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Journal articles on the topic 'Clothing Motifs'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Kam, Seonju, and Youngsun Yoo. "Patient Clothing as a Healing Environment: A Qualitative Interview Study." International Journal of Environmental Research and Public Health 18, no. 10 (2021): 5357. http://dx.doi.org/10.3390/ijerph18105357.

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Patients’ emotional responses to the hospital environment can be considered as important as medical technology and equipment. Therefore, this study investigated their experiences to determine whether the pattern using hospital identity (HI) elements, a widely used design method for patient clothing in university hospitals, can affect their emotional response and contribute to healing. It aimed to identify whether controlling the motif characteristics, arrangement, and spacing in this pattern design, and the direction between motifs, could be a method to design patient clothing for healing. To

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Et al., Wesnina. "DIGITAL PRINTING APPLICATION OF KUBANG SONGKET AS A VARIETY OF ORNAMENTAL READY TO WEAR FASHION." Psychology and Education Journal 58, no. 1 (2021): 4042–48. http://dx.doi.org/10.17762/pae.v58i1.1446.

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This study aims to determine the results of Kubang Songket Motifs Using Digital Printing Techniques. This research was conducted at Jakarta State University from May 2020 to October 2020. The method used in this research is descriptive qualitative research. The study used a sample of 5 designs of outerwear assessment of the printing motif of Songket Kubang digital printing with a source of inspiration. The stages of data collection are observation, interviews, and documentation. This study used data source triangulation techniques based on the theory of design elements and design principles, a

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Ermolenko, L. N. "Interpreting the Image on the Konda Plaque." Bulletin of Kemerovo State University 22, no. 3 (2020): 607–17. http://dx.doi.org/10.21603/2078-8975-2020-22-3-607-617.

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The research featured the authentic composition on a IX–XX century plaque found near the Konda River. The article focuses on some ambiguous details of the image. For instance, the decoration of the female figure’s clothing is made up of several zones. Its motifs include scales and dots, which are known to represent animal hair in metalwork and ceramics. In general, the image revealed a certain parallelism in the ornamentation of human clothing, animal hair, and bird plumage. The author established a clear correlation between the zoning and motifs of the female dress and the stylized plumage of

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Кoposova, E., J. Mazina, S. Zhuk, and D. Olzhabay. "Principles of using ornamental motifs to create a collection of modern youth clothing." Bulletin of the Innovative University of Eurasia 81, no. 1 (2021): 103–10. http://dx.doi.org/10.37788/2021-1/103-110.

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The main problem of the article discusses the methods of developing a collection of casual clothing with elements of ethnic style, using the example of innovative technologies in the field of creating ornaments for clothing. Factors of formation of ornaments based on the structure of the human body are justified. The author considers the factors of shaping, based on special visual features of clothing in connection with ergonomic factors. Study of the specifics of ornamental motifs to transform them into a component of modern youth clothing. The authors of the article monitored the environment

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Wardani, Laksmi Kusuma, Sriti Mayang Sari, and Ronald Hasudungan Irianto Sitinjak. "Bajang Ratu Temple as Idea Resource for Batik Motif Creation." Mudra Jurnal Seni Budaya 33, no. 3 (2018): 321. http://dx.doi.org/10.31091/mudra.v33i3.519.

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Indonesian batik is rich in decorative motifs that are developing vastly to meet the current needs of the market. Batik has become a resource for creativity that supports the commodity of creative industries. This research is an experimental study on batik creations conducted through three stages: exploration, design and implementation. Bajang Ratu temple in Mojokerto, East Java Province in Indonesia has been used as the idea resource for creating batik. The objective of this research is to create new motifs that can be used for clothing or fashion. From the experiments conducted, several comp

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Pebriyeni, Eliya. "PERKEMBANGAN FUNGSI SENI KERAJINAN TENUN SONGKET SILUNGKANG." Gorga : Jurnal Seni Rupa 8, no. 1 (2019): 214. http://dx.doi.org/10.24114/gr.v8i1.13585.

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AbstrakMotif tenun songket Silungkang yang ada pada sehelai kain dahulu sangat kaya dengan motif-motif yang mempunyai nilai-nilai estetika yan tinggi dan membutuhkan proses penciptaan dan pembuatan yang panjang dan lama. Sekarang motif yang ada cendrung berbentuk praktis dan sederhana, tidak memakai banyak motif, motifnya sudah dimodifikasi sesederhana mungkin. Pada waktu sekarang unsur-unsur yang dibuat cendrung berdasarkan nilai-nilai estetika semata yang mengarah kepada fungsi dekoratif, hanya sebagai hiasan saja. Kadang kala sipemakai perlengkapan pakaian adat tidak bisa menjelaskan makna-

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Anawalt, Patricia Rieff. "Ancient Cultural Contacts between Ecuador, West Mexico, and the American Southwest: Clothing Similarities." Latin American Antiquity 3, no. 2 (1992): 114–29. http://dx.doi.org/10.2307/971939.

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Clothing styles, design motifs, and techniques of cloth production found in codex illustrations and on pottery and extant textile fragments suggest diffusion of culture traits from the northern coast of South America to West Mexico and on into the American Southwest. The non-mesoamerican garments depicted in a West Mexican sixteenth-century manuscript and on mortuary figurines buried more than 1,000 years earlier in an adjacent area find analogs only in styles that were present in Ecuador from 1500 B. C. up to the time of Spanish contact. Clothing and textile design motifs represented on figur

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Riyanti, Menul Teguh, and Melisha Rouselyn. "THE INFLUENCE OF ART MOTIF BATIK MEGA MENDUNG CIREBON TO FESYEN IN JAKARTA." International Journal of Research -GRANTHAALAYAH 6, no. 3 (2018): 105–25. http://dx.doi.org/10.29121/granthaalayah.v6.i3.2018.1504.

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Development of fashion and fashion is growing very rapidly. Indonesia's population of 242 million is a very large business opportunities in the field of fashion. This market share not only contested by foreign businessmen, as designers from France, Japan, Korea and even China. With increasing competition in the domestic fashion, then the local designers have to work hard to improve the competitiveness of both the face of the market share within and outside the country. Diverse effort is made to provide a reliable characteristic as an attraction by fashion designers in the country such as admin

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Hollmann, Jeremy C. "'Geometric' Motifs in Khoe-San Rock Art: Depictions of Designs, Decorations and Ornaments in the Gestoptefontein-Driekuil Complex, South Africa." Journal of African Archaeology 12, no. 1 (2014): 25–42. http://dx.doi.org/10.3213/2191-5784-10249.

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‘Geometric’ motifs in rock art — so-called because they superficially resemble certain mathematical shapes — are globally widespread and likely have different meanings. Southern African researchers have described these motifs variously as ‘abstract’, ‘non-representational’, or ‘entoptic phenomena’. Research at the Gestoptefontein-Driekuil Complex (GDC), a cluster of rock art sites in South Africa’s North West Province, suggests, however, that certain ‘geometric’ motifs depict recognisable, tangible and significant objects. I use Leonard Schultze’s term Khoe-San (originally Khoi-San) to refer t

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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.

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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creatin

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Daukantienë, Virginija, and Inga Laurinavićiūtë. "The synergism of design and technology for the optimisation of embroidery motifs in clothing." International Journal of Clothing Science and Technology 25, no. 5 (2013): 350–60. http://dx.doi.org/10.1108/ijcst-03-2012-0007.

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Vieru, Lucia, and Marcela Irovan. "THE TRADITIONAL HARBOUR – THE SYMBOL OF ROMANIAN IDENTITY." Applied Researches in Technics, Technologies and Education 16, no. 2 (2018): 97–103. http://dx.doi.org/10.15547/artte.2018.02.004.

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The Romanian traditional harbour is one of the basic elements of the material society, which developed at the same time with the Romanian people. Knowing the traditional suit allows understanding of the characters of the Romanian people's and it contributes to the definition of ethnicity. In recent years, the return to the ethnic motifs of the popular suit is considered as a necessity in the inspirational sphere, also as a cultural reference present within the fashion system. The ethnic elements are particularly important as a symbol and as an archetype in contemporary fashion. A stylized ethn

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Quillien, Louise. "Identity Through Appearance: Babylonian Priestly Clothing During the 1st Millennium BC." Journal of Ancient Near Eastern Religions 19, no. 1-2 (2019): 71–89. http://dx.doi.org/10.1163/15692124-12341305.

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Abstract Through a study of Babylonian priestly clothing, one can see the social role and attitudes of priests in Babylonian cities, not only when they worship deities, but also in their daily lives. Information on priests’ clothing is rare in cuneiform texts. A Hellenistic ritual from Uruk gives interesting insights that one can compare with the data from the daily records from the Neo-Babylonian period. It appears that outside the temple, the priests wore “civil” clothes. Religious garments were kept in particular rooms of the temples, and their terminology is archaic and similar to the garm

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Cledumas, ABDULLAH Musa, YUSRI BIN KAMIN, RABIU HARUNA, and SHUAIBU HALIRU. "THE THE APPLICATION OF GENERIC GREEN SKILLS IN TESSELLATION OF REGULAR POLYGONS FOR ECONOMIC AND SOCIAL SUSTAINABILITY." Asia Proceedings of Social Sciences 4, no. 3 (2019): 121–24. http://dx.doi.org/10.31580/apss.v4i3.873.

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Abstract This paper proposes an improved modelling approach for tessellating regular polygons in such a way that it is environmentally sustainable. In this paper, tessellation of polygons that have been innovated through the formed motifs, is an innovation from the traditional tessellations of objects and animals. The main contribution of this work is the simplification and innovating new patterns from the existing regular polygons, in which only three polygons (triangle, square and hexagon) that can free be tessellated are used, compared to using irregular polygons or other objects. Thi

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Ismurdyahwati, Ika, and Atiqoh . "Kajian Makna, Konsep, dan Teknologi Pembuatan Motif Batik Tradisional, Wilayah Barat, Provinsi Jawa Timur." Jurnal Budaya Nusantara 2, no. 2 (2019): 297–304. http://dx.doi.org/10.36456/b.nusantara.vol2.no2.a1967.

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This research looks for the basic pattern of meaning that traversesall the journey soft tribal history,through the &#39;old&#39; batik motif, which originates from the western part of the East Java province.Through these mythologies, the position of man will be reflected in his cosmology and try to surveyhis life, be safe and happy according to his position in thisworld order. Its in terestis to document themotives to make inspiration for the developmen to fart in the future, with out putting aside theconcept soft its predecessors and the technology it uses. His research method, using

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Chrisman-Campbell, Kimberly. "From Caterpillar to Butterfly and Back: A Waistcoat of the French Revolution." Costume 45, no. 1 (2011): 63–74. http://dx.doi.org/10.1179/174963011x12978768537573.

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This paper analyses the construction, colour and enigmatic embroidered motifs of an extremely rare Revolutionary-era waistcoat or gilet, recently acquired by the Los Angeles County Museum of Art. Though the garment’s provenance is unknown, it must have belonged to a noble convert to the Revolutionary cause; through his clothing, he declared his allegiance to the political and sartorial ideology of the Revolution. The gilet provides a snapshot of a man and a nation in the midst of a metamorphosis.

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17

Pena, Joabson Xavier. "Wearing the Cosmos: The High Priestly Attire in Josephus’ Judean Antiquities." Journal for the Study of Judaism 52, no. 3 (2021): 359–87. http://dx.doi.org/10.1163/15700631-bja10015.

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Abstract In his recounting of the Exodus narrative of the making of the priestly vestments in Judean Antiquities 3.151-180, 184-187, Josephus provides a vivid description of the high priest’s wardrobe, including its cosmological connotations. This article shows that Josephus uses cosmological motifs in his recounting of the high priestly attire in order to convey a message to his intended audience in Rome. Josephus adds his own accents to the biblical narrative to convince his public that the high priest’s fine clothing functions as a statement that the Judean God is not a national deity with

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Hilton, Alison. "Threads of Tradition: Design and Meaning in Russian Peasant Clothing and Textile Arts." Experiment 22, no. 1 (2016): 13–30. http://dx.doi.org/10.1163/2211730x-12341276.

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The diverse components and decoration of peasant costumes in the north and south of Russia are the focus of this examination of the materials, stitches, and colors of textile arts. The identification of the wearer’s stage of life, village, kinship, and local traditions is analyzed through the sartorial elements and embroidered designs of garments and headdresses. Other textile work, especially embroidery on towels and bed linens, with repeated patterns and stylized motifs, shows formal similarities with designs on wooden distaffs, suggesting shared historical origins of certain forms. The essa

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Kyselova, Kateryna, and Olha Shandrenko. "The Ways to Find Harmony in Modern Clothing Design Projects." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 1 (2021): 59–69. http://dx.doi.org/10.31866/2617-7951.4.1.2021.236120.

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The purpose of the article. The article explains the ways to find harmony in modern clothing design projects. The research methodology consists of the analysis application in the field of fashion, as well as methods of source, aesthetic and structural-compositional analysis. The scientific novelty of the work lies in determining and systematizing the main ways of searching for harmony in clothing design 2010-2020. Conclusions. Design forms and expression, its orientation change not only due to a technology change but primarily due to changes in social demands, value systems, mental guidelines,

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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.2019.4.2416.155-166.

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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this stud

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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.v4i0.2416.

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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this stud

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Gorzelany, Dorota, and Patrycja Matusiak. "Carthage Imagined. From Giovanni Pastrone’s Cabiria (1914) to Game of Thrones (2012)." Collectanea Philologica, no. 19 (December 30, 2016): 117–28. http://dx.doi.org/10.18778/1733-0319.19.10.

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The purpose of this paper is to present the historiophotic image of Carthage and Carthaginians and also to demonstrate what made-up stories take from the image of antiquity present in our collective consciousness, what motifs were an inspiration for the creators of both the film and the TV series (hictorical motifs but also architecture – very important for the background, e.g. Punic temple of Moloch in Cabiria or frequent Egyptian borrowings – and 19th century paintings by J.M.W. Turner), how ancient code was used to discuss politics of the day (in Cabiria, the fights between pacifists and na

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Grela-Chen, Magdalena. "Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists and Fashion Designers." Intercultural Relations 4, no. 2(8) (2021): 81–95. http://dx.doi.org/10.12797/rm.02.2020.08.05.

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Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory

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Внукова, О. М., Ю. А. Бердичевська та Х. Ю. Юрко. "Роль стилю «family look» у розвитку особистості дитини на основі сімейних цінностей". Fashion Industry, № 3 (3 квітня 2020): 28–33. http://dx.doi.org/10.30857/2706-5898.2019.3.2.

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Purpose: to substantiate the role of family look in family upbringing of a child's personality based on traditional values. Methodology: an integrated approach was applied, questioning of parents, conversations with teachers, parents, children, methods of analysis and synthesis obtained. Style "family look" implies the presence of a unifying element in the image of the whole family. Family look emphasizes belonging to one family. Self-expression by family look is manifested through identical colors, similar patterns and common motifs in family members' prints. Options for "family look" are: 1)

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Block, Elaine C. "Italian Influence on French Gothic Choir Stalls." Reinardus / Yearbook of the International Reynard Society 12 (September 15, 1999): 19–34. http://dx.doi.org/10.1075/rein.12.03blo.

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Abstract French gothic choir stalls flourished during the fifteenth century. Hundreds of sets were commissioned for cathedrals, collegiate churches and private chapels of the nobility. The stalls were adorned with carvings on dorsal panels, jouées (end panels), arm-rests and misericords. Motifs included inventive monsters and realistic narratives. The miniature figures wore contemporary clothing and performed ordinary tasks to illustrate tales, proverbs and daily life. In the sixteenth century the Italian Renaissance slowly made its way through France leaving a magnificent mingling of Gothic a

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Sibarani, Magdalena, and Elita Dewi. "Independence of women through sewing skills." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 4, no. 2 (2019): 360–65. http://dx.doi.org/10.32734/abdimastalenta.v4i2.4094.

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Facing an era of increasingly fierce competition, a person is required to have a high entrepreneurial spirit so that he can run a business that he lives well. Thus we must be able to see market opportunities and desires in terms of needs and selling points that we will offer to consumers. Entrepreneurs in sewing services are still promising. Even though now there are a lot of apparel production, stitching services are still needed by consumers. Because there are some risks in purchasing apparel that are usually accepted by buyers. Not all clothes fit to be worn by consumers. Especially for peo

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ALBU, ADINA VICTORIA, TUDOR CACIORA, ZHARAS BERDENOV, et al. "Digitalization of garment in the context of circular economy." Industria Textila 72, no. 01 (2021): 102–7. http://dx.doi.org/10.35530/it.072.01.1824.

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One of the principles of the circular economy is to recycle used or unused materials, in order to reuse them in the creation of new objects or the restoration of old ones. But due to the fragility, some of these materials, such as old textiles and clothing, are quite difficult to handle. This study presents a completely digital method with the help of which two pieces of clothing of different ages and physical properties, have been restored and stylized; the two pieces are made up of a traditional Romanian women’s shirt about 100 years old and a modern sports t-shirt. For the application of th

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Luciana, Luciana. "Pemakaian Natrium Karbonat Pada Pencapan Alkali-Discharge dengan Zat Warna Dispersi pada Kain Poliester." Sainteks: Jurnal Sains dan Teknik 2, no. 2 (2020): 101–8. http://dx.doi.org/10.37577/sainteks.v2i2.240.

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Abstract – Polyester fabrics are the most popular clothing material in the textile product manufacturing process and are widely used. Small floral motifs, line or small dots that are sharp and bright (more than one color) on the basis of contrasting or dark colors usually obtained by discharge printing or resist printing, because it is not easy to do by direct printing in a large amount of production. In printing alkali discharge, polyester fabrics are used dispersion dyes that can be damaged by alkali (azo type) as the base color. Color motifs are used dispersion dyes that are resistant to al

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Sri Astati Sukawati, Ni Ketut. "Tenun Gringsing Teknik Produksi, Motif Dan Makna Simbolik." Jurnal Ilmiah Vastuwidya 3, no. 1 (2020): 60–81. http://dx.doi.org/10.47532/jiv.v3i1.101.

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The background of this research is that Tenganan Pagringsingan Village, Karangasem Bali, produces the best Ikat Weaving in Indonesia. One of the Ikat Weaving is Gringsing Weaving produced by the community in Tenganan Pagringsingan Village, Karangasem Regency, Bali. This village is one of the villages inhabited by the people of Bali Mula or Bali Aga (Original Bali) alias Bali who were not from Java when the Majapahit Kingdom expedition to Bali. Weaving is a process of weaving between weft and warp threads. Warp yarns (threads that are attached to the loom) and weft (threads that are linked to t

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Chaniago, Efriyeni, Tjetjep Rohendi Rohidi, and Triyanto Triyanto. "The Aesthetic Usage Response of Baju Kurung in Palembang City Government Tourism Office in Emphasizing Regional Identity." Catharsis 9, no. 1 (2020): 38–49. http://dx.doi.org/10.15294/catharsis.v9i1.39732.

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BajuKurung is a traditional dress of the Malay community in several countries namely Malaysia, Indonesia, Brunei Darussalam, and southern Thailand. The traditional clothes worn by Palembang women including in the form of bajukurung. In the development era of bajukurung replaced by modern clothes. The modification of bajukurung is now made according to the tastes of customers with a variety of shapes and accessories. This study aims to analyze the aesthetic response to the rules of wearing Palembang's traditional clothing in service in the form of patterns, motifs, textures, and colors of cloth

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Daeli, Yovita Sabatini, Dewi Isma Aryani, and Indra Janty. "PERANCANGAN BUSANA READY TO WEAR DELUXE DENGAN INSPIRASI THE CULTURE OF ANIMAL SPIRIT DARI SUKU INDIAN." Serat Rupa Journal of Design 3, no. 2 (2019): 77–92. http://dx.doi.org/10.28932/srjd.v3i2.1728.

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Indian tribes are the people of North America who are famous for their tradition, lifestyle, art and belief as culture tradition. One of the belief tradition is their belief to the spirit of animal which has connection with Indian belief,animism. In animal animism there are several animals which is considered.sacred in the lifecycle of Indians. They are : eagles, bear, and bisons. They are the symbols of life structure to Indian tribes. The combination of the symbols of lifecycle is based on the ways of the winds, seasons, elements, and colors of each of the symbols has become the inspiration

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Kartikasari, Elok Harisma, Suyitno Suyitno, and Andayani Andayani. "Cultural Education Values of Canting by Arswendo Atmowiloto and Canting by Fissilmi Hamida." International Journal of Multicultural and Multireligious Understanding 6, no. 4 (2019): 467. http://dx.doi.org/10.18415/ijmmu.v6i4.1025.

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This research aims to explain and describe the values of cultural education contained in the Canting novel by Arswendo Atmowiloto and the Canting novel by Fissilmi Hamida. This research is a qualitative descriptive research with all citations related to the purpose of the research as the object of research. The data were collected using content analysis. They were then analyzed using interactive analysis techniques. The results of the analysis obtained from this research are Canting novels, both by Arswendo Atmowiloto and by Fissilmi Hamida, have similar educational values that teach to always

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Clutterbuck, Catriona. "‘A Thread to the Afterlife’ - Textiles and the Otherworld in Irish Poetry: Yeats, Boland, Heaney and Meehan." Review of Irish Studies in Europe 2, no. 1 (2018): 182–207. http://dx.doi.org/10.32803/rise.v2i1.1723.

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This essay explores fabric, clothing and textile motifs in Irish poetry concerned with the relationship between this life and the afterlife. It intersplices readings of poems by W.B.Yeats, Eavan Boland, Seamus Heaney and Paula Meehan which acknowledge the fact that doubleness of presence and absence is integral to all human lives, and which are alert to the fact that this same duality is already embedded in man’s engagement with cloth. The essay argues that Irish poetry attends to the dense physicality, immediacy and depth texture of textile materials, as a key image complex allowing negotiati

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Andhriany, Sefy. "Strategi Komunikasi Public Relations Aston Imperium Hotel dalam Mempertahankan Kearifan Lokal di Era 4.0." Jurnal Ilmiah Komunikasi Makna 9, no. 1 (2021): 1. http://dx.doi.org/10.30659/jikm.v9i1.11355.

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Preserving local culture by reflecting it in every organization's activities becomes a challenge for Public Relations in the digital era 4.0. This is due to a shift in local culture which was replaced by foreign cultures that entered Indonesia. Various kinds of communication strategies are carried out, one of them is by the Public Relations of Aston Imperium Purwokerto hotel which maintains the local cultural specialties at the hotel. This study aims to analyze the communication strategy carried out by Aston Imperium Hotel Public Relations in maintaining local diversity in the 4.0 era. This st

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Abrego, Sonya. "From Cattle Brand to Corporate Brand: Blue Jean Trademarks in Mid-century America." Journal of Design History 34, no. 2 (2021): 116–28. http://dx.doi.org/10.1093/jdh/epab007.

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Abstract Cattle brands are physical imprints of ownership applied to the flesh of animals. They were, in the nineteenth century, indispensable to ranchers for differentiating their cattle from a competitors’ stock on the open range. The branding symbol’s utility as a legible marker of property ownership declined after widespread fencing delimited the plains. Yet cattle brands remained present in vernacular visual and material culture as decorative features and motifs signifying the Old West into the twentieth century. Cattle brand imagery, largely divorced from its functional origins, was reco

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Purnamasari, Elisa. "The Introduction of Classic Batik Motif to the Community Through Game." SISFORMA 4, no. 1 (2017): 31. http://dx.doi.org/10.24167/sisforma.v4i1.1039.

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Batik is a wealth of Indonesian nation that became a cultural heritage and has been registered in the Representative of the Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2009 [1]. The appearance of a variety of batik would be a pleasure for batik lovers so often used as clothing, furniture, or other equipment in everyday life.But the lack of knowledge of meaning and philosophy in batik itself so that batik is often being used indiscriminately without knowing the intentions contained in the batik itself and being a mistake in its use [2], especially classic batik is a

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Ramya Sri, G. "A Study on Standard of Living Kalamkari Artisans." Shanlax International Journal of Management 7, no. 2 (2019): 89–95. http://dx.doi.org/10.34293/management.v7i2.722.

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The birth place of textiles, India has always been known for its art, crafts, tradition and culture. The soothing weaves, vibrant colours, intricate embroideries, decorative motifs, and elaborate costumes have been most sought after inspirations and possessions. The integration of tradition with methods and techniques denotes the fact that work is treated as worship, and thus has been followed with great devotion and reverence. Keeping in tune to its cultural traditions is one such textile craft, kalamkari, the hand painted and block printed textile of India. Hand painted and block printed kal

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Shigemori Bučar, Chikako. "Picture Postcards Sent from Japan by Austro-Hungarian Navy Members." Tabula, no. 16 (November 29, 2019): 1–22. http://dx.doi.org/10.32728/tab.16.2019.1.

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Many of the old Japanese postcards archived in Slovenia today date from the period between the 1890s and 1920s when Austro-Hungarian Navy members were active and travelled to Japan as a part of their duties. Collectors and users of these postcards were of Slovenian origin. Their postcards were identified in the National and University Library in Ljubljana and in the Maritime Museum “Sergej Mašera” Piran. A postcard in private possession has also been added to the list. The format regulation of postcard printing changed in Japan in 1907 and this is confirmed using the postcards identified in Sl

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Rambukkana, Nathan. "The zombie in the grey flannel suit: Romero’s classic Dead trilogy and metaphors of mass subjectivity." Horror Studies 12, no. 1 (2021): 27–44. http://dx.doi.org/10.1386/host_00027_1.

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This article explores the relationship between zombies and ‘mass subjectivity’ through examining the motifs, as well as the critical and scholarly reception, of Romero’s classic Dead movies and their successors. Contrasting the ‘fast zombies’ of later films, Romero’s zombies are withered and decayed versions of everyday people: tattered and frayed at the edges, their colours muted, their skin and clothing rendered in greyed-out tones. They are the mundane dead, animated. Romero’s filmic horror taps an uncanny rendering of the everyday. Gardens, streets and malls are made strange by the homogen

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Alamo, Enrico, Meria Eliza, and Giat Syailillah. "MAKNA DAN FUNGSI KAIN ULOS PADA PUSAT LATIHAN OPERA BATAK PEMATANG SIANTAR (PLOt) DI PEMATANG SIANTAR PROVINSI SUMATERA UTARA." Gorga : Jurnal Seni Rupa 10, no. 1 (2021): 94. http://dx.doi.org/10.24114/gr.v10i1.24824.

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Ulos is a traditional Batak clothing that we can find in traditional events; birth, marriage, death and other Batak traditional ceremonies such as: Mandailing, Pakpak, Dairi, Sipirok-Angkola and Karo. Apart from being a typical cloth in the Batak community, Ulos is believed to be able to create a feeling of warmth and raise tondi (raga) because of the 'sacred' element inherent in Ulos. In the past, Ulos cloth was woven by 'spiritual' weavers using natural dyes. Ulos cloth is also a regional marker cloth; social level, and clan (surname). So not just any Ulos cloth can be given to someone or th

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Fatmala, Rahma. "ANALISIS KOREOGRAFI TARI MELINTING LABUHAN MARINGGAI KABUPATEN LAMPUNG TIMUR." Joged 13, no. 1 (2019): 91–101. http://dx.doi.org/10.24821/joged.v13i1.2810.

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Tari Melinting adalah tari tradisional Lampung yang diciptakan oleh Ratu Melinting di Labuhan Maringgai Kabupaten Lampung Timur pada abad ke-16. Tari ini ditarikan oleh delapan orang penari yang terdiri dari empat orang penari putra dan empat orang penari putri dengan pola lantai yang unik. Keunikan lainnya adalah kostum yang dipakai, yakni siger Melinting yang menutupi sebagian wajah penari perempuan, musik iringan, dan properti yang dipakai yaitu kipas, Cara menggerakkan kipas, serta henjutan kaki penari menjadikan penulis tertarik untuk menganalisis koreografi tari ini. Untuk menjawab perma

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Fatmala, Rahma. "ANALISIS KOREOGRAFI TARI MELINTING LABUHAN MARINGGAI KABUPATEN LAMPUNG TIMUR." Joged 10, no. 1 (2019): 91–101. http://dx.doi.org/10.24821/joged.v10i1.2810.

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Tari Melinting adalah tari tradisional Lampung yang diciptakan oleh Ratu Melinting di Labuhan Maringgai Kabupaten Lampung Timur pada abad ke-16. Tari ini ditarikan oleh delapan orang penari yang terdiri dari empat orang penari putra dan empat orang penari putri dengan pola lantai yang unik. Keunikan lainnya adalah kostum yang dipakai, yakni siger Melinting yang menutupi sebagian wajah penari perempuan, musik iringan, dan properti yang dipakai yaitu kipas, Cara menggerakkan kipas, serta henjutan kaki penari menjadikan penulis tertarik untuk menganalisis koreografi tari ini. Untuk menjawab perma

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Kok, Erna. "A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 119–40. http://dx.doi.org/10.1163/187501711798264201.

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AbstractJacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story. In this article I propose that the painting is a portrait historié of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of

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Tashi and AMM Sharif Ullah. "Symmetrical Patterns of Ainu Heritage and Their Virtual and Physical Prototyping." Symmetry 11, no. 8 (2019): 985. http://dx.doi.org/10.3390/sym11080985.

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This article addresses virtual and physical prototyping of some symmetrical patterns collected from the Ainu cultural heritage. The indigenous people living in the northern part of Japan (e.g., Hokkaido), known as Ainu, often decorate their houses, clothing, ornaments, utensils, and spiritual goods using some unique patterns. The patterns carry their identity as well as their sense of aesthetics. Nowadays, different kinds of souvenirs and cultural artifacts crafted with Ainu patterns are cherished by many individuals in Japan and abroad. Thus, the Ainu patterns carry both cultural and commerci

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Zulistyaningsih, Ninda, Addin Aditya, and Indra Sugiharto. "Sistem Penunjang Keputusan Pemilihan Motif Kain Kaos Clothing Menggunakan Metode Analythical Hierarchy Process (AHP)." J-INTECH 8, no. 01 (2020): 39–47. http://dx.doi.org/10.32664/j-intech.v8i01.469.

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Clothing adalah produsen yang memproduksi sendiri semua produk mereka dengan label sendiri. Berkembang pesatnya bisnis clothing saat ini membuat persaingan diantara para pengusaha bisnis clothing menjadi sangat kompetitif. Mereka harus mampu menghasilkan suatu produk yang mudah diterima oleh konsumen khususnya anak muda jaman sekarang. Dalam keadaan tersebut mengharuskan pengusaha clothing untuk lebih bekerja secara professional agar tetap dapat bersaing dan bertahan. Kain merupakan hal yang penting dalam melakukan suatu proses produksi kaos pada bisnis clothing. Saat ini ada banyak sekali mot

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Сем, Татьяна Юрьевна. "Mythology in the Ornamentation of the Orochons: The Symbols and the Semantics of the Images." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 41–50. http://dx.doi.org/10.26158/tk.2020.21.2.004.

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Статья посвящена анализу особенностей символики и семантики орнамента одного из малочисленных народов Сибири - тунгусоязычных орочонов Забайкалья, Верхнего Амура и Маньчжурии - как отражения этнической идентичности. Пластический фольклор орочонов характеризует чувственное восприятие мира, космоса, природы и человека в нем. Исследование специфики орочонского орнамента проводится впервые на основе материалов конца XIX - начала XXI в. из российских и китайских музеев. Изучение орнаментальных мотивов и композиций осуществляется в рамках сравнительно-исторического анализа традиционной и современной

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Mubin, Ilmiawan. "MAKNA SIMBOL ATAU MOTIF KAIN TENUN KHAS MASYARAKAT DAERAH BIMA DI KELURAHAN RABA DOMPU KOTA BIMA PROPINSI NUSA TENGGARA BARAT." Historis | FKIP UMMat 1, no. 1 (2018): 21. http://dx.doi.org/10.31764/historis.v1i1.205.

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Indonesia sebagai negara kepulauan, yang terdiri dari ribuan pulau yang membentang mulai Sabang hingga Merauke. Sebagai negara yang beribu-ribu pulau tentu memiliki potensi dan kekayaan alam untuk dikembangkan. Kita tahu berbagai potensi dan kekayaan alam banyak dijumpai diseluruh daerah di tanah air. Salah satu potensi dan kekayaan Nusantara terdapat di propinsi Nusa Tenggara Barat, tepatnya di Kota Bima yang memiliki sejarah dan leluhur yang mempunyai nilai eksotis untuk dapat dikembangkan, salah satunya yaitu Tenun Khas Bima.Budaya masyarakat Bima pada umumnya menjunjung tinggi adat istiada

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Budiwirman, Budiwirman, and Syafwandi Syafwandi. "HERMENEUTIKA SONGKET SEBAGAI PAKAIAN ADAT DALAM PERSPEKTIF BUDAYA MINANGKABAU." Gorga : Jurnal Seni Rupa 8, no. 1 (2019): 1. http://dx.doi.org/10.24114/gr.v8i1.12502.

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AbstrakPenelitian ini bertujuan untuk menafsirkan keberadaan songket dan hubungannya terhadap perilaku atau budaya masyarakat adat di Minangkabau, Setiap simbol yang terdapat pada songket dapat diterjemahkan sebagai pedoman hidup dalam bermasyarakat di Minangkabau, Oleh karena itu, metode penelitian yang digunakan adalah metode kualitatif, karena objek yang akan diteliti adalah kain songket Minangkabau sebagai ciptaan manusia dan dapat dijadikan sebagai simbol pencitraan diri dari si pemakainya. Jelaslah ia mengandung unsur-unsur nilai, norma dan simbol yang sulit dipertemukan dengan faktor an

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Tampubolon, Rines Onixy. "Hahomion Na Tolu." Joged 10, no. 2 (2018): 499–516. http://dx.doi.org/10.24821/joged.v10i2.1885.

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Dalihan Natolu adalah pandangan hidup dalam masyarakat Batak yang memiliki nilai-nilai yang bersifat universal. Dalihan Natolu terbagi menjadi tiga kedudukan fungsional di dalam masyarakat Batak yaitu, Somba Marhulahula (hormat kepada keluarga dari pihak istri), Elek Marboru (mengayomi wanita), dan Manat Mardongan Tubu (bersikap sopan/hati-hati kepada teman semarga). Tiga kedudukan yang menjadi penyokong adat inilah yang disimbolisasikan ke dalam bentuk visual Dalihan Natolu (tungku berkaki tiga). Tungku yang memiliki tiga kaki, memiliki keseimbangan yang mutlak, karena tungku tersebut tidak d

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Tampubolon, Rines Onixy. "Hahomion Na Tolu." Joged 8, no. 2 (2018): 499–516. http://dx.doi.org/10.24821/joged.v8i2.1885.

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Dalihan Natolu adalah pandangan hidup dalam masyarakat Batak yang memiliki nilai-nilai yang bersifat universal. Dalihan Natolu terbagi menjadi tiga kedudukan fungsional di dalam masyarakat Batak yaitu, Somba Marhulahula (hormat kepada keluarga dari pihak istri), Elek Marboru (mengayomi wanita), dan Manat Mardongan Tubu (bersikap sopan/hati-hati kepada teman semarga). Tiga kedudukan yang menjadi penyokong adat inilah yang disimbolisasikan ke dalam bentuk visual Dalihan Natolu (tungku berkaki tiga). Tungku yang memiliki tiga kaki, memiliki keseimbangan yang mutlak, karena tungku tersebut tidak d

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