To see the other types of publications on this topic, follow the link: Islamic decoration and ornament.
Journal articles on the topic 'Islamic decoration and ornament'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Islamic decoration and ornament.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
Purwanti, Retno. "The Medallion Design on Gravestones in Palembang." KALPATARU 30, no. 1 (May 31, 2021): 75–86. http://dx.doi.org/10.24832/kpt.v30i1.815.
Full textAbstract:
The Islamic tombs in Palembang date from the 16th-20th century AD. Some of the tombs in Palembang are plain and some have decorations. Ornaments are affixed to the jirat and tombstones. The ornaments found on the headstones include medallions. The medallion ornaments vary in shape and are commonly found in temple buildings in Java in the 9th-16th centuries AD. The medallion decorative motifs in Palembang are found on Islamic tombs from the time of the Palembang Darussalam Sultanate. The medallion decorative motifs found are varied and interesting to study from the similarities and differences with those in Java, as well as the reasons for the emergence of these similarities and differences. Based on these two problems, this paper aims to identify the forms of medallion decoration, similarities, and differences, as well as the background to the similarities and differences in the medallion decorations in Palembang and Java. To answer these two problems, archaeological research methods were used by describing the ornamental variety and identifying its diversity. After that, it was analyzed qualitatively using symbolic theory. The results of the study show that the similarities in the decorations are due to the historical relationship between Palembang and the Majapahit and Demak kingdoms in Java. The difference in the medallion decoration is caused by the creativity factor of Palembang artists.
4
Zahra, Fatima, and Safrizal Shahir. "Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture." Landscape architecture and art 21, no. 21 (December 30, 2022): 124–30. http://dx.doi.org/10.22616/j.landarchart.2022.21.13.
Full textAbstract:
Decorative architectural ornaments are the mainstay of several art forms. Islamic architecture had several properties and characteristics, including the non-depiction of living beings and emulating God's creation of wrongdoing. Therefore, floral, geometrical, and vegetal motifs became the main component of Islamic architectural ornaments. Similarly, Palmette is included and practiced on a large scale in Islamic architecture due to its vegetal or floral forms. This article focuses on the historical aspects of palmette ornament. Additionally, it explores the development and evolution of the ornament from west to east. Moreover, how palmette ornaments are practiced in Islamic Architecture. For this purpose, historical approach of description is used to explore and analyze the palmette ornament in depth.
5
Al'-Tamimi, Sakher Mukhammed, and Marina Vladimirovna Pankina. "Ornament in the architecture of mosques in Jordan: traditions and innovations." Культура и искусство, no. 4 (April 2024): 74–88. http://dx.doi.org/10.7256/2454-0625.2024.4.69044.
Full textAbstract:
The object of the study is ornaments in the architecture of ancient and modern mosques. Using the example of mosques in Amman (Jordan), traditional ornaments are considered from the point of view of their purpose, content and symbolism, location and plastic organization. The compositional techniques, stylization methods, images used in ornaments are analyzed. In the modern architecture of mosques, continuity in approaches to decoration is combined with the active use of modern technologies in the construction and interpretation of ornaments, their embodiment in the material. Since there are strong changes in the space-planning solutions of mosques in connection with modern functional tasks, it is ornaments that are the most important means of identifying religious buildings. New interpretations of the visual language and the purpose of the decoration of mosques are due to the processes of globalization and the use of computer technologies for the design of structures. The authors conclude that it is necessary to follow the canons of Islamic ornamental motifs when using them in modern architecture, especially in religious buildings. By offering engineering and artistic innovations, architects must preserve the structure, plasticity and symbolism of ornaments in which the philosophy of Islam accumulates.
6
Nadyrshine, Neil, Lilia Nadyrshine, Rafik Khafizov, Nailia Ibragimova, and Karine Mkhitarian. "Parametric methods for constructing the Islamic ornament." E3S Web of Conferences 274 (2021): 09009. http://dx.doi.org/10.1051/e3sconf/202127409009.
Full textAbstract:
The article discusses the method of algorithmic construction of Islamic ornaments, which can be used as a decorative element in architectural design. Two necessary stages are highlighted in the generation of an ornamental motif by means of algorithmic design – the first includes operations on a base mesh consisting of a combination of regular or semiregular cells, for example, drawing rays from the centers of the edges of the original lattice or rotating figures relative to its nodes; the second stage involves the creation of a basic pattern of the ornamental design that fits into a regular or semi-regular polygon, and the decorative motif in the figure is made up of a primitive that is symmetrically reflected relative to any lines, usually rays, emanating from opposite corners of the polygon. The paper analyses the traditional patterns of Islamic ornaments, on the basis of which new designs were built, using visual programming tools (Rhino and Grasshopper).
7
Nechvoloda, E. E. "THE ISLAMIC INFLUENCE ON THE TRADITIONAL BASHKIR ART." Islam in the modern world 14, no. 3 (October 2, 2018): 235–46. http://dx.doi.org/10.22311/2074-1529-2018-14-3-235-246.
Full textAbstract:
It is the geometric and vegetal ornamental motifs that dominate in the works of traditional arts and crafts of the Bashkir people. The Bashkirs are Muslims. Therefore, the popularity of abstract ornamental forms in their artistic creativity is often associated with the religious prohibition against images of human beings, animals and birds. However, a comparative historical study of the Bashkir ornaments shows that basic types of geometric and vegetal motifs and also their compositions were formed long before the adoption of Islam by the ancestors of the Bashkirs. Anthropomorphic, ornitomorphic and zoomorphic images were still preserved in the Bashkir art and had very stylized geometric shapes in accordance with the general structure of the composition, type and graphics of the ornament. The preservation of these images in the art was favoured probably not only by a high degree of stylization, but also by the fact that for a long time the Bashkirs, despite the Islamization, remained committed to many remnants of the pre-Islamic worldview with its totemic cults. It can be stated that the adoption of Islam could not ‘edit’ the traditional decorative art of the Bashkirs and exclude archaic motifs and compositions. Old compositions were revised in terms of the new religion. Thus, the fl oral and foliate ornament became associated with the Garden of Eden. New motifs, such as the images of mosques, qumgan (a special jug) and the Crescent, found their way into the Bashkir ornaments together with the new worldview and rituals. Traditional embroidery could be supplemented with embroidered texts in Arabic script. The decorated objects included those directly associated with the Muslim traditions (scullcaps, prayer rugs 'namaslyk', calligraphy pictures 'shama’il').
8
Pradana, Rizal Wahyu Bagas. "Bentuk dan Makna Simbolik Ragam Hias pada Masjid Sunan Giri." RUANG-SPACE, Jurnal Lingkungan Binaan (Space : Journal of the Built Environment) 7, no. 1 (April 30, 2020): 71. http://dx.doi.org/10.24843/jrs.2020.v07.i01.p07.
Full textAbstract:
Sunan Giri Mosque is one of the ancient Javanese mosques which was built in the time of Walisongo. Sunan Giri Mosque building has its own uniqueness in its ornament. This uniqueness is rarely found in other mosques in general. This study aims to describe the various ornaments and symbolic meanings found in the Sunan Giri Mosque. This research uses descriptive qualitative research methods. Research data obtained through observation, interviews, documentation, and literature study. Data analysis with data reduction, data presentation, and concluding. Meanwhile, to obtain data validity, using data triangulation and review informants. The results showed the ornament at the Sunan Giri Mosque was influenced by Javanese, Hindu, and Islamic culture. The decoration in the Sunan Giri Mosque takes pre-Islamic elements and is processed, adjusted to the rules contained in the Islamic religion. The ornament in the Sunan Giri Mosque can be grouped into several motives: lung-lungan, patran, padma, tlacapan, saton, kebenan, garuda, praba and surya majapahit motifs. Aside from its role as building decoration, ornament in the Sunan Giri Mosque has symbolic meaning in it. The symbolic meaning is addressed to the Muslims who worship in the mosque. This symbolic meaning contains symbols about noble teachings in Islam, and hopes to Allah SWT.
Keywords: architecture; ornament; symbolic meaning; Sunan Giri Mosque
Abstrak
Masjid Sunan Giri merupakan salah satu masjid kuno Jawa yang dibangun pada zaman walisongo. Bangunan Masjid Sunan Giri memiliki keunikan tersendiri pada ragam hiasnya. Keunikan tersebut jarang ditemui pada masjid-masjid lain pada umumnya. Penelitian ini bertujuan untuk mendeskripsikan ragam hias dan makna simboliknya yang terdapat di Masjid Sunan Giri. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Data penelitian diperoleh melalui observasi, wawancara, dokumentasi, dan studi pustaka. Analisis data dengan reduksi data, penyajian data, dan penarikan kesimpulan. Sedangkan untuk mendapatkan kevalidan data, menggunakan triangulasi data dan informan review. Hasil penelitian menunjukkan ragam hias di Masjid Sunan Giri dipengaruhi oleh budaya Jawa, Hindu, dan Islam. Ragam hias di Masjid Sunan Giri menggambil unsur-unsur pra Islam dan diolah, disesuaikan dengan aturan-aturan yang terdapat dalam agama Islam. Ragam hias di Masjid Sunan Giri dapat dikelompokkan menjadi beberapa motif: motif lung-lungan, patran, padma, tlacapan, saton, kebenan, garuda, praba dan surya majapahit. Selain berperan sebagai penghias bangunan, ragam hias di Masjid Sunan Giri memiliki makna simbolik di dalamnya. Makna simbolik tersebut ditujukkan kepada kaum muslimin yang beribadah di dalam masjid. Makna simbolik ini berisi simbol tentang ajaran-ajaran luhur dalam agama Islam, dan harapan-harapan kepada Allah SWT.
Kata kunci: arsitektur; ragam hias; makna simbolik; Masjid Sunan Giri
9
Аззаарі, Алі. "ГЕОМЕТРИЧНИЙ ОРНАМЕНТ В ІСЛАМСЬКОМУ МИСТЕЦТВІ: ТРАДИЦІЇ, ОСОБЛИВОСТІ, СКЛАДОВІ." Art and Design, no. 4 (February 15, 2021): 51–59. http://dx.doi.org/10.30857/2617-0272.2020.4.3.
Full textAbstract:
Purpose of the article аnalyze the features of Islamic geometric ornament as a historical and at the same time modern artistic phenomenon, its formation, development, traditional structural elements. Methodology. General scientific research methods, chronological and historical ‒ comparative, figurative-stylistic, semantic, and theoretical-art history analysis are applied. Results. The features of the historical development of geometric ornament in the countries of Islam, its national, historical, mental, figurative, artistic features are analyzed. Recognized in the world as a unique work of art, Islamic geometric ornament is known for its compositional construction which consists of simple elements (circle, square, triangle). Then by connecting and repeating the shapes according to a certain grid pattern, a complex pattern (hexagon, octagon, star pattern) is created. The richness of the artistic culture of Islam is embodied in the range of its variants. It was found that the geometric ornament, which is the main decorative element on numerous objects, embodies a deep spiritual content. Geometric Islamic ornament embodies thousands of years of creative practice that has become traditional in the Arab East. At the same time, in the modern world, Muslim ornamental traditions remain relevant and reveal opportunities for introducing the acquired artistic experience of the Arab countries into new creative practices, including graphic design. Scientific novelty consists in determining the place and significance of Islamic geometric ornament in modern cultural and historical processes, taking into account its traditional aesthetic, substantial, structural and compositional content. Practical significance. The proposed research expands the understanding of the possibilities of using the traditions of Islamic ornament in modern creative practices. The results can be used in design practice.
10
Sokhanpardaz, Kamran. "Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey." Journal of The Near East University Faculty of Theology 7, no. 1 (June 22, 2021): 87–118. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.03.
Full textAbstract:
The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.
11
Mammaev, M. M. "MUSLIM GRAVESTONES OF THE 14th - 15th CENTURIES IN THE VILLAGE OF KUBACHI: THE PECULIARITIES OF THE DECORATIVE FINISH." History, Archeology and Ethnography of the Caucasus 13, no. 3 (September 15, 2017): 77–99. http://dx.doi.org/10.32653/ch13377-99.
Full textAbstract:
The article covers the problems of decorative finish of Muslim gravestones of the 14th - 15th centuries in the village of Kubachi. The author of the article describes the technique of headstone carving, shows that specialties of stone-cutters, calligraphers and ornamentalists were inherited, and notes that the decorative finish of the gravestones was made by the local stone-cutters with the direct participation of the craftsmen who arrived or were specially invited from the countries of the Middle East. In the article, the evolution of decorative finish of the gravestones is traced from comparatively simple Late Cufic Arabic ornamental inscriptions with some elements of floral ornament to complex patterned and epigraphic compositions, in which Late Cufic relief, ornamentally decorated and calligraphically executed inscriptions were made against the background of the relief floral ornament. Arabic ornamental inscriptions include shahadah - monotheism formula: “There is no deity except Allah, and Muhammad is the Messenger of Allah”; sayings: “Death is a cup, everyone drinks from it; grave is a gate, everyone enters it”, etc. On some headstones there are Quranic sayings: “There is no deity except Allah, ever-living, existing: neither slumber nor sleep overtakes Him; to Him belongs whatever is in the heavens, and whatever is on the earth” (Quran, II. 256). The author of the article notes that there is a great variety in the treatment of the Arabic ornamental inscriptions of the gravestones caused both by the forms of the letters and by their decoration. It is noted that the sayings on the gravestones of the 14th - 15th centuries in Kubachi are widespread epitaphs on Muslim headstones in a large area (they were found on headstones in the village of Kalakoreish in Dakhadaevsky District, the village of Kumukh in Lak District, the village of Tatil of Tabasaransky District, etc.), they existed for a long time and became aphorisms. The article also contains the names of the buried people, which were carved on the headstones of the village of Kubachi. Most of them are pre-Islamic and are not readable because in many cases they have no vocalization (diacritic marks) indicating vowel sounds.
12
Guntur. "Ornament on the Pendhok of the Surakarta Kris." Mudra Jurnal Seni Budaya 33, no. 3 (September 30, 2018): 409. http://dx.doi.org/10.31091/mudra.v33i3.545.
Full textAbstract:
The type of ornament found on the Javanese kris pendhok is rarely discussed from an iconographic point of view. The pendhok is the decorative protection plating found on the sheath of the kris, usually made from metals such as silver, bronze, copper, brass, and even gold. The kris is a Javanese dagger. This essay focuses on the pendok ornament of the Surakarta kris, and on its symbolism. The pendhok is a ‘patronage’ art, traditionally manufactured by palace’s mranggi-s(the sheath maker), and today by kris craftsmen. Its various motifs--vegetation, plants, animals, or other motifs--are combined with lung-lungan (curly, vegetation-looking forms) in such a way as to create symmetric-vertical ornaments. The lung-lungan and alas-alasan (the forest as cosmos) motifs are more numerous than flora, wayang puppets, and geometrical motifs. The designs emphasize symmetry, repetition and harmony as their basic principle. The ornament style is believed to embody the ‘syncretic-mystique’ of Javanese Islam. The ornaments embossed on the surface usually refer to pre-Islamic, Hindu-Buddha notions.Ornamen pendhok keris sebagai ikonografi Jawa jarang dibahas. Pendhok adalah lapisan dekoratif pelindung keris, yang biasanya terbuat dari berbagai logam seperti perak, perunggu, tembaga, kuningan, dan bahkan emas. Keris adalah jenis senjata tusuk Jawa. Artikel ini difokuskan pada hiasan pendhok dari keris Surakarta, dan simbolismenya dalam pencitraan Jawa. Pada awalnya, ornamen pendhok adalah seni ‘patron’, yang dibuat oleh mranggi istana (pembuat sarung), dan saat ini ‘diciptakan kembali’ oleh para pembuat keris di banyak tempat. Motif bunga, tanaman, hewan, atau figural pada pendhok, adalah komposisi dan penggabungan dengan lung-lungan (penggayaan tanaman) sebagai cara untuk membentuk irama ornamen secara simetris-vertikal, ornamen disederhanakan sebagai lung-lungan. Motif lung-lungan dan alas-alasan (kosmos hutan dalam imajinasi spiritual), mendominasi gaya ornamen dibandingkan dengan motif lain seperti tanaman/flora, wayang (boneka), dan geometri. Komposisi simetri, repetitif, dan harmoni menjadi yang paling ‘prinsip’ pada desain. Gaya ornamen diyakini melambangkan ‘sinkretis-mistik’ dari Jawa - Islam, ornamen yang ‘timbul’ pada permukaan yang berdimensi, menjadi ekspresi relief, yang sebagian besar menandakan seni yang diadopsi pra-Islam: Hindu – Buddha
13
Маммаев, М. М. "STELE OF THE 16th с. FROM KUMUKH VILLAGE — A HIGHLY ARTISTIC WORK OF ISLAMIC ART." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 13 (February 15, 2022): 973–82. http://dx.doi.org/10.53737/2713-2021.2021.25.61.037.
Full textAbstract:
В статье рассматриваются особенности декоративной отделки надмогильного памятника начала XVI в. из селения Кумух Лакского района Республики Дагестан. Этот памятник привлекал в прошлом внимание искусствоведов, историков, эпиграфистов, но как памятник камнерезного искусства и высокохудожественное произведение исламского искусства оставался подробно не изученным. Исходя из искусной резьбы стелы, четкой, ясной, хорошо продуманной композиции декора, каллиграфически выполненных рельефных арабских надписей в гармоничном сочетании с растительным орнаментом, автор рассматривает ее как высокохудожественное произведение средневекового камнерезного искусства Дагестана. Автор допускает возможность датировки стелы несколько более ранним временем, чем предшествующие исследователи, а именно началом XVI в. с учетом особенностей ее декоративного убранства. Судя по размерам, отделке надмогильного памятника и эпитафии, можно полагать, что погребенный имел высокий прижизненный социальный статус и погиб мучеником (араб. шахид ас-са’ид) в сражении в период военного противостояния Гази-кумухских шамхалов и Кабардинских князей. The article examines the features of decorative decoration of the tombstone of the beginning of the 16th century from the village of Kumukh (Lak district, Republic of Dagestan). Earlier this stele drew attention of art critics, historians, epigraphists, but as the monument of stone-cutting art and highly artistic work of Islamic art not studied in detail. Proceeding from a skillful carving of the stele, the accurate, clear, well thought decor composition, calligraphic Arab inscriptions in a harmonious combination with a vegetable ornament, the author considers it as highly artistic work of medieval stone-cutting art of Dagestan. The author admits the possibility of dating the stele a little earlier than previous researchers, namely the beginning of the 16th c. taking into account the features of its artistic. Judging by the size, decoration of the stele and epitaph, it can be believed that the buried man had a high lifetime social status and died as a martyr (Arab. shahid al-sa'id) in the battle during the military confrontation between the Ghazi-Kumukh shamkhals and Kabarda princes.
14
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.
Full text
15
Senhaji, Mohammed, and Rachid Benslimane. "3D Reconstruction of Moroccan-Andalusian Muqarnas Domes." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–27. http://dx.doi.org/10.1145/3479712.
Full textAbstract:
Muqarnas is a three-dimensional Islamic architecture decoration conceived as a spatial arrangement of 3D shapes according to precise geometric rules. Muqarnas work can be performed on several types of materials such as stone, wood, plaster or brick. This paper aims to propose an algorithmic method to construct the circular Moroccan-Andalusian Muqarnas Ornaments from their 2D representation models. The principle is to extract from a 2D design geometric information and underlying rules useful for the construction of its corresponding 3D model. To do so, the first stage consists to determine for each 2D shape of the 2D design model its corresponding 3D Muqarnas element. The second stage consists to perform the spatial composition of these identified 3D elements by using their neighborhood properties. The performance of the proposed method is evaluated by its capacity to reconstruct historical circular Muqarnas ornaments appeared during the Almoravids (1040-1147) and Almohads periods (1147-1269). This performance is further evaluated by the ability of the proposed method to construct all possible variants of a historical 3D Muqarnas ornament by considering the different 3D shapes which can be associated to the same 2D shape.
16
Varela Braga, Ariane. "Through the Looking Glass of the Orient." Manazir Journal 3 (March 7, 2022): 78–92. http://dx.doi.org/10.36950/manazir.2021.3.6.
Full textAbstract:
Traditionally related to concepts of luxury, fancy, and uncontrolled sensuality, color has in Western culture long been considered an unsteady component. On the contrary, and as often noted by travelers, Eastern cultures frequently demonstrate a particular talent for the harmony of color and ornament. In the nineteenth century, a number of architects and artists tried to rationalize the properties and use of color, ornament, and the Islamic arts in various ways, relating them to contemporary experiments in optics. This article examines the relationship between color theory, Islamic arts, and architecture, taking as a starting point the invention of the kaleidoscope by David Brewster and its relationship to Nasrid ornament. It then considers how Islamic arts and color theory dialogued in the work of British architect and decorator Owen Jones and Tuscan amateur architect Ferdinando Panciatichi Ximenes d’Aragona.
17
Nirmala, Apsari Putri Haryani, Oudilia Azhar Violaningtyas, and Resky Annisa Damayanti. "ORNAMEN ISLAM PADA BANGUNAN ARSITEKTUR MASJID DIAN AL MAHRI KUBAH EMAS DEPOK." Jurnal Dimensi Seni Rupa dan Desain 16, no. 1 (September 1, 2019): 29. http://dx.doi.org/10.25105/dim.v16i1.6159.
Full textAbstract:
<p><strong>Abstract</strong></p><p><strong></strong><br />In the teachings of Islam the sources of the Qur’an and the Hadith are basically no rules governing the building of the Mosque other than the terms of the place that can be used in performing the Prayer, but on the other hand many Mosques are adaptive in the form of ornaments. as well as local value systems. The form of ornament that is a decorative<br />element of a building is often directly related to the times and culture of the community. In terms of the ornament of the Mosque does not escape the Islamic law that is found in the Hadith and the Quran. This is the focus of this study. The method used is a descriptive qualitative beginning of the field. The results show that the shape of the ornament in the Dian Al Mahri Mosque is no indication of the animal ornament, so the ornamentation of the Mosque is acceptable to Muslims especially in Jakarta and its surroundings.<br /><br /><strong>Abstrak </strong></p><p><strong></strong>Di dalam ajaran agama Islam yang bersumberkan Al Qur’an dan Hadist pada dasarnya tidak terdapat aturan yang secara langsung mengatur mengenai bangunan Masjid selain syarat-syarat tempat yang dapat dipakai dalam melaksanakan Sholat, namun di sisi lain banyak Masjid yang bersifat adaptif dengan memasukkan bentuk ornamen serta sistem nilai setempat (lokal). Bentuk ornamen yang merupakan elemen dekorasi pada suatu bangunan sering kali berkaitan langsung dengan zaman dan budaya masyarakat. Dalam hal ornamen pada Masjid tidak lepas dari hukum Islam yang tertuang dalam Hadis dan Al Quran. Hal demikianlah yang menjadi pusat perhatian dalam penelitian ini.<br />Metode yang digunakan adalah kualitatif deskriptif yang dimulai dari lapangan. Hasil penelitian menunjukkan bahwa bentuk ornamen pada bangunan Masjid Dian Al Mahri tidak terdapat indikasi yang menunjukkan ornamen binatang, sehingga ornamentasi pada Masjid tersebut dapat diterima oleh umat muslim terutama di Jakarta dan sekitarnya.<br /><br /></p>
18
Prawira, Nanang Ganda, Mega Fitriani Adiwarna Prawira, and Eko Susanto. "Coastal Batik Ornament Design : Aesthetic Analysis and Meaning of Batik Ornaments in Ciwaringin Cirebon, West Java." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 2 (November 4, 2020): 48–53. http://dx.doi.org/10.31091/lekesan.v3i2.1170.
Full textAbstract:
Along the coast of the island of Java, there is a wealth of craft art (batik), characterized by its expression of decorative motifs and techniques. In general, the most prominent characteristic of the dominance of primary and secondary colors. Courage in expressing bright colors is also the visual identity of coastal batik. In West Java, Cirebon is one of the popular coastal batik cities. Several villages have become centers for batik crafts, including Ciwaringin Village. The batik that is developed in this village has the characteristics of Cirebon which was born and developed in line with Trusmi batik. Ciwaringin batik is unique in terms of coloring and decorative motifs when compared to Trusmi batik. In terms of typical Ciwaringin coloring is produced by natural dyes (natural dyes), a batik tradition that has long developed in the Cirebon Pesisiran batik culture. This study uses descriptive-qualitative methods with aesthetic and semiotic approaches to reveal the aesthetics and meaning of ornamentation in Batik Ciwaringin. One of the important findings in this study is that in Ciwaringin batik there is no expression of animate motives, which differentiates it from batik motifs in general because Ciwaringin batik was born from the Islamic boarding school community with strong Islamic values. Another finding is that Ciwaringin batik craftsmen transform nature not only as a source of philosophical ideas, but they also care about environmental issues. Concern for the environment is proven by developing coloring techniques using natural dyes (natural dyes) and avoiding synthetic (chemical) dyes.
19
Basoeki, Olivia De H., and Wu Mingchang. "INTERNALIZATION OF ISLAMIC VALUES IN THE 21st CENTURY CONSTRUCTION ORNAMENTS." Religio Education 1, no. 2 (December 24, 2021): 97–105. http://dx.doi.org/10.17509/re.v1i2.41345.
Full textAbstract:
This article aims to determine the concepts as well as some Islamic construction ornaments that contain Islamic values. Art and spirituality will not be complete if they do not touch on architecture, so Islamic architecture has an important meaning from the perspective of spirituality. In the 21st century, there are architectural issues in how buildings respond to the environment. Therefore, buildings including ornaments must be environmentally friendly and apply the concept of simplicity design and apply appropriate technology. The research used is library research with descriptive methods. The result of this research is that the art of decoration is one of the most important character building elements in Islamic architecture. Types of typical Middle Eastern ornaments include calligraphy, geometric ornaments, and arabesk.
20
Kesuma, Ike Surya. "Arsitektur Masjid Raya Magatsari Di Kota Jambi 1923- 1970." Istoria: Jurnal Ilmiah Pendidikan Sejarah Universitas Batanghari 3, no. 2 (October 1, 2019): 64. http://dx.doi.org/10.33087/istoria.v3i2.66.
Full textAbstract:
AbstractBasically the mosque implies submission and obedience, then the essence of the mosque is a place to do all activities related to obedience to Allah SWT, merely. Therefore, the mosque can be interpreted further, not just a place of prostration, purification, a place of prayer and tayamum, but also as a place to carry out all activities of Muslims relating to obedience to God. The method used in this research is the historical approach method, which is the process of collecting historical sources effectively, evaluating them critically and conveying the overall results with procedures achieved through several stages, namely heuristics, criticism, interpretation and historiography. This research can be concluded that the fine art of Islamic architecture in the Magatsari Grand Mosque is decorative and ornamental art. Decorative art is aimed at the form of domes, poles, arches and pulpits, while ornamental art is more on calligraphy and carving decoration.Keywords: Magatsari Grand Mosque, Acculturation, Architecture, Decorative, Ornament. AbstrakPada dasarnya masjid mengandung arti tunduk dan patuh, maka hakekat dari masjid adalah tempat melakukan segala aktivitas berkaitan dengan kepatuhan kepada Allah SWT, semata. Oleh karenah itu masjid dapat diartikan lebih jauh, bukan hanya sekedar tempat bersujud, pensucian, tempat sholat dan bertayamum, namun juga sebagai tempat melaksanakan segala aktivitas kaum muslim berkaitan kepatuhan kepada tuhan. Metode yang digunakan dalam penelitian ini adalah metode pendekatan sejarah, yang merupakan proses pengumpulan sumber- sumber sejarah secara efektif, menilainya secara kritis dan menyampaikan hasil- hasil keseluruhan dengan prosedur yang dicapai melalui beberapa tahapan, yaitu heuristik, kritik, interpretasi dan historiografi. Penelitian ini dapat di simpulkan bahwa Seni rupa arsitektur Islam yang ada pada Masjid Raya Magatsari merupakan seni dekoratif dan seni ornamentik. Seni dekoratif ditujukan pada bentuk kubah, tiang, lengkungan dan mimbarnya, sementara seni ornamentik lebih kepada hiasan kaligrafi dan ukiran.Kata Kunci: Masjid Raya Magatsari, Akulturasi, Arsitektur, Dekoratif, Ornamentik.
21
Hari Inagurasi, Libra. "THE The Ornaments Of Langgar Bubar, Kudus: Type And Placement." Jurnal Sociohumaniora Kodepena (JSK) 4, no. 2 (December 30, 2023): 286–2293. http://dx.doi.org/10.54423/jsk.v4i2.140.
Full textAbstract:
Fine arts have been known since prehistoric times, as seen in the caves in Maluku. During the historical period, under the Hindu-Buddhist influence, it could be seen in the temple reliefs, such as Borobudur Temple, and statues depicting Hindu gods. The decline of Majapahit, a Hindu-Buddhist kingdom on Java island, was followed by Islam's rise in the 16th century. Centers for the spread of Islam emerged on the island of Java, including Kudus. This paper aims to describe the decoration of Langgar Bubar, a sacred building that functioned as a worshipping place around the 16th century. Langgar Bubar, which means a small unfinished mosque in Javanese, is located near Menara Kudus Mosque complex. The building condition now is partially collapsed. Langgar Bubar has distinctive features: its decorative ornaments are fully carved on the brick walls. This paper discussed the type and placement of the ornaments. The method is by collecting the data from literature and survey studies, classifying data analysis, and giving the interpretation. It reveals that the ornaments do not describe living things, as it in line with the teachings of Islam. Langgar Bubar is a cultural heritage that illustrates the continuity of cultures from Hindu to Islamic period.
22
Bakirova, Gunel Mammadrasul. "About the decorative nature of Azerbaijani art at the confluence of eastern and western cultures." Scientific Bulletin 4 (2021): 61–70. http://dx.doi.org/10.54414/emab2899.
Full textAbstract:
This article examines the ornamental nature of Azerbaijani art in the context of the culture of the East and West. As you know, culture originated first in the East, and then developed in a peculiar way in the West. If we pay attention to the history of world culture, we can note the existence of the East- West dichotomy, since ancient times, their influence on each other. This was also manifested in the art of ornament. Ornamentation originated first in the East, and then found its reflection in the West. Talking about the ornamentation in Azerbaijani art, first of all I would like to note the ornamental nature of creativity. This is closely related to the nature of thinking, worldview, philosophical views of our people. Among the reasons that form the peculiarities of ornamentation, one can indicate the geographical location of Azerbaijan between East and West, the presence of the Islamic religion, part of the Eastern culture.
23
Wittich, Elke Katharina. "Dittmar’s Turkish Ornamental Cabinet." Manazir Journal 3 (March 7, 2022): 64–77. http://dx.doi.org/10.36950/manazir.2021.3.5.
Full textAbstract:
One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approaches to artistic design. Precisely because this narrative of the new and the free, which had become a myth, excluded art of the later nineteenth century—which supposedly only imitated older styles—little attention was paid to how exactly the ornamentation of Islamic art was taken up and artistically exploited in the decorative arts around 1900. Yet, what else can be classified as stylistic imitation and what as freer abstraction? After all, the geometric derivation of Islamic ornamentation offered rich material for abstractions in the sense intended by the reform movements, before it was radically, and very lastingly, banned from the discourse a short time later along with all other ornament. It will be shown that the abstraction of Islamic ornamentation around 1900 was not only triggered by the objects that were increasingly accessible in exhibitions and as holdings of ethnological or applied arts museums at the turn of the century but was already influenced by scientific research and by the textbooks with historical models as they appeared in the course of the nineteenth century.
24
Damayanti, Resky Annisa. "PENGARUH ISLAM PADA BENTUK ORNAMEN UKIRAN ‘ITIK PULANG PATANG’ SUMATERA BARAT." Jurnal Dimensi Seni Rupa dan Desain 13, no. 2 (February 1, 2017): 141. http://dx.doi.org/10.25105/dim.v13i2.1784.
Full textAbstract:
<p align="center"><strong><em>ABSTRA</em></strong><strong><em>CT</em></strong></p><p align="center">Carving is decorative ornament on a side. For the ancestors of Minangkabau people, every side that carved is artwork that hass special meaning. That meaning can not be separated from indigenous and natural philosophy were embraced by the Minangkabau people. <em>Adat Basandi Syarak, Syarak Basandi Kitabullah </em>is a reflection that Islam is a falsifies religion for the Minangkabau people. Nowadays more and more people who think carvings solely displayed as decoration complements. This research took one type of engraving the most typical of West Sumatra, namely <em>Itik Pulang Patang</em>. This research uses qualitative to analyze whether there is influence of Islam on the carving. The research results is not a number.</p><pre>The research results showed that <em>Itik Pulang Patang</em> has meaning where it is based on tradition and the prevailing philosophy in Minangkabau. There is an Islamic education in Minangkabau so that it also affects the shape of carved ornaments <em>Itik Pulang Patang</em>.</pre><p align="center"><strong><br /></strong></p><p align="center"><strong>Abstrak<br /></strong><strong></strong></p><p>Ukiran merupakan ornamen ragam hiasan pada suatu bidang. Bagi nenek moyang masyarakat Minangkabau, setiap bidang yang diukir merupakan karya seni yang bermakna khusus. Makna tersebut tidak lepas dari adat dan falsafah alam yang dianut oleh masyarakat Minangkabau. <em>Adat Basandi Syarak, Syarak Basandi Kitabullah</em><em> </em>merupakan cerminan bahwa Islam adalah agama penyempurna bagi masyarakat Sumatera Barat. Dewasa ini semakin banyak masyarakat yang menganggap ukiran semata hanya ditampilkan sebagai hiasan pelengkap. Penelitian ini mengambil salah satu jenis ukiran Sumatera Barat yang paling khas, yakni ukiran <em>Itik Pulang Patang</em>. Penelitian ini menggunakan kualitatif untuk menganalisis ada tidaknya pengaruh Islam terhadap ukiran tersebut. Data hasil penelitian tidak berupa angka.</p>Hasil penelitian menunjukkan bahwa ukiran <em>Itik Pulang Patang</em> memiliki makna di mana hal tersebut berdasarkan pada adat dan falsafah yang berlaku di Minangkabau. Terdapat pendidikan agama Islam dalam adat Minangkabau sehingga hal ini turut mempengaruhi bentuk dari ornamen ukiran <em>Itik Pulang Patang</em>
25
Zahro', Fatimatuz, Afiful Aziz, Fatimatil Imroatil Karimah, Zulfi Mubarok, and Syuhadak Syuhadak. "Art of Architecture in the Fatimiyyah Dynasty (697 -1171 AD)." JUSPI (Jurnal Sejarah Peradaban Islam) 6, no. 2 (January 24, 2023): 105. http://dx.doi.org/10.30829/juspi.v6i2.14029.
Full textAbstract:
<p><em>The Fatimiyyah Dynasty was a vast and advanced country in several fields, especially in the field of architectural art. Founded by the Ismaili Shia sect. The writings of the research are first, wanting to understand concrete forms in the field of architectural art during the Fatimiyyah dynasty. second. want to understand the internal and external factors in the field of architectural arts during the Fatimiyyah dynasty. third, they want to understand the implementation of architectural art during the Fatimiyyah dynasty. The research methodology includes library research from primary data and secondary data relevant to the topics discussed. The results of this study are: first, concrete manifestations of the history of the Islamic civilization of the Fatimiyyah dynasty, namely the buildings of mosques, hotels, luxurious palaces, and forms of ornament and decoration. second, internal factors such as Islamic values contained in art, architectural art is knowledge from the Qur'an, and art cannot be separated from the local culture. External factors, namely the art of architecture, are influenced by the economy, international trade, and advances in science and technology. Third, this architectural art implies that the buildings at the Great Mahdiya Mosque, Al Azhar Mosque, Qarafa Mosque, Al-Hakim Mosque, and Other Cairo Mosques, Cairo Fort, Bab Al Futuh, Bab Al Nasr, and Bab Zuweil then form buildings like many passageways, a central courtyard surrounded by arcades, curly arches, portals, domes, ornate façades and architectural features of East and West.</em></p><p> </p>
26
Umairoh, Siti, and Widyastuti Nurjayanti. "Kajian Seni Islam pada Masjid Hj. Sudalmiyah Rais Universitas Muhammadiyah Surakarta." Sinektika: Jurnal Arsitektur 15, no. 2 (January 15, 2020): 57–62. http://dx.doi.org/10.23917/sinektika.v15i2.9858.
Full textAbstract:
The mosque which is a place of worship or place of worship for Muslims is also the culmination of the sanctity of space in Islam and is an artifact of Islamic architecture. Islamic art forms on mosques are a blend of symbolic elements of Islamic architecture. Masjid Hj. Sudalmiyah Rais is a part of public facilities in Universitas Muhammadiyah Surakarta. The mosque has a very thick Islamic architectural style. This research will explore and find out what forms of Islamic art are applied to the mosque. The purpose of this study finds Islamic art was applied in the mosque and how to presents Islamic decorative arts found in the mosque. This study uses a qualitative descriptive method. This research carried out by seeing the object of the mosque, then assessed the parts that were based on the results of matching parameters of the symbolic elements of Islamic architecture. Masjid Hj.Sudalmiyah Rais fulfills 11 of these 12 parameters. The missing thing is the hand made decorations. That can be concluded that Masjid Hj. Sudalmiyah Rais applied Islamic art to the physical form of the building. Islamic ornamental arts contained in the mosque that are in the form of calligraphy ornaments, geometric ornaments, and flower ornaments (florist). The benefits of this research are to increase public knowledge about Islamic art studies found in Masjid Hj. Sudalmiyah Rais and gave references to Architects about the use of Islamic art in mosques.
27
Sattarova, Liliya I. "A Carved Wooden Door from Kayseri." Observatory of Culture 18, no. 1 (May 24, 2021): 44–54. http://dx.doi.org/10.25281/2072-3156-2021-18-1-44-54.
Full textAbstract:
The article deals with a little-known mo- nument of Seljuk woodcarving — a door from an ancient Friday mosque (Jami-i Kebir) in Kayseri (Turkey). The carved door, exhibited now in the Ankara Museum of Ethnography, has not yet been the subject of a comprehensive publication. Therefore, this artifact belongs to the group of Anatolian Seljuk woodcarvings, made in the 12th — early 13th centuries, that have a special significance. As rare monuments of Islamic art of the pre-Mongol Middle East, they stood at the origins of the blooming of Anatolian Seljuk art that would occur some decades later.The door was ordered and installed during the Jami-i Kebir mosque renovation, carried out in the second reign of the Seljuk Sultan Giyseddin I Kayhosrov (1205—1211), on the instructions of one of his emirs — Muzaffar al-din Mahmud son of Yagy-Basan, a descendant of the Danishmendid dynasty. The article considers the door’s ornamental decoration, organized as a classic “mihrab” composition, in a set of technical and stylistic aspects. For a comparative analysis, the author inspects a wide range of woodcarvings of the 11th—13th centuries from Anatolia and Iran. The close resemblance of used techniques and decoration, as well as motifs, ornamental themes and epigraphy makes it possible to suggest that the cabinet maker Ibrahim son of Abu-Bakr al-Rumi, who left his signature on the Minbar of the Alaaddin Mosque in Ankara Fortress, could be the author of the magnificent carved door from Kayseri’ Jami-i Kebir.
28
Herwandi, Herwandi, Rafeah Legino, Hanafi Hussin, and Ike Revita. "Interpreting Avian Imagery in Minangkabau Patterns: Insights from fiqh and Sufism perspectives." Environment-Behaviour Proceedings Journal 8, SI16 (November 25, 2023): 139–46. http://dx.doi.org/10.21834/e-bpj.v8isi16.5230.
Full textAbstract:
The ongoing study investigates the anomaly in decorative patterns within Minangkabau art. These ornamental designs, characterised by abstraction rather than naturalism, bear connections to Islamic thought and Sufism within Minangkabau culture in West Sumatra. This examination focuses on specific, selected decorative patterns and is considered part of the philosophy of Islamic art. The appropriate methodology involves field research encompassing hundreds of Minangkabau artefacts featuring these ornamental designs. The process of analysis includes looking into the connection between Islamic thought and specific examples of patterns used in Minangkabau art. This includes an inquiry into how the ornaments exclusively represent the characteristics of actual birds.
29
Sultan, Muslihin. "INSKRIPSI HURUF ARAB DAN RAGAM HIAS PADA MASJID TUA AL-MUJAHIDIN KABUPATEN BONE SULAWESI SELATAN." Al-Qalam 18, no. 1 (January 14, 2016): 100. http://dx.doi.org/10.31969/alq.v18i1.248.
Full textAbstract:
<p>Archaeology is history; archaeological research cannot be separatedfrom the history, because history<br />reveals the story of material culture. The Old Mosque is part of a cultural thing that will describe the<br />history of the Islamic society and the reconstruction of the mosque building in accordance with local<br />cultural character of local genius in its time. The Old Mosque of al-Mujahidin Watampone is the oldest<br />and the first mosque of the royal heritage of Bone in Islam development era. The mosque has specific<br />stylistic and architecture that describes how the Islamic symbols interacted with local culture and art.<br />The strong influence of Islamic teachings was implicitly reflected in a wide variety of the mosque<br />ornaments. This research aims to reveal the decoration and Arabic inscriptions located in the<br />Old Mosque, to promote the history and archaeological traces of the Islamic kingdom of Bone, and to<br />recommend to the local government of Bone to make Qadi's cemetery as part of archeological history<br />of the kingdom Bone that deserve to be considered by the community and the Government of Bone as a<br />cultural heritage of the archipelago to be protected as Objects of Cultural guaranteed by Indonesian<br />Law Number 5 of 1992 about Objects of Cultural Property. The research methodology was a field<br />research with a survey which is descriptive, archaeological, historical, and explanative on the Old<br />Mosque al-Mujahidin, Watampone, Bone regency, South Sulawesi. The techniques of collecting data<br />in this study were: literature data, field data (archaeological assessment, observation, and interviews),<br />documentation and recording, surface surveys, and the withdrawal of sampling. This study also used<br />the architectural analysis on the mosque, i.e. morphological, technological, stylistic, and contextual<br />analysis.</p>
30
Bukhari, Bukhari, Aulia Rahman, and Mufti Riyani. "Variety of Coastal Ornaments in Aceh: Aesthetic Phenomena in the Continuation of History and Culture." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 3, no. 1 (February 15, 2020): 614–24. http://dx.doi.org/10.33258/birci.v3i1.822.
Full textAbstract:
Focusing on the study of historical artifacts of art found in the Aceh Coastal region, this study seeks to analyze ornamental diversity as an aesthetic phenomenon that has a meaningful relationship with 1. Continuation of history, 2. Links in the search for cultural identity, and 3 Balancing cultural values in Acehnese society . Throughout history, the art of embroidering gold threads, woven silk fabrics, stabbing weapons, jewelry art, and wood carvings have been the hallmark of Aceh beach crafts that in their development consistently used their identity motifs. The intended identity motif is a motif that shows the cosmopolitanism of Aceh regarding pre-Islamic cultural influences and influences originating from friendly countries. The diplomatic relations which brought the influence of Persia and the Moghul dynasty from India occurred at the golden peak of Aceh's art history, especially during the times of Iskandar Muda and Iskandar Thani, although in the end, the clearest artistic trend emerged, namely all Islam. Aceh's design patterns in a stylish form become geometric shapes. The characteristic of decoration in the coastal communities of Aceh is influenced by Arabic concepts, is the development of a sense of beauty that is free from natural myths and is done by developing abstract patterns taken from floral motifs, foliage shaped and polygon shapes as a process of balancing cultural values.
31
Maler, Wani, Shyeh S.K.M., Oetomo R.W., Suprayitno S., and Mokhtar Saidin. "Comparison Between Barus And Plak-Pling Tombstones Based On Analysis Of Motif Design." Bulletin Of The Geological Society Of Malaysia 70, no. 1 (November 30, 2020): 119–24. http://dx.doi.org/10.7186/bgsm70202009.
Full textAbstract:
The Centre for Global Archaeological Research at Universiti Sains Malaysia (transl. University of Science Malaysia) had signed a memorandum of understanding with Universitas Syiah Kuala (Unsyiah) and Universitas Sumatera Utara (USU) regarding Islamic archaeological research in Sumatera. This cooperation was in order to unearth new clues on the early history of Islam in the South East Asia region. A preliminary survey had been done in Aceh and Barus which found a number of tombstones belonging to the early Muslim population in the area. This study focused on the Barus tombstones found in Penanggahan, Barus during the fieldwork in the December of 2014. The oldest tombstone found in Barus to date was dated to about 1350 AD. The Barus tombstones were made from tuff. This particular tombstone was unique in its form, the decoration and motif not conforming to any known classification to date. The engravings and carvings on the surface of the tombstones have its own distinct style. There are also similarities of the ornaments with those of the Plak-Pling tombstones which seems indicative of contact between Barus and Aceh during the time of the spread of Islam in the region.
32
Umami, Muhimatul. "Penerapan Pengetahuan Ekologi Indigenous Dalam Pemanfaatan Hewan Sebagai Upaya Konservasi Berkelanjutan Di Masyarakat Cirebon." Jurnal Pemberdayaan Sosial dan Teknologi Masyarakat 2, no. 1 (April 28, 2022): 37. http://dx.doi.org/10.54314/jpstm.v2i1.890.
Full textAbstract:
Abstract: Traditional Ecological Knowledge (TEK) or Indigenous Knowledge is local knowledge in managing the natural environment. Today international communities facing an ecosystem and natural resources crisis. One of them is a loss of biodiversity especially animals population because of the spread of disease, the destruction and degradation of their habitats and direct exploitation by humans. Muslim as the biggest population of Indonesia possesses an important role of conservation. The aim of this study was to inform the role of TEK and Islamic law for the conservation of natural resources. This article uses the method of public education through direct counseling in increasing society understanding regarding traditional ecological knowledge in animal conservation efforts. In addition, the data was completed through observation documentation, and interviews with key informants. The results showed that indigenous people activities in utilization natural resources through TEK were such as for food sources, ex-situ conservation, pets, traditional medicine, traditional vehicles, cultural art, symbols/myth/religion and decorations/ornament. The utilization of animals by indigenous people according to the Islamic law about an environmental law (Fiqh of ecology) to conserving natural resources, so that still exists the diversity and population of animals until now. Keywords: biodiversity; conservation of natural resources; ethozoology; traditional ecological knowledge Abstrak: Pengetahuan Ekologi Tradisional atau Pengetahuan Indigenous merupakan pengetahun masyarakat lokal dalam mengelola lingkungan. Saat ini masyarakat internasional sedang dihadapi permasalahan krisis Ekosistem dan Sumber Daya Alam (SDA). Salah satunya adalah menurunnya biodiversitas, terutama populasi hewan yang disebabkan adanya penyebaran penyakit, kerusakan habitat dan eksploitasi yang berlebihan oleh manusia. Indonesia merupakan populasi muslim terbesar yang memiliki peran penting dalam upaya konservasi. Penelitian ini bertujuan untuk menginformasikan peran pengetahuan lokal dan hukum islam dalam upaya konservasi SDA. Metode dalam penelitian ini adalah Pendidikan masyarakata melalui penyuluhan secara langsung dalam meningkatkan pemahaman masyarakat terkait pengetahuan ekologi tradisional dalam upaya konservasi hewan. Selain itu, data dilengkapi melalui dokumentasi observasi, dan wawancara dengan informan kunci. Hasil menunjukkan bahwa pemanfaatan hewan yang di-lakukan oleh masyarakat melalui prinsip-prinsip konservasi tradisional meliputi pemanfaatan hewan sebagai bahan pangan, pelestarian hewan, domestikasi, alat transportasi, seni budaya, simbol/mitos/agama dan dekorasi/ornamen. Penerapan pemanfaatan tersebut sejalan dengan hukum islam tentang Fiqh ekologi untuk melestarikan sumber daya alam sehingga keanekaragaman hayati dan populasi hewan tetap terjaga hingga sekarangKata kunci: biodiversitas;etnozoologi; pengetahuan ekologi tradisional; konservasi sumber daya alam
33
Маммаев, М. М. "The 15th century grave stele from the village of Ashty — a highly masterful work of Islamic art in Mountain Dagestan." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 14 (September 23, 2022): 421–31. http://dx.doi.org/10.53737/2713-2021.2022.45.76.022.
Full textAbstract:
Надмогильная стела XV в. из селения Ашты (Дахадаевский район, Республика Дагестан) представляет собой массивную каменную плиту слегка трапециевидной формы, которая богато и с большим художественным мастерством украшена растительным орнаментом. По контуру круглого рельефного медальона в центре верхней части памятника помещена врезная эпитафия на арабском языке с именем погребённого (Али сын Ахмада) и с датой его смерти (и изготовления памятника) — джумада ал-ахира 877 г.х. (11 ноября — 10 декабря 1472 г.). Внутреннее пространство медальона занимает рельефная каллиграфическая надпись «Аллах». Еще одна рельефная надпись с именем пророка и посланника Аллаха Мухаммада помещена в небольшой круглый медальон в средней части центрального поля. Исходя из особенностей декоративной отделки, совершенной, яркой и выразительной орнаментальной резьбы, а также наличия арабских надписей, памятник из Ашты характеризуется как ценный образец камнерезного искусства, арабской эпиграфики и каллиграфии. Стела исследуется в сравнительном плане с синхронными памятниками селений Кубачи, Дацамаже и Кумух. Отмечается наибольшая близость декора стелы к декору мусульманских стел селения Кубачи и поселения Дацамаже. Несмотря на зависимое положение Ашты в XV в. от Казикумухского шамхальства, жители этого селения продолжали сохранять прежние экономические и культурные связи с этнически близкими им кубачинцами. The grave stele of the 15th century from the villageof Ashty (Dakhadaev district, Republic of Dagestan) is a massive subtrapezoidal stone slab. It is decorated with rich floral ornament in artistically skilful manner. The relief round medallion in the center of the upper part of the monument is encircled with engraved epitaph in Arabic, which contains the buried person’s name (Ali son of Ahmad) and dates of his death and, consequently, of the manufacture of the monument: Jumada al-Akhira 877 AH (November 11 — December 10, 1472). In the centre of the medallion a calligraphic relief inscription “Allah” is made. In a small round medallion situated in the middle part of the central field, another relief inscription is placed, with the name of Muhammad, the Prophet and Allah’s Messenger. It is peculiarities of decorative design, perfectly bright and expressive ornamental carving, and the presence of Arabic inscriptions, which attest the Ashty stele as a highly valuable masterpiece of stone-carving art, Arabic epigraphy, and calligraphy. The stele is explored in terms of comparison with the monuments of the same time range from Kubachi, Datsamazhe and Kumukh. The ornamentation of the Ashty stele is found to have closest parallels in carved Muslim stelae from the village of Kubachi as well as in those from the settlement of Datsamazhe. In the 15th century, Ghazi-Kumukh Shamkhalate dominated Ashty, yet the villagers have managed to retain traditional economic and cultural connections with ethnically related Kubachi people.
34
Adininggar, Melati Indira, Elvira Dewi Kurnia, and Alfiah Alfiah. "Penerapan Pembauran Ornamen Islam dan Tionghoa Dalam Arsitektur Masjid Muhammad Cheng Hoo." TIMPALAJA : Architecture student Journals 1, no. 2 (January 22, 2020): 140–53. http://dx.doi.org/10.24252/timpalaja.v1i2a6.
Full textAbstract:
Abstrak_ Masyarakat Indonesia pada abad ke 7 Masehi melakukan perdagangan dengan negeri Islam. Interaksi tersebut berpengaruh pada bentuk arsitektur bangunan masjid yang dibangun. Masjid di Indonesia pada umumnya mengadopsi masjid dari Timur Tengah dan ditambah dengan budaya lokal setempat. Tetapi masyarakat keturunan Cina yang beragama islam membangun masjid Muhammad Cheng Ho dengan arsitektur khas Cina. Selain itu, masjid Muhammad Cheng Ho Makassar memiliki bentuk yang unik dan menarik yang berdiri di tengah tengah muslim Makassar yang secara umum memiliki budaya yang berbeda dengan muslim Cina. Sehingga, keberadaan masjid ini sebagai wujud atau simbol dari toleransi antar etnis dan budaya. Konsep arsitektur pada masjid ini merupakan perpaduan antara Islam-Tiongkok dan keunikannya berada pada ragam hias dari masjid yang memiliki makna serta nilai.Kata kunci: Pembauran; Budaya; Masjid. Abstract_Indonesian society in the 7th century AD traded with the Islamic state. These interactions have an effect on the architectural form of the mosque building that was built. Mosques in Indonesia generally adopt mosques from the Middle East and are incorporated with local culture. But the Chinese descendants of Islam who built the Muhammad Cheng Ho mosque with Chinese architecture. In addition, the Muhammad Cheng Ho Mosque in Makassar has a unique and interesting place that stands in the midst of Makassar Muslims who generally have a different culture with Chinese Muslims. So, the existence of this mosque as a form or symbol of tolerance between ethnicity and culture. The architectural concept in this mosque is a blend of Islam-China and its uniqueness is in the decoration of the mosque which has meaning and value.Keywords : Integration; Culture; Mosque.
35
Zahra, Fatima, and Safrizal Bin Shahir. "The Aesthetic Value and Spiritual Aesthetics of Islamic Ornaments in Islamic Architecture." Journal of Islamic Thought and Civilization 12, no. 1 (June 7, 2022): 164–75. http://dx.doi.org/10.32350/jitc.121.08.
Full textAbstract:
Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it, that might influence a person's perception of spiritual aesthetics. Therefore, this article explore what spiritual aesthetic means and how it relates to Islamic ornamentation. Furthermore, Islamic ornamentation should be considered a part of the interior of the Islamic architecture rather than just decorations added after the fact or to cover in gaps. Through the interplay of the people and interior space, these ornaments have the potential to engage with human aesthetics. Therefore, this research also focuses on the aesthetics and beauty of ornaments, which satisfy one of human psychological needs: to be in a beautiful environment. Because emphasis of the research is to explore how people perceive the aesthetics of Islamic ornamentation, a semiotics method was chosen because of its capacity to transcend literal meanings. The identification and evaluation of the aesthetic and religious qualities of the Islamic ornamentation brought out in this paper can be very helpful for the artists as well as scholars in understanding the Islamic art.
Keywords: Islamic Ornaments, Islamic Architecture, Aesthetic Value, Spiritual Aesthetics, Islamic Art, Architectural Ornaments
36
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.
Full text
37
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.
Full text
38
Nurul Fajri, Sri Ayu, Aznan Nazzer Nur Syarif, and Andi Hildayanti. "Filosofi Ornamen dan Dekorasi Interior pada Klenteng Xian Madi Kota Makassar." TIMPALAJA : Architecture student Journals 1, no. 1 (January 9, 2020): 57–69. http://dx.doi.org/10.24252/timpalaja.v1i1a7.
Full textAbstract:
Abstrak_Tujuan penelitian ini adalah untuk mengidentifikasi dan mengkajifilosofi ornamen dan dekorasi interior yang terdapat pada Klenteng Xian Madi Kota Makassar. Pada dasarnya kebudayaan Tionghoa mewariskan heterogenitas ragam hias Arsitektural Klenteng yang unik dan filosofis, mulai dari pemilihan warna dan penerapan atribut pada dekorasi ruang Klenteng. Penelitian ini digunakan metode penelitian deskriptif kualitatif yang bertujuan untuk mendeskripsikan dan mengemukakan makna filosofi dari ornamen dan dekorasi interior Klenteng Xian Madi. Berdasarkan hasil penelitian bahwa interior Klenteng Xian Madi didominasi dengan warna merah dan gold. Bagi umat Tionghoa warna emas melambangkan keberuntungan, dan keceriaan. Warna gold melambangkan kebahagiaan dan kemakmuran. Disamping itu, terdapat beberapa patung yang terletak di segala sisi ruang Klenteng sebagai tempat sembahyang umat Tionghoa. Sehingga filosofi ornament dan dekorasi interior Klenteng Xian Madi dapat diketahui secara empiris, karena masing-masing ornament dan dekorasi interior mengandung makna sebagai bentuk komunikasi bagi pengamat yang datang.Kata kunci: Arsitektur Klenteng; Filosofi Ornament; Dekorasi Ruang,Metode Deskriptif Kualitatif. Abstract_ The purpose of this study is to identify and clarify the ornament and interior decoration philosophy found in the Xian Madi Temple, Makassar City. Chinese culture inherits the heterogeneity of the unique and philosophical architectural decoration of the pagoda, starting from the selection of colors and the application of attributes to the pagoda's room decoration. This study used a descriptive qualitative research method that aims to describe and express the philosophical meaning of the ornamentation and interior decoration of the Xian Madi Temple. Based on research results that the interior of the Xian Madi Temple is dominated by red and gold. For Chinese people, the golden color symbolizes luck and cheerfulness. The gold color symbolizes happiness and prosperity. Also, there are several statues located on all sides of the temple room as a place of prayer for Chinese people. So that the philosophy of ornament and interior decoration of Xian Madi Temple can be known empirically because each ornament and interior decoration contains meaning as a form of communication for observers who come.Keywords: Temple Architecture; Ornament Philosophy; Room Decoration; Qualitative Descriptive Method.
39
شاهين, سهيلة أحمد. "القيم الجمالية للزخرفة الإسلامية بالمسجد الأقصى كمدخل لاستحداث تصاميم زخرفية معاصرة = Aesthetic Values of Islamic Ornament at Al-Aqsa Mosque as an Input for the Development of Contemporary Decorative Designs." مجلة العمارة والفنون والعلوم الإنسانية, no. 1 (January 2016): 246–63. http://dx.doi.org/10.12816/0036523.
Full text
40
Fadillah, Mohammad Ali, and Mufti Ali Ali. "Elements of Bantenese, Javanese And Balinese Art Carved on Lawangkori Gedongwani in East Lampung, Indonesia." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 13, no. 1 (March 10, 2024): 1–25. http://dx.doi.org/10.55981/purbawidya.2024.3128.
Full textAbstract:
This research aims to reveal the Lawang Kori Gedongwani carving art in East Lampung, one of the areas in South Sumatra which since the early 17th century was the territory of the Banten Sultanate. Based on its current appearance, Lawang Kori is carved in the typical Bantenese art style that dominantly decorates pottery shards and tombstones at Banten Lama urban site. However, in certain details Lawang Kori also showed the influence of art from other regions in Java and Bali. To determine the existence of these artistic elements, research will focus on the forms and types of ornaments that were manifested in the Lawang Kori carvings, both in whole and in part. Therefore, direct observations were carried out in Gedongwani Village, Mergo Tigo District, East Lampung Regency, where Lawangkori was found. Identification of shapes and decorations produces very diverse decorative patterns. By focusing on the analysis on structure, construction and decorative elements in the form of geometric, floral and figurative motifs, Lawang Kori presented the characteristics strongly influenced by the decorative arts of Banten, East Java and Bali. Islamic art itself was the result of modifications from the Hindu-Buddhist period. Referring to historical sources and oral traditions, the Lawang Kori gate was probably made in the late 17th and early 18th centuries. The growth of port cities under the rule of the Javanese-Islamic polity stimulated the development of decorative arts in their area of influence. Islamic works of art themselves were the result of modifications from the Hindu-Buddhist period. In this case, Banten was an agent for the spread of Islamic art in the Lampung region, from its golden age to its decline in the early 19th century.
41
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.
Full textAbstract:
<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>
42
Aboufadil, Youssef, Abdelmalek Thalal, and My Ahmed El Idrissi Raghni. "Moroccan ornamental quasiperiodic patterns constructed by the multigrid method." Journal of Applied Crystallography 47, no. 2 (March 19, 2014): 630–41. http://dx.doi.org/10.1107/s1600576714001691.
Full textAbstract:
The similarity between the structure of Islamic decorative patterns and quasicrystals has aroused the interest of several crystallographers. Many of these patterns have been analysed by different approaches, including various kinds of ornamental quasiperiodic patterns encountered in Morocco and the Alhambra (Andalusia), as well as those in the eastern Islamic world. In the present work, the interest is in the quasiperiodic patterns found in several Moroccan historical buildings constructed in the 14th century. First, thezelligepanels (fine mosaics) decorating the Madrasas (schools) Attarine and Bou Inania in Fez are described in terms of Penrose tiling, to confirm that both panels have a quasiperiodic structure. The multigrid method developed by De Bruijn [Proc. K. Ned. Akad. Wet. Ser. A Math. Sci.(1981),43, 39–66] and reformulated by Gratias [Tangente(2002),85, 34–36] to obtain a quasiperiodic paving is then used to construct known quasiperiodic patterns from periodic patterns extracted from the Madrasas Bou Inania and Ben Youssef (Marrakech). Finally, a method of construction of heptagonal, enneagonal, tetradecagonal and octadecagonal quasiperiodic patterns, not encountered in Moroccan ornamental art, is proposed. They are built from tilings (skeletons) generated by the multigrid method and decorated by motifs obtained by craftsmen.
43
Harkantiningsih, Naniek. "Seni Hias Tempel Keramik Kesultanan Cirebon: Toleransi dalam Kebinekaan." Kapata Arkeologi 13, no. 2 (November 30, 2017): 233. http://dx.doi.org/10.24832/kapata.v13i2.442.
Full textAbstract:
The Sultanate of Cirebon is the center of the Islamic empire that grew from the 15th century, in fact not only grew in the religious, bureaucratic, and commercial sphere, but also established cooperation with the Dutch, especially in the early 18th century, even become to region of the territory of VOC until the Dutch East Indies government. One of the proofs of the relationship, is the form of ceramic tiles from the Netherlands which until now used as decoration wall of the palace, mosque, and tombs. The pattern of ceramic tiles is biblical story. The existence of ceramic tiles of the biblical story in Cirebon as an area of the Islamic empire that was very influential at that time, certainly be uniqueness. Therefore, the purpose of this papers is to know the reasons for the preservation of the ornamental art of ceramic outboard bible stories in the center of government and sacred buildings characterized by Islam. The method used is qualitative analysis, context analysis, and literature study. The preservation of this ornamental art may also be linked to the tolerance of diversity, which is the current government policy program. The use of ceramic outboard art of Biblical story, both in profane and sacred building makes one of the typical culture of Cirebon, because the people of Cirebon and the Sultanate relatives still maintain the unity and preserve the cultural heritage.Kesultanan Cirebon sebagai pusat kerajaan Islam yang berkembang dari abad ke-15an, pada kenyataannya tidak hanya tumbuh dalam lingkup keagamaan, birokrasi, dan perniagaan, tetapi juga menjalin kerjasama dengan Belanda. Terutama pada awal abad ke-18an, bahkan menjadi wilayah kekuasaan VOC hingga pemerintahan Hindia Belanda. Salah satu bukti hubungan itu, berupa tegel keramik asal Belanda yang hingga kini dipakai sebagai hiasan tembok keraton, masjid, dan makam. Tegel keramik tersebut bermotifkan cerita Alkitab. Keberadaan tegel keramik cerita Alkitab di Cirebon sebagai wilayah kerajaan Islam yang sangat berpengaruh pada masa itu, tentu menjadi keunikan. Tujuan penulisan ini yaitu, mengetahui alasan pelestarian seni hias tempel keramik cerita Alkitab di pusat pemerintahan dan bangunan sakral bercirikan Islam. Metode yang digunakan ialah analisis kualitatif, analisis konteks, dan studi kepustakaan. Pelestarian seni hias ini mungkin dapat pula dihubungkan dengan toleransi kebinekaan, yang menjadi program kebijakan pemerintah saat ini. Penggunaan seni hias tempel keramik cerita Alkitab, baik di bangunan profan maupun sakral menjadikan salah satu budaya khas Cirebon, karena masyarakat Cirebon dan kerabat Kesultanan masih menjaga keutuhan dan melestarikan tinggalan budaya tersebut.
44
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.
Full textAbstract:
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.
45
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.
Full textAbstract:
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.
46
Bier, Carol. "Ornament and Islamic Art." Middle East Studies Association Bulletin 28, no. 1 (July 1994): 28–30. http://dx.doi.org/10.1017/s0026318400028480.
Full text
47
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.
Full textAbstract:
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.
48
Thalal, Abdelmalek, Youssef Aboufadil, and My Ahmed Elidrissi. "Construction of quasiperiodic patterns in the Moroccan ornamental art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1430. http://dx.doi.org/10.1107/s2053273314085696.
Full textAbstract:
The similarity between the structure of Islamic decorative patterns and quasicrystal, aroused the interest of several crystallographers. They analyzed these patterns, by different approaches, various kinds of ornamental quasiperiodic patterns encountered in the Morocco and Alhambra (Andalusia) as well as in the eastern of Islamic world. In this work, we are interesting in the quasiperiodic patterns found in several Moroccan historical buildings constructed in the 14th century. We first describe the Zellige panels (fine mosaics) decorating the Madrasas (schools) Attarine and Bou Inania in Fez in term of Penrose tiling, to confirm that both panels have quasiperiodic structure (Makovicky et al, 1998). The panel Madrasas Attarine appears as a finite part of this quasiperiodic pattern (Figure 1-c). As already mentioned by several authors, we can notice the similarity of the decagonal pattern with the diffraction pattern of the quasicrystal Al Mn (Schechtman et al, 1984) (Figure 1-a and c). The multigrid method developed by De Bruijn (1981) and reformulated by Gratias (2002) to obtain a quasiperiodic paving, is used to construct known quasiperiodic patterns from periodic patterns extracted from the Madrasas Bou Inania and Ben Youssef (Marrakech). At last, we propose a method of construction of heptagonal, enneagonal, tetradecagonal and octadecagonal quasiperiodic patterns, not encountered in the Moroccan ornamental art. They are built from tiling (skeleton) generated by the multigrid method and decorated by motifs obtained by the craftsmen method.
49
Lee, Jae Sung, Mi Hyun Kim, Young Hwan Park, and Hyun Woo Kim. "Manufacturing Techniques of Gilt-copper Crown Ornament with a Bird Wing-shaped Decoration Excavated form Ancient Tomb in Imdang, Gyeongsan." Journal of Conservation Science 39, no. 3 (September 20, 2023): 297–307. http://dx.doi.org/10.12654/jcs.2023.39.3.11.
Full textAbstract:
The ancient tombs in Imdang of Gyeongsan, a representative historic site of Silla culture, are a group of ancient tombs built by local powers of Silla during the Three Kingdoms Period which existed fragmentarily in written records as the tomb of the ruling class in Apdokguk(押督國). In the ancient tomb Imdang 1A, where the appearance at the time of the burial was confirmed, the gilt-copper crown ornament with a bird wing-shaped decoration was excavated showing the relationship between the central Silla and the ruling powers in the local provinces. This the gilt-copper crown ornament with a bird wing-shaped decoration was produced in the order of ① cutting and making of each component, ② carving circular patterns, ③ gilding, ④ joining the front and wing ornament, ⑤ punching for wire connection, ⑥ attaching the spangles. The front, wing ornament and circular spangles(<i>Dalgae</i>) were made with a thin copper plate, and the front and wing ornament overlapped each other with a size of about 5 mm. And it was jointed with three metal rivets with a square cross section. The circular patterns, carved on the border between the front and wing ornament, was carved in the shape of a circular dot by chiseling in the vertical direction with a round-tip carving tool. The gilt-copper wire used to connect the spangles(<i>Dalgae</i>) was first thinned by hammering. After that, thinner and more uniform wires in thickness was drawn using the drawing technique. The gilt-copper wires were inserted into the spangles(<i>Dalgae</i>) and twisted three times so that they were of similar length. The wing ornament and circular spangles were gilded with a thickness of 3 to 5 µm, and the gilded layer of the wire was the thinnest at 1 to 4 µm. To manufacture the gilt-copper crown ornament with a bird wing-shaped decoration, the form was made with copper as the basic material and the surface was gilded with the amalgam gilding technique that mixes gold and mercury.
50
H, M. Hasrul, Hariani Hariani, and Yahya Yahya. "Rancang Bangun Sistem Pemasaran Produk Ornamen Bangunan Di Kabupaten Gowa Berbasis Android." Journal Software, Hardware and Information Technology 3, no. 1 (January 30, 2023): 51–62. http://dx.doi.org/10.24252/shift.v3i1.81.
Full textAbstract:
The industrial era is forcing almost all sectors and business players to replace their service and product marketing systems with conventional to digital technology, likewise in building ornament artisans. An ornament is a decoration made to beautify a house or building both outside and inside the room; the function of the ornament is also to provide air circulation in the room to get fresh air. This research aims to make it easier for building ornament artisans to market their products more broadly. The approach used in developing this software is a prototype that allows interaction between system developers and system users to overcome incompatibilities between developers and users. The results of the development of an Android-based building ornament marketing application can display information related to building ornaments, making it easier for potential customers to see the type and specifications of the desired ornament.