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Journal articles on the topic 'Christian decoration and ornament'
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1
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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Cvetković, Branislav. "Zaglavlje Dekaloga u Hvalovom zborniku: prilog semantici srednjovjekovne iluminacije." Ars Adriatica, no. 4 (January 1, 2014): 155. http://dx.doi.org/10.15291/ars.493.
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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common abbreviation from the nomina sacra category (God). The significance of this hitherto-overlooked gloss is extraordinary. It was written in the same manner which was used for adding legends to miniatures or headers in order to clarify images in medieval illuminated manuscripts. Hval wrote similar notes in several margins of this manuscript.The location of the gloss itself points to its function as an explanation of the banner before the words which the Lord communicated to Moses on Mount Sinai. That the text of the Ten Commandments was significant in Bosnian illuminated manuscripts is also attested to by the header before the Ten Commandments in a Venetian miscellany codex, which depicts the narrative scene of the theophany on Sinai while, at the same time, containing a fairly long inscription which clarifies the image. Similar textual clues appear in the Dobrejšovo Evangelie, the most important of which is the one positioned next to the Synaxarion header where the inscription, “this is heaven which is also called paradise”, explains the scene. In the context of such examples, this article discusses analogous material from illuminated manuscripts and monumental painting alike by applying a new approach to the study of function of medieval ornament, while also highlighting the problem of the etymology of the notion of ornament in different languages. The findings resulting from this research show that the function of ornament in a religious context was not just decorative, but that it was used to mark the holiness of a space, that is, the presence of the divinity, which is a phenomenon witnessed in illuminated manuscripts, wall paintings, icons and reliquaries.H. Kessler’s research into Judeo-Christian symbol-paradigms confirms the essential importance of the depiction of the Old Testament tabernacle in the manuscripts of the Christian Topography as a source of ornamental motifs. They can be grouped into a relatively narrow set of symbols, always included in a structural system: star-shaped schemes, fields of flowers, interlace and lozenge nets as well as chequers. Their origin is found in the coffered vaults of classical tombs and temples where they represented the sky and Elysium. They were transported to medieval art through identical motifs which were painted in the catacombs and early Christian basilicas. It is these exampes that constitute a formal template for the header to the Ten Commandments in the Hval Codex the meaning of which is, therefore, a symbolic depiction of the Word, Logos, as the source of God’s Ten Commandments, which is why the banner was marked with a corresponding gloss.The article also pays attention to an unusual illumination in the Gospels of Jakov of Serres because it also witnesses that a grid with floral motifs possessed a special meaning to educated medieval men. The portion above the head of Metropolitan Jakov, formed by a band of a lozenge net with flowers, has been described in the scholarship only as decorative, that is, as forming a floral background, but, given that its position and shape both conform to signifiers of heavenly kingdom in Byzantine manuscripts of the Christian Topography, it is erroneous to interpret it only as a floral background and a mere ornament. In this case too, the lozenge field filled with flowers denotes the Empire of God to which Jakov directs his prayers. Therefore, when one studies ornament in a religious context, it is necessary to use a more precise language, one which is rooted in the manuscript material itself. A concrete evidence for such a practice can also be seen in the colophon of this manuscript because the scribe who wrote it compared all of the decoration in the codex to the starry sky of a theological rather than actual kind.Other notes in the Hval Codex margins are also mentioned in the article. Some of these record the name of the manuscript’s commissioner who was addressed out of respect as uram (Hungarian for “my sire and master”): Hrvoje Vukčić Hrvatinić, Grand Duke of Bosnia and a Herzog of Split. The article emphasizes the need to study more closely the location of glosses and all other marginal notes within the codex, and highlights the fact that the two notes recording the name of the patron were placed next to the Gospel sections describing Christ’s healing miracles which, generally speaking, figure prominently in Christian art and exegesis. Furthermore, the article also analyzes the previously-unpublished illumination which depicts Moses in front of the Burning Bush, the branches of which were rendered as interlace ornament resembling a labyrinth. The rendition of the Burning Bush as interlace stemming from the floral frame of the header is a unique example which demonstrates that medieval art did not consider ornament as a meaningless arabesque but that it frequently functioned as a signifier.
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Stanfield-Mazzi, Maya. "Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru." Americas 72, no. 1 (January 2015): 77–102. http://dx.doi.org/10.1017/tam.2014.6.
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The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agency in creating works to be displayed in church interiors, many of which expressed Andean as well as Christian beliefs. This scholarship has focused primarily on the art forms of painting and sculpture, which were very visible within the church, especially in cases such as the baptism murals discussed by Ananda Cohen Suarez in this issue. An underappreciated yet equally notable aspect of church decoration was textiles. Throughout the colonial period churches were abundantly adorned with “church clothing,” textile ornaments meant to cover floors, walls, and altars as well as clothe church functionaries and religious statuary. The purchase and maintenance of church textiles consumed the lion's share of annual church budgets.
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Vranesevic, Branka. "The iconography of light. A possible interpretation of the decoration of a three nozzle lamp from Viminacium." Zograf, no. 38 (2014): 23–29. http://dx.doi.org/10.2298/zog1438023v.
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This paper focuses on offering a possible iconographic interpretation of the decoration of a rare three nozzle lamp discovered in the ancient city of Viminacium, on the locality of a necropolis called Pecine, dated to the early fourth century. Among the numerous lamps unearthed at the site of this prominent Roman city, capital of Moesia Superior, this example stands out for its rectangular shape, three nozzles and a decoration of high artistic merit consisting of geometric and floral ornaments. Considering the function and meaning of lamps within the framework of Early Christian teachings, liturgy and burial practices, this imagery can be understood as visualization of concepts related to perceptions of eternity and otherworldly, divine light.
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Naumenko, Olga Nikolaevna. "NEW IMAGES OF THE OB-UGRIC CULTURE: THE TRACES OF ISLAM IN THE RELIGIOUS ORNAMENT." Yearbook of Finno-Ugric Studies 13, no. 2 (June 25, 2019): 325–30. http://dx.doi.org/10.35634/2224-9443-2019-13-2-325-330.
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The article considers the process of transformation of the Ob Ugrian culture on the basis of the analysis of the unique collection of objects of decorative and applied art of the XVII-XXI centuries. This process reflects the formation of a group with a syncretic culture (Ob-Ugric Istiaks). The action of the frontier through contacts with the Siberian Tatars led to the enrichment of culture through external borrowing. The author draws attention to the fact that the Ob Ugrians were ready for cultural transformation within the framework of adoption of other, but necessary norms for survival. The article emphasizes that the Orthodox missionaries were “late” in relation to this part of the Ob Ugrians, since by the 18th century Islam (in the regional version) had already become a part of their spiritual and daily life. Evolutionary processes have led to new phenomena in the Ugric culture. The author analyzes the decorative ornaments of the felon on wooden sculptures of Nikolay Mozhaisky of the 17th century, comparing them with ornaments of the indigenous population of the North, objects related to Christian and Muslim culture. The author’s attention was drawn to the chess ornament. In the process of the analysis several hypotheses of its origin are put forward - from the connection with the Greek Orthodox culture to the reflection of the Northern traditions and the Muslim ornament-girih in its Siberian version: the article focuses on the latter option. Ob-Ugric culture is syncretic in its content, covers a variety of forms of customs, faith, language, life. In the present article the author makes a certain contribution to the study of this problem, highlighting one of the sides of the original Ob-Ugric culture.
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Endoltseva, E. Yu. "The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying." Observatory of Culture 15, no. 3 (August 19, 2018): 298–308. http://dx.doi.org/10.25281/2072-3156-2018-15-3-298-308.
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The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.
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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part II)." Ethnologia Actualis 16, no. 2 (December 1, 2016): 14–32. http://dx.doi.org/10.1515/eas-2017-0002.
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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the ornaments of the church evoke Tlalocan, paradise of the ancient deity of rain known as Tlaloc. Following this interpretation this study explores the relation between the Virgin Mary and the ancient Nahua deity of Earth and fertility called Tonatzin in order to show the profound syncretic bonds which exist between Christian and Mesoamerican traditions.
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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part I)." Ethnologia Actualis 16, no. 1 (June 1, 2016): 8–29. http://dx.doi.org/10.1515/eas-2016-0001.
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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. The scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as Assumption of Virgin Mary up to celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that the ornaments of the church evoke Tlalocan, paradise of ancient deity of rain known as Tlaloc. Following this interpretation this study explore a relation between Virgin Mary and ancient Nahua deity of Earth and fertility called Tonatzin in order to show profound syncretic bonds which exist between Cristian and Mesoamerican traditions.
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Szczur, Piotr. "Ojcowie Kościoła wobec bogactwa kościołów i przepychu liturgii. Zarys problematyki." Vox Patrum 57 (June 15, 2012): 641–57. http://dx.doi.org/10.31743/vp.4157.
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Examination of the Church Fathers’ teachings shows up a particular paradox. On the one hand they frequently required their listeners (or readers) to practise austerity, humility and poverty, since, as they explained practising these virtues was the easiest means of gaining the kingdom of heaven. However, on the over hand, they voiced these appeals in richly decorated churches furnished with priceless items, often made of gold or silver and decorated with precious jewels. For this reason, in the following work we undertook to attempt to answer the question as to why the Church Fathers did not condemn the magnificence of churches and expressed approval of the pomp and splendour of liturgy while at the same time decidedly opposing the ostentations excesses of the faithful and appealed for performing acts of charity. The analyses presented show that the Church Fathers simply assumed that there is nothing unworthy in using wealth to praise God. At the root of the views lies theology, which explains that the magnificence of churches will help the faithful to discern the spiritual reality present behind the expensive decorations and show the value of Christian worship and make present the splendour of heavenly liturgy. However, all the expensive decorations were perceived by them as unsuitable for the sinful body since they did not serve the cause of brotherly love but only satisfied one’s own vanity. In the context of widely understood good works, the funding of expensive decorations and valuable equipment for churches always had only a secondary importance for the Church Fathers. For them, the undertaking of charitable deeds, as well as a concern for spiritual good, was more important than the external beauty of the Church, whose essence was not the precious ornaments, but the pure and unblemished soul of its members. The main value of gold, was perceived by the Church Fathers as a means of helping the poor. However, they acknowledged its symbolic meaning and its power to transpose the faithful into the sphere of heavenly reality. Allocating money for decoration of churches and the splendour of liturgy were thus seen as a certain good even if universally it was regarded as a relative good.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.
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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.
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Rodriguez Velasco, Maria. "Color Symbolism in the Castilian Atlantic Bibles: Initials and Scenes from the Bible of Avila (BNM, Vit. 15-1)." Multidisciplinary Journal of School Education 9, (2) 18 (December 31, 2020): 169–89. http://dx.doi.org/10.35765/mjse.2020.0918.09.
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The Atlantic Bibles of the Umbro-Roman school are associated with the needs of the Gregorian Reform, which began at the end of the 11th century. Their first impression is one of great ornamental sobriety, in accordance with the early stages of what Garrison and Berg have labelled the “geometric style.” This was first manifested in the decoration we find concentrated in the initials heading the individual books of the Bible. In Castile, one outstanding example is the Bible of Avila, begun by the Umbro-Roman school and finished in a Castilian scriptorium. This double perspective can be observed in a similarly double palette of color: Italian and Spanish.
It is especially in this second phase when a reduction to the minimum of polychromy leads us to think that color has here a symbolic use. Red and blue, having had symbolic connotations since the birth of Christian iconography, are the principal colors of the scenes illustrated in the Bible of Avila, with the addition of green and yellow, which are also rich with symbolism. This possible symbolism of color may work to reinforce the conceptual nature of these miniatures, in direct relation to the text they decorate and to the liturgy they accompany. The Bible in the Middle Ages, in the context of monastic schools, was the most important manuscript for teaching and learning. Its miniatures and the symbolism of its colors contribute to the transmission of meanings.
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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.
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<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Tkachenko, Viktor. "HISTORIOGRAPHIC STUDIES FROM REGIONAL AND ORNAMENTAL FEATURES OF EASTER EGGS PAINTING." Journal of Ukrainian History, no. 40 (2019): 61–68. http://dx.doi.org/10.17721/2522-4611.2019.40.8.
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The article deals with the national historiography in which problems of regional-ornamental peculiarities of easter eggs painting are highlighted. The purpose of the proposed research is the analysis of the existing sources related to the historiography of regional ornamental peculiarities of easter eggs painting as a type of decorative and applied art in general. The main task: to find out the current state and degree of study of the problem. The methodological basis is the general scientific principles and methods of research. Among them - problem-chronological, search, analysis and synthesis, generalizations that allowed to explore this issue and identify works that highlight the topics. Symbols of Easter eggs, their ornamentation and semantics have attracted the attention of researchers: F. Vovka. M. Sumtsov, M. Kordubi, K. Sherotsky, V. Scherbakovsky, A. Lyashenko for a long time. Historiographical studies of regional peculiarities of easter eggs and ornamentation of certain historical and ethnographic zones and regions are practically absent. Among the authors we can mention works by V. Tkachenko, N. Bendyuk. Consideration of ethnographic materials from Volyn on the pages of the Canadian edition "Chronicle of Volyn" is devoted to the article by V. Nadolnoy. A. Dmitrenko explores the traditional and everyday culture of this historical and ethnographic region of the second half of the 20th century, including Easter eggs. Regional historiography and sources are covered in works: M. Maslovsky - Zhytomyrshchyna; O. Yanoshchak-Pshibili – Prykarpattya; I. Dmitruk - Hutsulshchyna; O. Kozholyanka – Bukovina; V. Savchuk – Podillya. O. Khalachanska devoted her research to the symbolism of Easter eggs and its possible use in the lessons of linguistics while working with the works that paid attention to the Poltava Pysanka. Recently, many works are published in which ornamentation is explored in its various aspects. In particular, N. Lolina from Kyiv examines the development and features of the geometric ornament used in the Easter eggs. The author of the article about the abstract sign in the geometric ornamentation of the Ukrainian Easter eggs, A. Dubriva analyzes the historical and cultural preconditions of the emergence, formation and development of abstract art. A. Gotsaliuk tries to reveal the sacred role of the eggs as a protective symbol, its development from paganism and to the present, without neglecting the importance of eggs in the Christian religion. Considering the historiography of Easter eggs painting, A. Gotsalyuk notes that M. Sumtsov "first studied Easter eggs as a folk art ritual, having determined the importance and place of Easter eggs in the culture of Ukraine, paying special attention to the semantics of their ornament". In the article O. Poyannyk from the "Vasyl Stefanyk Precarpathian National University" features peculiarities of preserving the traditions of Easter eggs painting in the education of children of the Ukrainian Carpathians. Covering the historiography of the problem of ceramic Easter eggs of the XI-XIII centuries. Researcher A. Sushko notes that the greatest attention to such products was paid in the works by T. Makarova and H. Shovkoplyas. Among the researchers of the time of the Independence of Ukraine, who considered ceramic Easter eggs, she gives the names of V. Titiynuk, D. Pozhozhuka, A. Valush and V. Tkachenko. For the newest historiography a significant increase in different publications, articles, monographs, etc. is characteristic. About that not all works have and bear historiographic works of literature on art-study issues, including ornamentation of pysanka paintings, etc. Thus, the study considers the historiographic work of scientists on the study of pysanka painting and its ornamental peculiarities. It is noted that the problem of historiographical sources studies of regional pysanka painting and symbolic-semantic significance of motifs is now one of the least developed in the national historical and ethnological and art-studying science. One can confidently say only a few studies that partly claim to historiographic reviews of the study of Easter eggs of Ukraine.
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Goodwin, Amy. "Signwriting: Ornament as visual language ‐ communicative decoration." Journal of Illustration 6, no. 1 (August 1, 2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.
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This article argues for the use of decorative signwriting as both ornamental and communicative. This examination will be twofold: first, a series of images of twentieth century signwriting in the fairground industry will be offered to this argument: all signwriting is purposefully applied, as decoration, in order to communicate, but unpicking the visual styles will unveil the hidden meanings, expanding the communicative intentions. Secondly, works of signwriting produced and installed as an archive as illustrated space will be dissected to expand on the argument being made. The archive as illustrated space is a framework being theoretically structured and then applied in practice within my Ph.D. enquiry. It advances the theories and workings of both the archive and artistic archive: the space facilitates the collation of dubious and disputed narratives, alongside archival fragments: told through communicative signwriting, it demands the participation of the viewer in its installation. Using the methodology of this practice-led research will contribute to confirming how the application of a visual language to signwriting enables the production of works that are both ornamental and communicative.This argument has been formed, primarily, due to my informed fairground position: embedded within fairground heritage my upbringing has established an appreciation for its rich history, which is reflected in my practice, which blends traditional signwriting and illustrative storytelling. This informed fairground position, combined with my Ph.D. enquiry, enriches the analysis and understanding of the practice-led research within the realm of this article: offering a valuable opportunity to not only comment on the historical works presented, but also to showcase an exploration of how to apply this visual production to contemporary, installation situations.
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.
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The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Bzhahov, M., and A. Sultanova. "THE USE OF THE NATIONAL ORNAMENT OF THE KABARDINS AND BALKARS AS ARCHITECTURAL DECORATION OF FACADES OF BUILDINGS." Construction Materials and Products 2, no. 4 (June 27, 2020): 79–83. http://dx.doi.org/10.34031/2618-7183-2019-2-4-79-83.
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the article presents the results of research on the use of the national ornament of the Kabardins and Balkars as an architectural decoration of facades of buildings, contributing to the increase of architectural and artistic expression of facades of buildings. Classification of the national ornament of the Kabardins and Balkars is given, stylized schemes of the national ornament are considered and variants of their placement on facades of buildings as an architectural decor are offered.
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Horton, Sarah. "Serial killers? Investigating some modernist myths about decoration, pattern and ornament through workplace interventions." Journal of Illustration 6, no. 2 (December 1, 2019): 305–25. http://dx.doi.org/10.1386/jill_00016_1.
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Abstract What is it about ornament that made it so contentious for influential modernist thinkers and practitioners such as Adolf Loos and le Corbusier? According to Loos it was a sign of degeneracy and for le Corbusier best suited to 'simple races, peasants and savages'. By championing the use of ornament as a vital tool for 'resistance' in the sense that Michel de Certeau used the word the practice-led research featured in this article seeks to interrogate some of these myths. Rather than being a passive adornment to an environment the visual artworks presented here tested the potential of decoration and ornament to offer a resistive, critical interruption to everyday spaces. The particular space addressed was that of the workplace, with bespoke artworks being made for three different work-related locations.
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Kim, Hoon-Hui. "The transition and meaning of the ceremonial ornament with bird-shaped thorn(有刺괿器) from Marisan ancient tombs in Haman region." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 33–57. http://dx.doi.org/10.47417/yar.2018.82.33.
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The Malisan ancient tombs in Haman region are the most important sites, as the center of Allakuk(安羅國), in the study of Gaya. In this study, the ceremonial ornament with bird-shaped thorn(有刺利器) excavated from the Malisan tombs were examined. In the analysis of the ceremonial ornament, It attracts attention to the most distinctive part of the bird-shaped decoration. It is largely classified into the old and the new style. It is set to five types of old style and three types of new style. The old and new style differ in appearance and disappearance. The set pattern is observed to change gradually from the early period to the late period. The duration is divided into five stages from the beginning of the 5th century to the beginning of the 6th century. The scale of the wooden chamber tombs and stone chamber tombs and the main artifacts were examined, and the hierarchy was classified. The ceremonial ornament shows the hierarchical feature that is buried only in the middle grave and above. From the time of the emergence until the extinction period, the position as a superior relics was maintained. The position to be buried is changed. Artifacts what was buried near the body, it changes to the form to be placed on the vice chamber or top of the main in the late period. The ceremonial ornament excavated from the Malisan tombs is confirmed a close connection with the Gimhae region in the 4th century. The bird-shaped decoration on back of the armor excavated from the Daeseongdong No. 2 tomb is very similar to that of the earliest period in the old style of the Malisan s ceremonial ornament. From the previous period, the image of the bird-shaped decoration were identified in various artifacts as an important notion of farming rituals, worship of the sky and sun, and ceremonial rituals. It can be seen that the building group of the Malisan tombs placed the ceremonial ornament that has a symbolic meaning on the grave with a high hierarchy continuously.
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Liu, Jun, and Yu Guo Zhuo. "Green Theory Research on Indoor Air Pollution by Overall Process Controlling." Advanced Materials Research 356-360 (October 2011): 1719–22. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1719.
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New green theory is put forward that indoor air pollution is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor air quality becomes important more and more. According to the concept of healthy house to control indoor air pollution through four steps that are green interior design, selecting environmental materials, green decoration and green ornament safe, healthy and environmental green home could be realized.
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Hedges, Susan. "Interior Decoration to Exterior Surface: The Beleaguered Relief." Interiority 2, no. 1 (January 30, 2019): 79–93. http://dx.doi.org/10.7454/in.v2i1.45.
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Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge.
This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior.
Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.
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Riisberg, Vibeke, and Anders Munch. "Decoration and Durability: Ornaments and their ‘appropriateness’ from fashion and design to architecture." Artifact 3, no. 3 (December 16, 2015): 5. http://dx.doi.org/10.14434/artifact.v3i3.3918.
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<p>Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design it is discussed as a Return of ornament, because the aesthetics of Modernism banned ornamentation as ‘inappropriate’ to materiality, construction and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design, where the ‘right’ kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who lead the fight against ornament in early 20<sup>th</sup> century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that points out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and links ornamentation to the aesthetics of durability.</p>
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Liu, Jun, Yu Guo Zhuo, and Jin Xiang Ma. "Research on Indoor Environment Pollutants and Controlling." Applied Mechanics and Materials 178-181 (May 2012): 251–53. http://dx.doi.org/10.4028/www.scientific.net/amm.178-181.251.
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The sources and harm of indoor environmental pollutants was described and a new green theory is put forward that indoor environment pollutants is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor environment quality becomes more and more important. According to the concept of healthy house to control indoor environment pollutants through five steps that are green interior design, selecting environmental materials, green decoration, green ornament and green fresh air, and healthy and environmental green home could be realized.
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Baratte, François. "Precious plates with Christian ornament: an original repertoire?" Antiquité Tardive 19 (January 2011): 191–208. http://dx.doi.org/10.1484/j.at.1.3011.
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Rinaldi and Azmi Dwi Seffiani. "RAGAM HIAS NISAN KOMPLEKS PEMAKAMAN RAJA KOTALAMA, KABUPATEN INDRAGIRI HULU, PROVINSI RIAU." Berkala Arkeologi Sangkhakala 22, no. 1 (January 25, 2020): 45. http://dx.doi.org/10.24832/bas.v22i1.397.
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The cemetery of the King Kotalama complex is the Indragiri royal burial complex of the islamic-style period of Narasinga II. This study focused on the type of ornament that developed in the burial complex of the king of Kotalama. Decoration can provide information about the development of art culture during the reign of Narasinga II. The method used to answer these problems is through morphological analysis and stylistic analysis, in order to find out the types of decorations. The developing decoration shows that the community acculturates the old culture and the new culture. The ornamental variety consists of flora, geometric and calligraphy.
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Lebedeva, Yulia A. "The Ornament on Jewelry of the Siberian Tatars (on Materials of Archeology and Ethnography)." Herald of Omsk University. Series: Historical Studies 7, no. 4 (28) (December 28, 2020): 140–50. http://dx.doi.org/10.24147/2312-1300.2020.7(4).140-150.
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The article describes the decoration and ornamentation of two groups of Siberian Tatars - Baraba and Tara Tatars. As sources are considered jewelry of the 17th - 20th centuries, received in the funds of museums as a result of ethnographic and archeological researches. Special attention is paid to technical methods of performance, motifs, compositional techniques and types of ornament.
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Hoogslag, Nanette. "Decriminalising Ornament: The Pleasures of Pattern: The sympathy of illustration." Journal of Illustration 6, no. 1 (August 1, 2019): 9–32. http://dx.doi.org/10.1386/jill_00002_1.
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This article reflects on the research exhibition Decriminalising Ornament: The Pleasures of Pattern held in the Ruskin Gallery in Cambridge in November 2018 in conjunction with the International Illustration Research Conference of the same name. It considers the role of ornament and decoration in the exhibited works and through this the essential presence of the decorative within illustration.Key is Lars Spuybroek's concept of sympathy, which he develops based on a premodern understanding of ornamentation. In response to Spuybroek's exploration of this concept, this article seeks to extend the notion of sympathy as an essential presence within illustration. Sympathy indicates a human-material relationship not just between the illustrator and the creative materials, but also in the readers connection with this decorative act in the reproduced illustration.
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Lungu, Antonela, Antonius Androne, Lidia Gurău, and Camelia Coşereanu. "Simulating traditional textile heritage motifs by applying CAD-CAM-CAE tool for furniture decoration." MATEC Web of Conferences 343 (2021): 04012. http://dx.doi.org/10.1051/matecconf/202134304012.
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As an interaction of multiple domains including design, the furniture industry may valorise in furniture ornamentation the traditional motifs, and could encourage the creativity of designers to develop original products with a modern design, based on the digitalized technology. The article presents an example of applying CAD-CAM-CAE tools for analysing the possibility of transposing traditional motifs from the textile heritage to the furniture decoration, and to select the appropriate CNC routing method and tool in order to obtain an ornament as close as possible to the original one. Traditional motifs (rose, tulip, bird, North Star) selected from the textile heritage of Ţara Bârsei - a historical and ethnographic region of Transylvania - were drawn in a digital format, using CorelDraw and AutoCAD programs, and then imported for a simulation of CNC routing process on wooden materials, using the software vCarvePro 9.519 developed by Vectric, with two types of tools and two processing methods, namely engraving (Engrave) and carving (VCarve). Following the simulation and the analysis of the obtained images, both visually and by ImageJ software, it was assessed which method is suitable for each ornament, considering also the processing times indicated by the simulation process of the models.
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Lungu, Antonela, Mihai Ispas, Luminiţa-Maria Brenci, Sergiu Răcăşan, and Camelia Coşereanu. "Comparative Study on Wood CNC Routing Methods for Transposing a Traditional Motif from Romanian Textile Heritage into Furniture Decoration." Applied Sciences 11, no. 15 (July 22, 2021): 6713. http://dx.doi.org/10.3390/app11156713.
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This paper presents experimental research on the Computer Numerical Control (CNC) routing of a traditional motif collected from Ţara Bârsei (Transylvania region) using two methods, namely, engraving (Engrave) and carving (V-Carve). The analysis of the CNC router processes includes the calculation of the path lengths, an assessment of the processing time and wood mass loss, and an evaluation of the tool wearing by investigating the tool cutting edge on a Stereo Microscope NIKON SMZ 18 before and after processing the ornament on wood. An aesthetic evaluation of the ornament routed on wood, using both the engraving and carving methods, is also conducted, whilst a microscopic analysis of the processed areas highlights the defects that occurred on the wood surface depending on the tool path.
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Adams, S. "Ornament: a modern perspective * Rethinking decoration: pleasure and ideology in the visual arts." Journal of Design History 19, no. 1 (January 1, 2006): 88–90. http://dx.doi.org/10.1093/jdh/epk008.
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Brandt, Olof. "The Symbolism of Water in Early Christian Baptisteries." Current Swedish Archaeology 11, no. 1 (June 10, 2021): 11–24. http://dx.doi.org/10.37718/csa.2003.01.
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The symbolism of water in the Early Christian baptisteries was not expressed in the architecture of the building but rather in its decoration. This article illustrates the references to water in the sculptures and inscriptions of the fourth and fifth-century phases of the Lateran baptistery in Rome. This decoration shows that the water was a symbol ofboth li fe and death: the death of the sinner and the life of God, to which baptism gave access.
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DAEL, PETER VAN. "ANICONIC DECORATION IN EARLY CHRISTIAN AND MEDIEVAL CHURCHES." Heythrop Journal 36, no. 4 (October 1995): 382–96. http://dx.doi.org/10.1111/j.1468-2265.1995.tb00997.x.
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., Mirza Prastyo, Dr Drs I. Ketut Supir, M. Hum ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "Omprok Gandrung Banyuwangi." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (March 27, 2018): 27. http://dx.doi.org/10.23887/jjpsp.v7i1.13630.
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Penelitian ini bertujuan untuk mendeskripsikan: (1) Alat dan bahan dalam pembuatan Omprok Gandrung Banyuwangi (2) Proses pembuatan Omprok Gandrung Banyuwangi (3) Ornamen Omprok Gandrung Banyuwangi (4) Makna Ornamen Omprok Gandrung Banyuwangi. penelitian ini merupakan penelitian deskriptif kualitatif. Sasaran adalah Omprok (Mahkota) Penari Gandrung dengan memilih Sutrisno, Suwari, Eko Susanto dan Sayun Sisiyanto sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) Observasi, (2) wawancara, (3) Dokumentasi, dan (4)Triangulasi, serta menggunakan Analisis Taksonomi Domain.
Hasil temuan dalam penelitian ini adalah: (1) alat dalam pembuatan Omprok Gandrung Banyuwangi dibagi menjadi dua kelompok, yaitu alat pokok berupa pahat, kuas, jarum, pisau, tindhih dan alat bantu pensil, batu asahan, penggaris. Bahan utama yang digunakan kulit sapi, spon matras. (2) Tahapan proses pembuatan Omprok Gandrung Banyuwangi, yaitu proses pemahatan, proses pewarnaan, proses pembuatan Kuluk, dan proses pembuatan hiasan yang terdiri dari Kembang Goyang, hiasan Gombyok, hiasan Pilis Stenlis, dan hiasan kaca. (3) Ornamen yang ada pada Omprok Gandrung Banyuwangi, yaitu Ornamen pilisan yang terdiri dari bidang pola pilis depan, pilis tengah dan pilis atas, Ornamen wayang Gatutkaca, Ornamen Gajah Uling, Ornamen Tebokan yang terdiri dari pola gunungan dan sabuk gombyok. (4) Makna dari Hiasan dan Ornamen Omprok Gandrung Banyuwangi yaitu bahwa pemimpin dan masyarakat yang mempunyai norma-norma sosial untuk bekerjasama mengatur wilayah Banyuwangi sebagai bentuk puji syukur kepada mahabesar akan anugrah yang diberikan.Kata Kunci : Kata kunci: Omprok, Gandrung, Banyuwangi. The research aimed to describe about, (1) the tools and materials in making Omprok Gandrung Banyuwangi, (2) the process of making Omprok Gandrung Banyuwangi, (3) ornament of Omprok Gandrung Banyuwangi, and (4) the meaning of Omprok Ornament Gandrung Banyuwangi. This study used a qualitative descriptive research. The subject of this study was Suwari, Eko Susanto, and Sayun Sisiyanto as the resource person to know making Omprok (crown) of Gandrung dancer. The collection of data in this study was performed with the techniques of: (1) observation, (2) interview, (3) documentation of (4) triangulation, and use the analysis domain taxonomi.
The results of this study were (1) the tool of making Omprok Gandrung Banyuwangi divided into two groups a staple tool in the from of the chisel, brushes, needles, knives, tindhih and pencil tools, grindtones, stones, of a ruler. the main ingredient use cow leather, sponge mattresses. (2) The stages of making Omprok Gandrung Banyuwangi process which were the process of carving, coloring process, Kuluk making process, and decoration process consisting of Kembang Goyang, Gombyok ornament, Pilis Stenlis ornament, and glass decoration. (3) Ornaments in exist of Omprok Gandrung Banyuwangi were the pilisan ornament that was consisting of the pattern of front pilis, middle pilis and upper pilis, Gatut kaca ornaments, Ornament Gajah Uling, Ornament Tebokan consisting of gunungan and belt gombyok. (4) The meaning of embellishment and Omprok Gandrung Banyuwangi ornaments, namely the leaders and communities who had social norms to cooperate regulating the Banyuwangi region as a form of praise to the enormous as the grace given to us.keyword : Omprok, Gandrung, Banyuwangi.
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Biddulph, Michael. "Moughtin, Cliff, Oc, Taner and Tiesdell, Steven, "Urban Design: Ornament and Decoration" (Book Review)." Town Planning Review 67, no. 2 (April 1996): 245. http://dx.doi.org/10.3828/tpr.67.2.d71288x86162684u.
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Gligorijevic-Maksimovic, Mirjana. "Classical elements in the endowments of Serbian XIII century donors." Zbornik radova Vizantoloskog instituta, no. 46 (2009): 255–64. http://dx.doi.org/10.2298/zrvi0946255g.
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In Byzantine painting, starting from the XIII and particularly during the XIV century, there was a visible return to models from the period of Antiquity. The influences of ancient, ostensibly, Hellenistic heritage were reflected in the shapes, in the content of the compositions, as well as in the drawing, modellation and colours. In the art that came into being in the course of the XIII century, in the endowments of the Serbian donors numerous elements emerged that had existed in ancient art. In the frescoes in the Church of the Mother of God in Studenica, the endowment of Stefan Nemanja and his sons, we see personifications, symbols, the introduction of details, and space acquiring depth, features that were later to come to full expression, especially from the middle of the XIII century. The few preserved frescoes dating from the XIII century in the Church of the Resurrection in the Zica monastery, the endowment of Stefan the First Crowned, his son Radoslav and his brother Sava, are an iconographic continuation of the trends in the art one encounters in Studenica. The frescoes in the Church of Christ's Ascension in Mileseva, the endowment of King Vladislav, with their subtly fashioned figures and carefully modelled faces, as well as refined colouring, signal a return to the Hellenistic models. The painting in the Church of Dormition of the Virgin in the Moraca monastery, the endowment of Prince Stefan, nephew of king Stefan, with its well-proportioned, firmly modelled figures, landscapes and architecture deepening the space, reminds one of the Sopocani frescoes. In the fresco painting of the Holy Apostles in Pec, the endowment of Archbishop Sava which owed its outcome to the efforts of Archbishop Arsenije I, the images are very vivid, and the painted architecture is depicted in an abbreviated form, using different kinds of perspective. The painting in the Church of the Holy Trinity in Sopocani, the endowment of king Uros I, represents an ensemble of new artistic trends that appeared during the first half of the XIII century. Its spacious and monumental compositions present solutions that give the figures a quality of flexibility and breadth to their movements, while their faces resemble those of Antiquity. The space is indicated by architecture painted in an abbreviated manner, the iconostasis and icons are framed in an ornament of stucco bearing antique motifs, some scenes contain personifications, while the rich and harmonious colours and gold in the background emphasise the Hellenistic spirit. The frescoes in the Church of the Annunciation in the Gradac monastery, the endowment of Queen Jelena followed the trends in painting from Sopocani. The figures in the narthex of the Church of St. George in Djurdjevi Stupovi and in the parekklesion of the entrance tower, the endowment of King Dragutin, were painted in a rather similar fashion. The decoration of St. Ahilije in Arilje, the endowment of King Dragutin, consists of monumental figures of ancient beauty, richly painted architecture in the background, and greater depth painted in different forms of perspective and scenes containing details from everyday life. During the XIII century, the proportions of the compositions became larger, the number of participants in them increased, various episodes were added to the existing scenes, and the space was defined by a larger number of plans and buildings of ancient forms. At the same time, the painted architecture was presented in the perspective of different projections, deepening the space when necessary and highlighting the subject matter. The landscape is presented in the background, keeping to the rhythm of the scene or partitioning the episodes within the composition, while depicting vegetation and animals that resemble the mosaic flooring of ancient times. Special attention was paid to appearance and workmanship, to the modeling of the faces and human figures that acquired the proportions and harmony of Antiquity. Characters with lively movements were more numerous and were located more freely in the space. Compositions were more numerous, enriched with details from everyday life, while into the established scenes as regards Christian iconography were included personifications, symbolic and allegorical figures. The influences of Antiquity were also reflected in the precise drawing, plastic modeling and rich, refined colours. During the XIII century, the revival of models from Antiquity evolved gradually in the painting of the endowments belonging to the Serbian ktetors, most of whom were members of the Nemanjic ruling house. First of all, single elements appeared that were related to the proportions of the compositions and the images, personifications, symbolic presentations, the temperate voluminousity of the figures, refined colours all of which heralded further trends in painting. In addition, the painted architecture, of Hellenistic forms, gained an increasing role in the definition of space. The painting in Sopocani, with its monumental dimensions, its harmony of ancient proportions, precise drawing and modeling, wealth of colours and splendour of gold, reached an outstanding level in the Byzantine painting of that epoch. The decoration of the monuments that were built later, up to the end of the XIII century, mirrored the achievements of the Sopocani painting and continued to develop by including elements from the Antiquity. Thus, at the beginning of the XIV century, the emulation of models from the Antiquity came to full expression in the monumental endowments of King Milutin.
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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.
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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.
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Michałowski, Andrzej, and Andrzej Sikorski. "Ornament sznurowy na ceramice ludności kultury amfor kulistych z Poznania-Nowego Miasta (stan. 314)." Folia Praehistorica Posnaniensia 13 (November 1, 2018): 175–85. http://dx.doi.org/10.14746/fpp.2005.13.13.
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The article discusses a corded decoration on pottery from the Amphorae Globular Culture seasonal camp. Analysis of impressions on the pot outer surfaces revealed that this characteristic motif was produced by a simple textile template. Fragments of a five-stranded cord (S/3S/2Z) - certainly not a two-stranded one - were sewn on a net 'band' (item of a sprang type). This technique guaranteed a precise layout and space between particular impressions (ca. 2 mm each) on a soft amphorae (?) surface irrespective of an angle of ornament placements and decorative element joints.
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MAHARLIKA, FEBRY. "STUDI MULTIKULTURAL PADA ORNAMEN BALI PEPATRAAN: PATRA CINA." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 67. http://dx.doi.org/10.28932/srjd.v2i1.478.
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Ornaments are one of the decorative elements that can not be separated from Balinese culture. In addition to decoration, ornaments also contain philosophical content, especially for Hindus in Bali. One type of Balinese ornament is well known is pepatraan. Pepatraan applied to traditional Balinese building by sangging creativity, also obtained from acculturation result between a local culture with other culture that came to Bali, one of them is patra china. Patra china can be found in traditional Balinese buildings as a decorative element placed among other Balinese ornaments. This study describes one of the local cultural products formed by the influence of other nations. A Form of Patra china is described with qualitative interpretative method then attributed to traditional Indonesian archetype. This study also described the history of Patra China, which allegedly originated from China. From the analysis of the form and history of the Patra china, it is concluded that the Patra china is a patra whose basic pattern refers to the pattern of the traditional form of Indonesia, but takes the form Flower Shoes originating from China. The benefit of this research is to developing knowledge about the values contained from patra china ornament as a traditional artwork which created from the process of acculturation of Balinese and Chinese culture. Keywords: Bali; multicultural; ornament; patra china
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Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
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During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
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Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
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During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
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Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.
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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft materials of late 19th - the 1980s, wooden objects of the first half of the 20th century. In some cemeteries of the Nogai District of the Dagestan Republic, carved stone sepulchral stelae (‘syntas’) of the19th - 20th cc. were studied. Two authors albums with traditional Nogai ornaments, unique stencils made of white paper and used as a silhouette base of patterns in felt carpets (‘kiyiz’) and for decoration of clothes, head-dresses, tobacco pouches, shoes, pillows, and blankets were revealed during the field studies and recorded. During the research, all the revealed objects of the Nogai decorative and applied art with traditional ornament were photographed, their detailed inventory and large-scale sketches were made. The stencil patterns and drawings from the albums were copied. As a result of the researches in 2014 - 2016, a database of the Nogai folk ornament has been replenished with 942 objects and 1102 kinds of stencils and drawings.
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San Juan, Rose Marie. "The Function of Antique Ornament in Luca Signorelli’s Fresco Decoration for the Chapel of San Brizio." RACAR : Revue d'art canadienne 12, no. 2 (1985): 235. http://dx.doi.org/10.7202/1073675ar.
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Danbury, Elizabeth A., and Kathleen L. Scott. "THE PLEA ROLLS OF THE COURT OF COMMON PLEAS: AN UNUSED SOURCE FOR THE ART AND HISTORY OF LATER MEDIEVAL ENGLAND, 1422–1509." Antiquaries Journal 95 (September 2015): 157–210. http://dx.doi.org/10.1017/s000358151500044x.
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The court of Common Pleas was one of the most important courts in the English legal system for more than 600 years, until its abolition by Act of Parliament in 1873. The cases heard before this royal court were civil disputes between the king’s subjects, often relating to land, inheritance and debts. The purpose of this paper is to introduce readers to the ornament and imagery that appeared on the headings of the main records of the court of Common Pleas between 1422 and 1509 and to explore the origins and contemporary context of the images and representations employed by the clerk-artists who wrote and decorated these headings. The decoration they chose ranged from simple ornament to representations of plants, birds, animals and people. Great emphasis was placed on the role of the sovereign as the fount of justice, and this emphasis was reinforced by the incorporation of words and phrases, acclamations and verses from the Psalms chosen to underline the majesty and power of successive monarchs. The illustrations provide an important insight into the art, history and politics of late fifteenth-century England.
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Laksitarini, Ike Niken, Yan Yan Sunarya, and Chandra Tresnadi. "PARE'S VISUAL ADAPTATION AS KARAWANG’S BATIK DECORATION." VISUALITA 8, no. 1 (August 10, 2019): 25–38. http://dx.doi.org/10.33375/vslt.v8i1.1778.
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Batik is one from of art and has become an acon of Indonesian indigenous culture and Batik Karawang is one of them. Its exixtence is not yet as popular as batik from other regions. However, several efforts have been made by cultural observer Karawang Regency and related agencies in introducing and developing Batik Karawang. Geographically, Karawang Regency is an area that has extensive agricultural land. Even though it is a coastal area, the agricultural land in Karawang Regency is an area that is able to produce good quality rice, this is because Karawang Regency is located adjacent to the Citarum River which functions to irrigate all agricultural land in Karawang Regency. So it is not surprising that the batik ornaments created are dominated by rice plants or bitter melon as the main decorative variety. Pare in Indonesian means rice, while sagendeng means one tie. The use of ornamental names that refer to the natural and cultural elements of the Karawang district has symbolic meaning that refers to the ideas and expectations of the local community for good. From the results of the study obtained a relationship or relationship that the aesthetic elements contained in the Karawang Batik decoration is a form of visual adaptation (culture) of Karawang regency society which is correlated with the discovery of the name kekembangan on Sundanese terms found in Lalakaon ti Karawang script. This study aims to unravel the form of adaptation to the Pare ornament. This research is expected to provide insight for the general public regarding the existence of Batik Karawang so that it can develop the potential and economy of UMKM (Usaha Mikro Kecil dan Menengah) on Karawang regency. The type of research used is qualitative research with a descriptive approach. From the results of the study it was found that most of the basic patterns of Karawang Batik motifs were ridiculous. Ceplokan is one of the batik motifs which consists of repetition of the ceplok pattern unit so that as a whole it forms a single unit.
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Afrianto, Damar Tri. "Ornaments as a tourist attraction at the King Binamu Tomb Complex in Bontoramba District, Jeneponto Regency." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 3 (September 25, 2020): 366–75. http://dx.doi.org/10.34050/elsjish.v3i3.11012.
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The existence of ornament which adorns almost the entire walls of the tomb functions as decorative or symbolic. Ornamen provided information about the life of Raja Binamu when he was still victorious. The analysis is described in a descriptive qualitative manner with an interpretive approach. The discussion is described based on problems related to how the ornament is able to be an attraction of visitors or tourists. The scavenger began by analyzing the ornament in the tomb with Thomas Murno's ornamental composition theory which was developed in Guntur, according to Murno, organizing the composition in art works in this case there were four models of ornaments, namely: composition based on expediency, composition based on representation, composition based on expository, and thematic based composition. It also uses concepts that are based on tourism science strategies. The results obtained in the form of an understanding that the ornaments there contain two understandings, namely ornamentation as a decorative element, namely the presence of thematic repetition ornaments such as parengreng flower motifs. The symbolic ornaments explain the life and activities of kings during his life and have a moral message. Related to its potential as a tourist attraction, the presence of ornaments needs an understanding and image strategy in the form of 1) bringing up ornaments or ornaments in each of the promotional media, 2) providing information about the types of decoration or ornaments in books (booklets) tourist guides and 3 ) creating merchandise taken from ornamental motifs in the Raja Binamu tomb complex
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Kukil, Lidiia. "Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 301–16. http://dx.doi.org/10.37131/2524-0943-2019-39-21.
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Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author's vision. Despite the fact that Lviv architectural decor of the 19th century is a rather studied topic, so far Lviv Green Man mascarons of the 19th century have not been the subject of a special study, which predetermines the scientific novelty of the chosen topic. Objectives. The purpose of the article is to analyze the main theories of the origin of the Green Man image in the architecture of Western Europe, to reveal its symbolic meaning, to highlight the main typological groups of green man masks in Lviv architecture of the 19th century, to reveal and analyze their figurative and plastic solutions. Methods. The article applies the general scientific methods of research: method of analysis is used in the study and systematization of scientific literature in terms of the subject of research; comparative method is used for the analysis of stylistic features of 19th century Lviv Green Man mascarons in comparison with Western European tendencies; method of synthesis is used in the development of typology of Lviv Green Man mascarons of the period in question; method of art analysis is used in the analysis of stylistic and plastic features of Green Man masks on Lviv facades of 19th century. Results. Green Man is a fiction image that combines human appearance and the flora. In the ancient world cultures, Green Man sometimes was identified as the vegetative deity of the nature. First of all, it is interpreted as a pagan spirit of forest and the symbol of nature revival. It is rather paradoxical that most depictions of this pagan symbol of nature are in the interiors and exteriors of temple architecture of medieval Europe. Pre-Christian pagan traditions were closely associated with nature. Worshipping sacred trees was intrinsic for many ancient cultures that directly influenced artistic culture of Christian Europe. Accordingly, the masks of “green men” were, perhaps, only one of the pagan symbolic images, which gained the right to exist in the space of medieval ecclesiastical architecture. A new wave of interest in Green Man's image dates back to the 19th century. The reason for its revival could be an environmental crisis, and in this respect the image of Green Man present in architecture can be regarded as the archetype of “nature guardian”, whose role is to remind people of their responsibilities to nature. During this period various Green Man mascarons, deprived of symbolism, again started to be used by architects as decorative elements of secular buildings. Undoubtedly, such popularity of the “green man” masks in Victorian architecture has influenced the use of this image in European eclecticism, from where it came to Lviv architecture. Motive of the green man has many variations, which, depending on the author's conception, can be either interpreted as naturalistic or stylized. The authors of Green Man mascarons placed great importance on specific species of plants. To a large extent their choice depended on the local flora and symbolic associations they caused. Among Lviv Green Man mascarons, one can distinguish certain common features characteristic for certain types of face reliefs of the green man. Most often the authors of Lviv mascarons portrayed Green Man's face, hair, mustache and beard turning into leaves. Particular importance was attached to the mood of this bizarre creature. A deep, pensive look and a half-open mouth convey specific facial expression reflecting a special meditative condition that forces these masks to “speak”. A wide spectrum of moods of forest deity mascarons is conveyed by means of facial expressions. Some faces are friendly and smiling, others look sad, fierce, and at times even threatening, approaching theatrical feelings and emotions, thereby turning into “leafy grotesque”. Individual masks have more in common with demons or beasts than with humans. Horny faces of the “green man”, which are close to the image of an ancient god Pan, can be referred to a separate typological group of masks. Sometimes these masks stand out with an ominous look and a wry smile that bring them closer to the image of demonic forest deity, wild spirit of forest. Less often in Lviv architecture one can see the relief heads of Green Man dressed in stylized leaf crowns or from the mouth of which plant sprouts are growing. The last type of masks usually serves as an ornamental motive in the exterior decor and is characterized by small size. On the facades of many Lviv eclectic buildings, the mascarons of the green man can be complemented with ornamental compositions of plant sprouts, flowers and fruits, garlands or fruit bundles hanging on the lace out of Green Man's mouth. Similar to European art, there are Green Man mascarons in Lviv architecture depicting a human face decorated with separate leaves or surrounded by a leaf wreath. The atypical attribute of Lviv masks of nature deity are wings. In addition to all the above-mentioned images in Lviv architecture, there are also mascarons of green lions whose symbolic significance is associated with force and power. Conclusions. Consequently, Green Man mascaron is a strange symbiosis of a human face and flora, a pagan spirit of nature, the guard of forests, embodiment of the connection between the world of plants and the world of people. Together with its mysterious roots the “Green man” also entered the facade decoration of Lviv architecture of the 19th century. Analyzing the typology of Lviv mascarons images of the 19th century, we make certain that the image of Green Man was one of the most popular in the toolkit of architects and sculptors of that time. Variation of “neo” Green Man's masks is characteristic for Lviv architecture of the late the 19th century. The authors of Lviv masks attached a great importance to the facial expressions of forest deity. Its attributes can be horns, wings, sprouts growing from the mouth of Green Man or garlands of fruits and flowers, which compositionally complement the image. The choice of plant-like forms was equally important. Performing an exclusively decorative function on the facades of Lviv buildings, this image remains a mystery up to now.
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Brown, Douglas. "Ornament and Decoration in Islamic Architecture2001169Dominique Clévenot, Gérard Degeorge. Ornament and Decoration in Islamic Architecture. London: Thames and Hudson 2000. 224 pp, ISBN: 0 500 51032 6 £28.00 Originally published as écors d’Islam d.Citadelles & Mazenod, Paris." Reference Reviews 15, no. 3 (March 2001): 37. http://dx.doi.org/10.1108/rr.2001.15.3.37.169.
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Mammaev, M. M. "SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 54–73. http://dx.doi.org/10.32653/ch13454-73.
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This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.
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Nickson, Tom. "‘Sovereignty belongs to God’: Text, Ornament and Magic in Islamic and Christian Seville." Art History 38, no. 5 (August 21, 2015): 838–61. http://dx.doi.org/10.1111/1467-8365.12186.
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