–21. http://dx.doi.org/10.2478/rae-2022-0026.
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Abstract In the nineteenth century, the century of electricity and railways, radio and cinema, in the process of vertiginous technical progress, within the industrial civilization, appears a new phenomenon of creative, artistic and scientific activity – design. It gave birth to a “way of industrial thinking”, oriented towards creating useful and functional objects, but at the same time able to delight the eye with their beauty without recurring to ornament and decoration effects.
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Chang, Yan. "A Study on the Development of Products Appearance Designs of “ART DECO” Style." Asian Social Science 12, no. 2 (January 11, 2016): 46. http://dx.doi.org/10.5539/ass.v12n2p46.
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<p class="a"><strong><span lang="EN-US">Objective: </span></strong><span class="high-light-bg4"><span lang="EN-US">The analysis on the development of the products appearance designs of the “ART DECO” style provides reference and theoretical basis for the design of modern products.</span></span><span lang="EN-US"> The research on the world products appearance designs of certain phase help correct people’s cognition of the concept. </span><strong><span lang="EN-US">Method: </span></strong><span class="high-light-bg4"><span lang="EN-US">From the early twentieth Century to the 40s of twentieth Century, nearly half a century, the style of product designs aimed at the content. Different stages, different factions, different designers and design works classification research have been conducted. </span></span><strong><span lang="EN-US">Conclusion:</span></strong><span class="high-light-bg4"><span lang="EN-US">By </span></span><span class="high-light-bg4"><span lang="EN-US">studying the development of the products appearance designs with the “ART DECO” style, two basic developmental orientations can be concluded: characteristics of a product is a revival direction for traditional decoration; it is also a regressive direction for abstract decoration.</span></span></p>
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Juli Atika and Laras Purwanti. "PEMANFAATAN SENI KERAJINAN TANGAN MAKRAME UNTUK DEKORASI RUANGAN DENGAN KONSEP ART DECO." JURNAL RISET RUMPUN SENI, DESAIN DAN MEDIA 1, no. 1 (April 18, 2022): 45–56. http://dx.doi.org/10.55606/jurrsendem.v1i1.226.
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In this era of globalization, many people, especially young people, are very fond of various kinds of beauty decorations for residential. After seeing this situation through social media, there are many business opportunities in this field. With that the author has an idea where a textile craft is an item that is easy to process and is in great demand by connoisseurs of decoration design. With an aesthetic and contemporary style, macrame craft is also a necessity for millennials to make room, living room and other decorations that look good and look aesthetic. There are many factors that need to be considered and maintained, the most important factors being in terms of technique and design, so that the macramé made looks more beautiful and becomes an attraction for art connoisseurs and buyers of the macramé. Where the author uses the concept of Art deco style as the initial goal to decorate the room.
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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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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.
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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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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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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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Sêrro, Luís Manuel. "Seven Unknown Drawings by Luigi Manini." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 3 (June 11, 2021): 231–60. http://dx.doi.org/10.30958/ajha.8-3-3.
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Luigi Manini, set designer at the Nacional Theatre of S. Carlos lived in the second half of the 19th century, which was characterized, in the field of aesthetics, by the transition from romanticism to naturalism. This article aims to analyze seven unknown drawings by Luigi Manini, as an expression and illustration of this artistic period. For this, we analyse the three major periods of art exhibition by Hegel in his work Aesthetics. Integrated in this analysis the evolution of artistic expression, with more emphasis, is illustrated the study of ornamentation, its nature, its importance in stylistic participation and, along its journey, the variation between the expression plane and the content plane that the ornament, as a sign, suffered. To conclude this journey, romanticism, used ornamentation as an evocative element of cultural styles and cultures, consistent with the essence of romanticism: a sublime expression. But in its final phase, romanticism evolved into naturalism that manifests, not the differentiated architectural element, but its collective nature. Urbanism is a social response of Architecture. The ornament loses, at this time, its symbolic value, but maintains its expression plan that was developed with an appreciation of its plastic value. It’s the ornate by the ornate that keeps, still, more time in Belle Époque; in Art Nouveau and Art Deco, to disappear completely in Modernism. These drawings, from an affirmation phase of Luigi Manini’s, are integrated at this time, and their analysis will be concluded from the historical conclusion of this article.
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Zahra, Fatima, and Seyedeh Samaneh Fatemi. "Cultural Diversity: Aesthetic Analysis of Persian and Kashmiri Paisley Ornaments." PERENNIAL JOURNAL OF HISTORY 2, no. 2 (December 10, 2021): 81–90. http://dx.doi.org/10.52700/pjh.v2i2.61.
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The article focuses on the origins and evolution of the Indo-Persian decoration "Paisley," as well as the use of this flowery linear pattern on textiles such as shawls, table wraps, and carpets. Paisley has gone through many stages in its evolution, including the Iranian art period and the Indo-Subcontinent phase (Mughal era). The intrinsic nature of the decoration is shown via a comparative research technique that defines Indo-Persian motif features. This article looked at the primary ornamental elements of the paisley pattern, which are floral and geometrical in nature, and how they are used in Iran and Kashmir. Finally, this article discusses how, because of Paisley's growing and blooming character, it is often a prominent ornament in the most important works of enrichment and plays an accentuation role in the decoration of textile surfaces. Paisley, a masterpiece, is especially linked to techniques for conveying the aesthetic brilliance of the pattern used in many cultures.
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Chuprina, N. V., T. V. Remenieva, I. V. Frolov, and O. H. Tereshchenko. "DESIGN OF THE CONTEMPORARY GARMENTS ON THE BASIS OF THE TRANSFORMATION OF STYLISTIC AND ARTISTIC-COMPOSITIONAL CHARACTERISTICS OF TRADITIONAL DECORATIVE ART." Art and Design, no. 3 (December 13, 2021): 30–44. http://dx.doi.org/10.30857/2617-0272.2021.3.3.
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The purpose. This research aims to analyze artistic-compositional characteristics of Ukrainian traditional embroidery and decorative-applied art (using the example of M. Prymachenko’s art) used in the decoration of the actual ethno-styled garments. Methodology. A systematic approach was used in this research to project authorial contemporary garments: literary-analytical, morphological, and comparative analysis of the creative primary source, associative means of its adaptation to the actual fashion trends. The methodology of the research is based on the systematic analysis of the design projects using elements of the cultural heritage of Ukraine. Systematic-informational and visual-analytical methods were used in this research. Systematic-structural analysis was used to analyze the transformation of artistic-compositional elements in the process of shaping contemporary costumes based on associative transformations. Results. In the process of design project of the authorial collection of female Ethno-style clothes, it was found that decorative art and national garments have a high level of authentic symbolism if used for the actual projection image in conditions of contemporary design activity. Characterizations were given to some principles of implementation of the national image in contemporary trends of fashion industry development. Symbolic image of the floral ornament adapted from Prymachenko’s works as well as stylization of her works in ornamental motifs of the collection were used. Based on pre-project analysis and customer survey it was defined that there is significant interest in national motifs. A collection of female clothes targeted at a wide group of customers was designed. Scientific novelty. Principles of design-project of the collection of contemporary garments with authorial embroidery were proposed using an adaptation of national traditions of female clothes embroidery and folk-art decoration as a basis. Usage of different floral motifs and geometric ornament in ethno-style and implementation of this image as popular among contemporary women in their everyday life were justified. Practical significance lies in the development of principles of formation of authorial costume collection project-image, in justification of principles of ethnographically oriented prints and embroidery and the choice of decoration methods of contemporary female clothes.
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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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WORDEN, S. "Art Deco Interiors: Decoration and Design Classics of the 1920s * Modernism and the Decorative Arts in France: Art Nouveau to Le Corbusier." Journal of Design History 5, no. 4 (January 1, 1992): 303–7. http://dx.doi.org/10.1093/jdh/5.4.303.
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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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Tochilova, Nadezhda. "The Rejection of Zoomorphic Elements as One of the Important Characteristics of the Borre Style Development in the Applied Art of Old Russia (by wooden finds from Novgorod the Great)." Stratum plus. Archaeology and Cultural Anthropology, no. 5 (October 29, 2021): 157–65. http://dx.doi.org/10.55086/sp215157165.
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The article deals with the development of Borre style outside of Scandinavian countries. The Borre ring-chain and gripping beasts were the most widespread elements of Scandinavian territories, whilst ribbon plates and scale ornament were popular outside of it. This process is more characteristic for the Baltic area and on the British Isles. Another region of this art dissemination was the territory of northwest Rus’. The article focuses on the analysis of carved wooden objects from the archaeological collection from Novgorod the Great. This makes it possible to present the development of Borre style in the art of the Ancient Rus’. The result is an analysis and attribution of decoration, which allows to attribute some motives to the category of images created under the influence of the Viking Age art and to trace the development and preservation of artistic traditions from the 10th to 13th centuries.
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Bizgu, Tatiana. "Bondița – a component part of the traditional dress and a rich source of inspiration." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 31 (2022): 129–33. http://dx.doi.org/10.52603/rec.2022.31.15.
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Bondița is an integral part of the popular port of the Republic of Moldova, throughout the Carpathian region and beyond. This item of clothing has a rich terminology and typology, depending on the area, region, season, social status of the owner, materials, finishes, technologies and techniques. Information on the art of leather craftsmen from Moldova and other European countries is presented. The scheme of cutting and embroidery of the bead varies, the materials used, the stages and the technologies of making. We can observe the forms, materials and art of embroidery on leather and fabric vests from the collections of museums in the Republic of Moldova and other European countries. Patterns specific to traditional art are used in embroidery and other decorative elements, which are made in different techniques. Stylized floral and geometric ornaments are represented decor elements. The leather processing is done according to ancient methods by using specific traditional tools combined with modern technologies. In recent decades, traditional vests have attracted the attention fashion designers of world class, but local designers have also found inspiration in the folk costume. Some pieces are inspired from the fashion designers’ collections by the bonditsa, indicating a rising level of interest in traditional art presented through folk costume
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Schaefer, Helma. "Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 41–46. http://dx.doi.org/10.1515/amnpsc-2017-0005.
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In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.
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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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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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Churkina, D. A. "The breviary of Ercole I d’Este and the classical tradition in Ferrara illumination of the end 15th – the beginning 16th century." Journal of the Belarusian State University. History, no. 2 (April 30, 2019): 96–104. http://dx.doi.org/10.33581/2520-6338-2019-2-96-104.
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The article presents one of the masterpieces of Renaissance Ferrara illumination – the Breviary of Ercole I d’Este (1502–1505). This manuscript was created during the active development of printing, and this fact underlines its special status and importance for the customer, and also demonstrates the stability of artistic traditions at the Ferrara court. At the same period – the first years of the 16th century – the artistic language of the Early Renaissance was changed for completely different traditions of the High Renaissance art. First of all, it was expressed in the leading role of classical motifs. The Breviary of Ercole I demonstrates the development of the classical tradition in Ferrara illumination. The article presents the manuscript in the context of the court culture of Renaissance Ferrara, providing the stylistic and iconographic analysis of the manuscript decor. The creation of the Breviary of Ercole I reflected the identity of his customer, Duke Ercole I d’Este, who contributed to the development of the humanistic culture in Ferrara. At the same time, Ercole I was a very religious man, and his personal religiosity became an important virtue of a ruler. Matteo da Milano, a representative of the Lombard school of book illumination, characterized by the classical ornamental decoration, created the most impressive elements of the manuscript decor. Besides him, there were other artists to decorate the Breviary, but their miniatures are more connected with the 15th century local tradition. In the art of Ferrara, the classical tradition took part of the «politics of magnificence». The abundance of classical motifs in this manuscript, thus, could be the goal of the customer who wished to glorify himself in this special way.
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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.
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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.
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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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Joy, Jody. "‘Fancy Objects’ in the British Iron Age: Why Decorate?" Proceedings of the Prehistoric Society 77 (2011): 205–29. http://dx.doi.org/10.1017/s0079497x00000670.
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A survey and new perspectives of Celtic or La Tène art from Britain is presented. Following Spratling, Celtic art is defined as ‘ornament or pattern and animal/human/supernatural images in metal and other media’. Regional and temporal variations in the type and usage of decorated artefacts are summarised. Three case studies, made of different media, are presented: metal scabbards, bone and antler weaving combs, and pottery. By asking the question ‘why decorate?’ it is argued that the decision to decorate an artefact can affect its life history, marking it out from undecorated artefacts of the same type. Rather than serving a single function, decoration was employed to serve multiple social goals throughout the Iron Age. Different forms of social expression, such as feasting, elaborate display, or weaving, are significant at any one time or place. It is argued that decorated artefacts often played a significant role in these different social arenas. Contrary to many past discussions, decorated artefacts in media other than metal are demonstrated to have been important in negotiations of social power and cosmology.
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Kreizer, I. "MAGINARY OR EXPRESSIVE: XXI CENTURY ARCHITECTURE IN THE WORKS OF EXCELLENT MASTERS." Municipal economy of cities 1, no. 168 (March 25, 2022): 40–44. http://dx.doi.org/10.33042/2522-1809-2022-1-168-40-44.
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The article deals with the theme of the interaction of "expressiveness" and "pictoriality" in the work of the masters of architecture of the XXI century. Architects' methods of work with such concepts as "imagery" and "expressiveness" became the cornerstone in understanding the concept of "modern" in the late nineteenth and early twentieth centuries. The architecture of the twentieth century in the leading countries of Europe, the USA, then the USSR, trying to keep pace with scientific discoveries and technical capabilities, created a number of rationalist avant-garde trends, which later merged into modernism (international style), gradually abandoning decor and imagery in buildings. The architects of the late 19th and early 20th centuries urged to look for means of forming a new architecture without decor and ornaments. The architecture of rationalism, and then modernism, abandoned figurativeness in an effort to express the content of modernity. This approach has led to both practical and theoretical problems. Architecture as an art form began to “speak” with the user in a different language, instead of historically proven decorative and pictorial techniques, its language became an expression of abstract forms and dynamic solutions. Looking at the works of outstanding contemporary masters, the question arises what means and techniques they use in the process of creating architectural objects and whether there is a place for decor in their work. Whether decor in the architecture of the 21st century has lost its function as an informative and visual means, whether it has become an expressive component of the architectural form is a question that will be considered in the article using the examples of famous world-class architects, and the works of Ukrainian architects will also be involved. The article also discusses modern methods of work of architects with the form.
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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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Shkolna, Olha, and Alla Buigasheva. "Life and Work of Anhelina Zhdanova - Master of Porcelain Painting of the Second Half of the 20th Century." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 131–42. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257488.
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The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
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Salim, Polniwati. "APLIKASI ORNAMEN KHAS BUDAYA KECINAAN SEBAGAI CIRI PADA RESTORAN CINA DI JAKARTA." Jurnal Dimensi Seni Rupa dan Desain 12, no. 2 (April 13, 2016): 161. http://dx.doi.org/10.25105/dim.v12i2.55.
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<p>Abstract<br />A Chinese restaurant is a place where commercial business takes place. It is also<br />a place which professionally serves traditional Chinese food for the public.<br />Talking about Chinese restaurants, the topic is obviously connected to Chinese<br />Culture. The importance of Chinese culture holds great importance and is even<br />the core point of creating art. The art would be based upon the aesthetic contents<br />which contain a symbolic meaning in Chinese philosophy. In a typical chinese<br />restaurant, the connection between tradition and art is represented in the form<br />of ornament that acts functionally, and has specific unique characteristic. The<br />aesthetical theory about the art of the design and the implementation of chinese<br />ornaments also takes part in the study as well.<br />This study was conducted by the qualitative methods with survey, interview<br />and the documentation of the ornaments in Chinese Restaurant, aiming to<br />introduce and enrich this knowledge to the worldwild as the ornaments stand<br />for showing the identity of chinese culture. This data would be useful as a source<br />of inspiration for the future planning of an interior design. Especially in the<br />application of decorating a restaurant that takes the meaning of the decoration<br />along with the needs, function to be created.</p><p> </p><p>Abstrak<br />Restoran Cina merupakan suatu tempat usaha komersial yang<br />menyediakan jasa pelayanan masakan khas Cina bagi umum dan<br />dikelola secara professional. Berbicara tentang restoran Cina, jelas akan<br />terkait dengan persoalan budaya Cina. Nilai budaya mempunyai<br />hubungan erat bahkan mendasari terciptanya suatu kesenian<br />khususnya seni rupa. Seni akan tercermin dan mengarah pada konteks<br />estetika yang mengandung makna simbolis dalam karya seni di mana<br />filosofi Cina menyertai. Dalam restoran Cina, hubungan antara budaya<br />dengan seni terwujud dalam bentuk ornament yang bersifat fungsional,<br />benda hias ataupun yang memiliki ciri dan sifat spesifik dan unik khas<br />Cina. Teori estetika mengenai bagaimana penggambaran nilai<br />keindahan dalam penerapan ornament di interior restoran Cina ikut<br />terlibat dalam topik ini.<br />Kajian dilakukan dengan metode kualitatif pendekatan survey dan<br />wawancara serta pendokumentasian ornament pada interior restoran<br />Cina di Jakarta dengan tujuan untuk memberikan suatu wacana dan<br />penerangan mengenai penerapan ornament yang menjadi petanda<br />kultur kecinaan pada restoran tersebut. Sehingga diharapkan data ini<br />dapat bermanfaat sebagai sumber inspirasi dalam proses desain<br />perencanaan sebuat interior restoran pada umumnya dan restoran Cina pada khususnya</p><p><br /><br /></p>
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Mammaev, Misrihan M. "CARVED STONES of the XV Century FROM the VILLAGES. KUBACHI WITH NAMES MADE THEM MASTERS." History, Archeology and Ethnography of the Caucasus 14, no. 4 (December 27, 2018): 117–31. http://dx.doi.org/10.32653/ch144117-131.
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The article describes the monuments of stone-cutting art of the XV century-six architectural details and one gravestone monument of highly artistic decoration of villages. Kubachi, on which are carved the names of the craftsmen who made them. Discusses the features of the decorative trim of carved stones. It is noted that not all master stone – cutters, who worked in the middle ages, tried to immortalize themselves, putting on their works inscriptions with their names. Only a few of them left their names on the work they performed. Therefore, a great number of carved stones, architectural details and tombstones from the village of Kubachi, as well as tombstones from neighbouring settlements – Calamarata, Ashty, Damage and other remain nameless.
The tomb of the XV century described in the article, decorated at a high artistic level with calligraphically executed decorative Arabic inscription in the style of "blooming kufi" on the background of elegant floral ornament, is considered as an outstanding work of stone-cutting art, created in the middle ages in the villages. Kubachi. It is the only one among the gravestones studied by researchers to the present time, which presents the name of the master of stone – Carver, calligrapher and ornamentalist Jarak – a talented artist of decorative and applied art.
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Батырева, С. Г. "Folk arts and crafts of the Oirats of Mongolia: to the formulation of the problem of study." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 78–89. http://dx.doi.org/10.46748/arteuras.2021.03.007.
Full textAbstract:
Народное декоративно-прикладное творчество ойратов Монголии выражает этническую ментальность в системе культуры как своеобразную, во многом уникальную форму осмысления мира. Оно формирует традиционное мироощущение номадов, претворяемое в декоративном оформлении произведений прикладного творчества. Здесь фиксируются общее и этнические особенности народной эстетики, образного мировидения монгольских народов. В анализе орнаментального декора предметной среды важно исходить из знаковой сути культурного наследия номадов, концентрируемого в тамговом комплексе, народном костюме и орнаментике. В художественной форме пластического фольклора, передаваемого из поколения в поколение, сохраняются древние архетипы мышления предков, проецируемые во взаимосвязях духовного и материального бытия номадов. Выявление их дает возможность осмыслить декоративно-прикладное искусство ойратов Монголии в традициях, основополагающих для изучения пластического фольклора калмыков России. Folk arts and crafts of the Oirats of Mongolia expresses the ethnic mentality of culture as a kind, in many ways a unique form of understanding the world. It forms the traditional attitude of the nomads, embodied in the decorative design of works of applied art. Here the general and ethnic features of the folk aesthetics, the figurative worldview of the Mongolian peoples are recorded. In the analysis of the ornamental decor of the subject environment, it is important to proceed from the symbolic essence of the cultural heritage of the nomads, concentrated in the tamga complex, folk costume and ornamentation. In the artistic form of plastic folklore, passed down from generation to generation, the ancient archetypes of the ancestors' thinking are preserved, projected in the interconnections of the spiritual and material life of the nomads. Their identification makes it possible to comprehend the decorative and applied art of the Oirats of Mongolia in the traditions that are fundamental for the study of the plastic folklore of the Kalmyks of Russia.
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Lbova, Ludmila. "Technological aspects of artifact’s ornamentation in the Mal’ta’s collection (Upper Paleolithic)." Camera Praehistorica 8, no. 1 (June 2022): 24–33. http://dx.doi.org/10.31250/2658-3828-2022-1-24-33.
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Mal’ta is one of the most important archeological complexes of the Siberian Upper Paleolithic. The appearance of items with serial-rhythmic decorative elements in the Siberian portable art it is associated with the classical stage of the Upper Paleolithic. Important issues in the study of the Malta complex include stratigraphy, chronology, technological characteristics of the site, and the problem of diversity of the ensemble of the “classical” component obtained during the excavations of M.M. Gerasimov in 1928–1958. In the article we discuss the issues of decorating items made from mammoth tusk using various techniques and technologies with external stability of the elements (motifs) of the ornament. The microscopic analysis of the Mal’ta collection revealed usage of several techniques for manufacturing of different decorative items. These include portable anthropomorphic and zoomorphic images, items of personal adornment, and other artifacts. We categorized artifacts based on the fragments of the artifacts, blanks, and finished products with and without decoration. It has been established that in the classical Mal’ta complex, there were various technological methods for decoration anthropomorphic and zoomorphic figures, personal adornments, disks and other objects using a stable set of tools and technological standards. Basing on results of technological and microscopic analysis we argue that chronological or cultural differences likely existed in artifact’s style, ornamentation and manufacturing techniques.
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Zahro', Fatimatuz, Afiful Aziz, Fatimatil Imroatil Karimah, Zulfi Mubarok, and Syuhadak Syuhadak. "Art of Architecture in the Fatimiyyah Dynasty (697 -1171 AD)." JUSPI (Jurnal Sejarah Peradaban Islam) 6, no. 2 (January 24, 2023): 105. http://dx.doi.org/10.30829/juspi.v6i2.14029.
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<p><em>The Fatimiyyah Dynasty was a vast and advanced country in several fields, especially in the field of architectural art. Founded by the Ismaili Shia sect. The writings of the research are first, wanting to understand concrete forms in the field of architectural art during the Fatimiyyah dynasty. second. want to understand the internal and external factors in the field of architectural arts during the Fatimiyyah dynasty. third, they want to understand the implementation of architectural art during the Fatimiyyah dynasty. The research methodology includes library research from primary data and secondary data relevant to the topics discussed. The results of this study are: first, concrete manifestations of the history of the Islamic civilization of the Fatimiyyah dynasty, namely the buildings of mosques, hotels, luxurious palaces, and forms of ornament and decoration. second, internal factors such as Islamic values contained in art, architectural art is knowledge from the Qur'an, and art cannot be separated from the local culture. External factors, namely the art of architecture, are influenced by the economy, international trade, and advances in science and technology. Third, this architectural art implies that the buildings at the Great Mahdiya Mosque, Al Azhar Mosque, Qarafa Mosque, Al-Hakim Mosque, and Other Cairo Mosques, Cairo Fort, Bab Al Futuh, Bab Al Nasr, and Bab Zuweil then form buildings like many passageways, a central courtyard surrounded by arcades, curly arches, portals, domes, ornate façades and architectural features of East and West.</em></p><p> </p>
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Ignatenko, Galina. "Clothing Design and Ornament Function in the Constructivist Fashion of the 1920s-1930s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 56–69. http://dx.doi.org/10.36340/2071-6818-2020-16-2-56-69.
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The development of clothing of the 1920s-1930s and its role in the formation of new productivist art are considered in the article. At the beginning of the 20th century, the world underwent not only enormous changes but also the loss of self-identification, both on a personal level and on a social level. The Russian Avant-Garde of the early 20th century became the prototype of not only new art but also claimed to have created a unified system of values. Artists turned their attention to clothing as a new widespread form of language. At the same time, finding a functional application to their creativity was the task. Reconstructing the role of clothing in human life was part of the "life building" concept of the early 20th century. The implementation of this idea was seen in the creation of a universal formula not only for creative work but also for life. The utopian idea of the unification of clothing formed the basis for the creation of anti-class functional working clothes. The project of creating universal clothing for mass production is a vivid example of the practical embodiment of the new productivist art. The search for a new form of dress, as a new cultural code, seemed an extremely attractive idea both from an ideological and artistic point of view. The new concept of universal clothing for work and sports transmitted the idea of creating a person of a new world - the builder of a new life. At the same time, denying fashion as a gender-oriented art form, constructivists tried to use concise forms, avoiding decoration and deliberate embellishment. The creation of innovative clothing for mass production also brings up the subject of the appearance of a new canon of the image of a woman, which changed not only the idea of an aesthetic ideal but also its role in society. At the same time, laboratories, which in their work synthesized the trends and challenges of the new time already existing in the world of Western fashion, were working. An attempt to unite Western fashion trends, national traditions, and mass production can be traced both in the practices of constructivist artists and in the works of artists who collaborated with Atelier of Fashion. New interpretations of folk traditions, as part of the search for self-identity, influenced the inclusion of a number of ornamental techniques in the artistic practices of the early 20th century. On the example of the creative work of V. Stepanova, L. Popova, and N. Lamanova’s design, different approaches to the formation of new dress are compared. The article analyzes how the transformation of the approach to clothing design becomes an indicator of sociocultural, political, and ideological changes.
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Pinem, Masmedia. "Sejarah, Bentuk dan Makna Arsitektur Gereja GPIB Bethel Bandung." Jurnal Lektur Keagamaan 14, no. 2 (December 31, 2016): 347. http://dx.doi.org/10.31291/jlk.v14i2.505.
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This article attempts to describe the history, together with the characteristic architecture of GPIB Bethel. GPIB is the abbreviation of the ‘Protestant Church in Western Indonesia’. Built in Bandung, in 1948, it is located in Jalan Wastukencana 1, in the Village of Babakan Ciamis, Sub District of Sumur Bandung, City of Bandung. This type of church structure was designed by Schoemaker, a Dutch architect, who combined and syintisized between basic needs, concepts, and values of each genre that came from developed world archictecture in that time. The model was already well-known as an “essential expression” of European Chris-tianity. Exsisted Elements of church was adapted from world development architecture in that era. The elements of mass and figure have been des-cribed as spiritual manifestations of Christianity. There is perhaps an element of art deco its architectural decoration. The church of Bethel is now a building categorized as ‘A’, meaning that it is to be conserved in its models and functions, prohibited by law from any changes to its functions - it is now a legally protected part of the Indonesian legacy.
Keywords: Church, History, Type, Architecture, Bandung.
Artikel ini ingin menggambarkan sejarah, bentuk, dan arsitektur Gereja GPIB Bethel. GPIB adalah singkatan dari Gereja Protestan di Indonesia bagian Barat, berdiri sejak tahun 1948 dan terletak di Jalan Wastukencana No. 1, Kelurahan Babakan Ciamis, Kecamatan Sumur Bandung, Kotamadya Bandung. Model arsitektur yang didesain oleh Schoemaker seorang arsitek Belanda yang merupakan sintesis dari kebutuhan, konsep, dan nilai-nilai yang dimiliki oleh masing-masing aliran-aliran dalam perkembangan arsitektur dunia sebagai produk arsitektur pada zamannya yang merupakan “essential expression” bagi kekristenan di Eropa. Elemen-elemen yang ada merupakan adaptasi dari pengaruh zaman yang berkembang saat itu. Elemen pada tatanan massa dan ruang serta elemen pelingkup ruang yang dijumpai memiliki makna kerohanian sebagai perwujudan nilai-nilai Kristianitas. Begitu juga elemen-elemen dekoratifnya merupakan suatu produk zaman yang dipengaruhi oleh arsitektur art deco yang sangat berkembang pada zaman itu. Gereja ini adalah termasuk salah satu tipe bangunan yang berkualitas ‘A’ dan telah dikonservasi tanpa perubahan bentuk dan fungsi yang signifikan, sehingga ia termasuk dalam kategori bangunan Cagar Budaya yang dilindungi oleh Undang-Undang.
Kata Kunci: Gereja, Sejarang, Bentuk, Arsitektur, Bandung.