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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.
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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.
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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.
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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.
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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.
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<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.
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The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Goodwin, Amy. "Signwriting: Ornament as visual language ‐ communicative decoration." Journal of Illustration 6, no. 1 (August 1, 2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.
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This article argues for the use of decorative signwriting as both ornamental and communicative. This examination will be twofold: first, a series of images of twentieth century signwriting in the fairground industry will be offered to this argument: all signwriting is purposefully applied, as decoration, in order to communicate, but unpicking the visual styles will unveil the hidden meanings, expanding the communicative intentions. Secondly, works of signwriting produced and installed as an archive as illustrated space will be dissected to expand on the argument being made. The archive as illustrated space is a framework being theoretically structured and then applied in practice within my Ph.D. enquiry. It advances the theories and workings of both the archive and artistic archive: the space facilitates the collation of dubious and disputed narratives, alongside archival fragments: told through communicative signwriting, it demands the participation of the viewer in its installation. Using the methodology of this practice-led research will contribute to confirming how the application of a visual language to signwriting enables the production of works that are both ornamental and communicative.This argument has been formed, primarily, due to my informed fairground position: embedded within fairground heritage my upbringing has established an appreciation for its rich history, which is reflected in my practice, which blends traditional signwriting and illustrative storytelling. This informed fairground position, combined with my Ph.D. enquiry, enriches the analysis and understanding of the practice-led research within the realm of this article: offering a valuable opportunity to not only comment on the historical works presented, but also to showcase an exploration of how to apply this visual production to contemporary, installation situations.
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Bzhahov, M., and A. Sultanova. "THE USE OF THE NATIONAL ORNAMENT OF THE KABARDINS AND BALKARS AS ARCHITECTURAL DECORATION OF FACADES OF BUILDINGS." Construction Materials and Products 2, no. 4 (June 27, 2020): 79–83. http://dx.doi.org/10.34031/2618-7183-2019-2-4-79-83.
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the article presents the results of research on the use of the national ornament of the Kabardins and Balkars as an architectural decoration of facades of buildings, contributing to the increase of architectural and artistic expression of facades of buildings. Classification of the national ornament of the Kabardins and Balkars is given, stylized schemes of the national ornament are considered and variants of their placement on facades of buildings as an architectural decor are offered.
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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.
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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.
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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.
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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.
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Cai, Rui. "A Preliminary Study on the Main Ridge Decoration of Buildings in Yuan, Ming, and Qing Dynasties in Guanzhong Area." Journal of Architectural Research and Development 6, no. 3 (May 31, 2022): 1–8. http://dx.doi.org/10.26689/jard.v6i3.3815.
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The function of roof ridge ornament is irreplaceable in the facade modeling of traditional Chinese architecture. Taking the ornament in the Ming and Qing Dynasties in Guanzhong area as an example, this paper summarizes and analyzes the appearance characteristics, and internal cultural connotation of the ornament that is currently present in the Guanzhong area from the aspects of its decorative content, color, and grade indication. Further, make relevant discussions, hoping to supplement the research of ancient ornament.
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Kim, Hoon-Hui. "The transition and meaning of the ceremonial ornament with bird-shaped thorn(有刺괿器) from Marisan ancient tombs in Haman region." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 33–57. http://dx.doi.org/10.47417/yar.2018.82.33.
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The Malisan ancient tombs in Haman region are the most important sites, as the center of Allakuk(安羅國), in the study of Gaya. In this study, the ceremonial ornament with bird-shaped thorn(有刺利器) excavated from the Malisan tombs were examined. In the analysis of the ceremonial ornament, It attracts attention to the most distinctive part of the bird-shaped decoration. It is largely classified into the old and the new style. It is set to five types of old style and three types of new style. The old and new style differ in appearance and disappearance. The set pattern is observed to change gradually from the early period to the late period. The duration is divided into five stages from the beginning of the 5th century to the beginning of the 6th century. The scale of the wooden chamber tombs and stone chamber tombs and the main artifacts were examined, and the hierarchy was classified. The ceremonial ornament shows the hierarchical feature that is buried only in the middle grave and above. From the time of the emergence until the extinction period, the position as a superior relics was maintained. The position to be buried is changed. Artifacts what was buried near the body, it changes to the form to be placed on the vice chamber or top of the main in the late period. The ceremonial ornament excavated from the Malisan tombs is confirmed a close connection with the Gimhae region in the 4th century. The bird-shaped decoration on back of the armor excavated from the Daeseongdong No. 2 tomb is very similar to that of the earliest period in the old style of the Malisan s ceremonial ornament. From the previous period, the image of the bird-shaped decoration were identified in various artifacts as an important notion of farming rituals, worship of the sky and sun, and ceremonial rituals. It can be seen that the building group of the Malisan tombs placed the ceremonial ornament that has a symbolic meaning on the grave with a high hierarchy continuously.
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Nenasheva, Larisa V. "THE ARTISTIC DECORATION OF NORTHERN MANUSCRIPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 163–78. http://dx.doi.org/10.17223/22220836/41/13.
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For a long time Russian manuscript book has been famous for its rich artistic design. Miniatures containing parts of liturgical texts, sermons, saints’ lives, richly decorated miniatures, initials have changed over time, so they help to date a manuscript. The article studies the artistic design of northern manuscripts in order to figure out a more accurate date of the source. The subjects of the study are liturgical and theological books from the collection of the Arkhangelsk Museum Association “Russian North artistic culture”, created in the XV–XIX centuries. All researched manuscripts are written on paper and all of them are not dated, therefore the date of writing a book is first determined by paper signs, which is then confirmed by other facts, namely by drawings written at the same time as the main text. In “Prologue”, created at the end of the 15th century, the scribe uses the Balkan ornament, which was popular in Russian books of the second half of the 15th and 16th centuries. On the sheets with miniatures there are also large initials of the Balkan type. The “Psalter” of the late 18th century was copied from the printed edition of 1651. It contains the unfinished design of King David copied from the printed edition evidenced by the artist’s manner of performing this image. Some of the manuscripts are decorated by scribes with drawings copied or taken from printed editions of the same period as the book. Thus, in the collection of the early XIX century (a “white” date on paper – 1815) there is a miniature that occurs in such printed editions as “The Life of Basil the New”, 1792–1795 and 1801, or “Psalter” 1802–1803, 1812–1814 years. In the collection of the museum there are books consisting of printed and handwritten sheets, restored instead of lost printed ones. For example, in the “Tablet” of Patriarch Nikon, published in 1656, the text was restored by hand on several pages at the beginning of the 18th century that is determined by the paper signs on the pages of the book. On the one of the manuscript sheets there is a miniature taken from a printed source and pasted into the text. Such an ornament is found, for example, in the Minne December 1714. These data show that the handwritten text and design were made at one time. The collection of the museum contains several bright books, richly decorated with Pomor ornament, which was popular in Old Believers' manuscripts written in the Russian North, near the White Sea, in the second half of the 17th and 19th centuries. The Pomor ornament is noted in the books that were created in the eighteenth and early nineteenth centuries, and is no longer found in manuscripts of late writing, which also indicates that a text and a décor of the book were made the same time. Thereby, the studied material helped to confirm the dates of the creation of the manuscripts, and also showed once again that when the source is dated, all the data in the book are taken into account.
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Horton, Sarah. "Serial killers? Investigating some modernist myths about decoration, pattern and ornament through workplace interventions." Journal of Illustration 6, no. 2 (December 1, 2019): 305–25. http://dx.doi.org/10.1386/jill_00016_1.
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Abstract What is it about ornament that made it so contentious for influential modernist thinkers and practitioners such as Adolf Loos and le Corbusier? According to Loos it was a sign of degeneracy and for le Corbusier best suited to 'simple races, peasants and savages'. By championing the use of ornament as a vital tool for 'resistance' in the sense that Michel de Certeau used the word the practice-led research featured in this article seeks to interrogate some of these myths. Rather than being a passive adornment to an environment the visual artworks presented here tested the potential of decoration and ornament to offer a resistive, critical interruption to everyday spaces. The particular space addressed was that of the workplace, with bespoke artworks being made for three different work-related locations.
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Liu, Jun, and Yu Guo Zhuo. "Green Theory Research on Indoor Air Pollution by Overall Process Controlling." Advanced Materials Research 356-360 (October 2011): 1719–22. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1719.
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New green theory is put forward that indoor air pollution is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor air quality becomes important more and more. According to the concept of healthy house to control indoor air pollution through four steps that are green interior design, selecting environmental materials, green decoration and green ornament safe, healthy and environmental green home could be realized.
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Gaillard de Sémainville, Henri. "Christian decoration on adornments: the example of Merovingian plates-buckles from Burgundia." Antiquité Tardive 19 (January 2011): 223–36. http://dx.doi.org/10.1484/j.at.1.3013.
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Molchanova, Ludmila A. "“Wood” symbolism in the decoration of the Udmurt costume: origins, existence, meaning." Finno-Ugric World 14, no. 2 (July 8, 2022): 207–22. http://dx.doi.org/10.15507/2076-2577.014.2022.02.207-222.
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Introduction. The article analyzes the semantics of the tree-like figures of the traditional female costume. The purpose of the work is to determine the origins of this image in the Udmurt ornamentation. Materials and Methods. The work uses the method of structural-semiotic analysis, allowing to consider costume ornament as a sign-symbolic system. Results and Discussion. The two prototypes that arose back in the period of the formation of human mentality: a woman and a totemic beast, formed the basis of the mythopoetic symbol of the world tree. Complex of Udmurt vorshud concentrated and preserved the echoes of the most ancient cult of a female – progenitor, endowed with a totem name. Each Udmurt clan had its own vorshud name. This name was associated with a natural totem, belonged to women of the clan, and passed down from generation to generation through the female line. A vorshud name was given to the ancestral territory, and its sacred center – vorshud in the sanctuary of kua. Vorshud demonstrates two key ideas of the world tree: connection and continuity of generations and the center of ancestral territory. Conclusion. During the study, the connection between the tree symbols of the costume ornament with the cult of Udmurt vorshud and the symbolism of the world tree was revealed. Therefore, it reveals the origins and semantics of wooden symbols in the Udmurt costume ornament.
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Riisberg, Vibeke, and Anders Munch. "Decoration and Durability: Ornaments and their ‘appropriateness’ from fashion and design to architecture." Artifact 3, no. 3 (December 16, 2015): 5. http://dx.doi.org/10.14434/artifact.v3i3.3918.
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<p>Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design it is discussed as a Return of ornament, because the aesthetics of Modernism banned ornamentation as ‘inappropriate’ to materiality, construction and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design, where the ‘right’ kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who lead the fight against ornament in early 20<sup>th</sup> century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that points out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and links ornamentation to the aesthetics of durability.</p>
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Hedges, Susan. "Interior Decoration to Exterior Surface: The Beleaguered Relief." Interiority 2, no. 1 (January 30, 2019): 79–93. http://dx.doi.org/10.7454/in.v2i1.45.
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Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge.
This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior.
Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.
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Liu, Jun, Yu Guo Zhuo, and Jin Xiang Ma. "Research on Indoor Environment Pollutants and Controlling." Applied Mechanics and Materials 178-181 (May 2012): 251–53. http://dx.doi.org/10.4028/www.scientific.net/amm.178-181.251.
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The sources and harm of indoor environmental pollutants was described and a new green theory is put forward that indoor environment pollutants is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor environment quality becomes more and more important. According to the concept of healthy house to control indoor environment pollutants through five steps that are green interior design, selecting environmental materials, green decoration, green ornament and green fresh air, and healthy and environmental green home could be realized.
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Rinaldi and Azmi Dwi Seffiani. "RAGAM HIAS NISAN KOMPLEKS PEMAKAMAN RAJA KOTALAMA, KABUPATEN INDRAGIRI HULU, PROVINSI RIAU." Berkala Arkeologi Sangkhakala 22, no. 1 (January 25, 2020): 45. http://dx.doi.org/10.24832/bas.v22i1.397.
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The cemetery of the King Kotalama complex is the Indragiri royal burial complex of the islamic-style period of Narasinga II. This study focused on the type of ornament that developed in the burial complex of the king of Kotalama. Decoration can provide information about the development of art culture during the reign of Narasinga II. The method used to answer these problems is through morphological analysis and stylistic analysis, in order to find out the types of decorations. The developing decoration shows that the community acculturates the old culture and the new culture. The ornamental variety consists of flora, geometric and calligraphy.
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Lebedeva, Yulia A. "The Ornament on Jewelry of the Siberian Tatars (on Materials of Archeology and Ethnography)." Herald of Omsk University. Series: Historical Studies 7, no. 4 (28) (December 28, 2020): 140–50. http://dx.doi.org/10.24147/2312-1300.2020.7(4).140-150.
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The article describes the decoration and ornamentation of two groups of Siberian Tatars - Baraba and Tara Tatars. As sources are considered jewelry of the 17th - 20th centuries, received in the funds of museums as a result of ethnographic and archeological researches. Special attention is paid to technical methods of performance, motifs, compositional techniques and types of ornament.
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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.
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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.
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Hoogslag, Nanette. "Decriminalising Ornament: The Pleasures of Pattern: The sympathy of illustration." Journal of Illustration 6, no. 1 (August 1, 2019): 9–32. http://dx.doi.org/10.1386/jill_00002_1.
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This article reflects on the research exhibition Decriminalising Ornament: The Pleasures of Pattern held in the Ruskin Gallery in Cambridge in November 2018 in conjunction with the International Illustration Research Conference of the same name. It considers the role of ornament and decoration in the exhibited works and through this the essential presence of the decorative within illustration.Key is Lars Spuybroek's concept of sympathy, which he develops based on a premodern understanding of ornamentation. In response to Spuybroek's exploration of this concept, this article seeks to extend the notion of sympathy as an essential presence within illustration. Sympathy indicates a human-material relationship not just between the illustrator and the creative materials, but also in the readers connection with this decorative act in the reproduced illustration.
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KHAZBULATOV, A. R., and A. I. IBRAGIMOV. "ORNAMENT AS A LANGUAGE OF CULTURE: TRADITION AND MODERNITY." Pedagogy and Psychology 48, no. 3 (September 15, 2021): 265–76. http://dx.doi.org/10.51889/2021-3.2077-6861.29.
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The Kazakh folk art clearly reflected the distinctive features of the applied national culture. Its origins go far back centuries, and it is nourished by the same inexhaustible source of folk art, which gives rise to any kind of art. This long-standing and eternally young art is brought to life by various kinds of people's desire to figuratively reflect their aesthetic perception of reality. From generation to generation, unnamed artists passed on their rich experience, contributing to the formation of a national style, national artistic traditions, which determines the unique originality of any folk art. Traditional folk culture in the past is universal, defining and regulating all aspects of community life: lifestyle, forms of economic activity, customs, rituals, adaptation of social relations of community members and attitudes towards nature, the world, beliefs, beliefs, knowledge, language and folklore, in the traditional symbolic expression. In folk art, we most often think that decoration is the carrier of the main ideas of the artistic form and the basis of tradition. When adornments are most often used as fine adornments in professional art, they play a special role in traditional art, especially as a language. The ornament is directly called "specific folklore", which is extremely important for revealing its meaning. We will not consider the artistic and spiritual integrity of the decoration itself, because this is impossible in this article, so we will dwell only on some of its aspects. The research was carried out within the framework of the project of the Ministry of Education and Science of the Republic of Kazakhstan AR09259280 "Languages of Kazakh culture as the basis of ethnic identity: semiotics and semantics".
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Saragih, Dearma A., Yulianto Yulianto, and Raimundus Pakpahan. "KAJIAN ORNAMEN GORGA DI RUMAH ADAT BATAK TOBA (Studi Kasus : Di Kawasan Desa Wisata Tomok, Huta Siallagan dan Huta Bolon Di Kabupaten Samosir)." ALUR : Jurnal Arsitektur 2, no. 1 (May 2, 2019): 1–14. http://dx.doi.org/10.54367/alur.v2i1.368.
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One of the interesting cultural potentials to be studied is traditional houses. This traditional house has its own uniqueness in every area. One of the uniqueness can be seen from the many ornaments in it. Diversity has its own meaning and function. Ornaments is one of the historical heritage of Indonesia where almost all the tribes in Indonesia can be found various kinds of ornaments that reflect the techniques of each region in Indonesia. Ornament Batak Toba is one of the many ornaments that exist in this country Indonesia. Toba Batak ornament can be found in North Sumatera Province precisely in Samosir regency which always apply Toba Batak ornament as decoration or as identity in important building for Batak Toba, for example in traditional house building in Huta Siallagan, Tomok Village and Huta Bolon.This research is classified in research using descriptive-comparative research method, doing the study by comparing the existing ornaments in these three villages with theories about Ornaments Gorga Rumah Adat Batak Toba, then do the analysis of the condition in accordance with the theory used as a reference
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Maura Annisa, Zuindra Zuindra, and M.Kiki Wardana. "THE MEANING ON MAIMUN PALACE ORNAMENTS: SEMIOTIC STUDY." Jurnal Pendidikan dan Sastra Inggris 2, no. 1 (April 26, 2022): 107–19. http://dx.doi.org/10.55606/jupensi.v2i1.587.
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The purpose of this study is how the writer found shape and meaning in the ornament in Maimun palace. The writer applied the theory of Semiotics proposed by Peirce (1978). The method is a qualitative research method, which is directly analyzes the facts found in the field. The writer obtained the data by conducting observations and interviews directly to the field, as well as getting information from several books and websites. The result showed that it was found some types of ornaments at the Maimun Palace. Then the writer compiled and described them based on the shape, namely ornament in the form of plant motifs, ornaments in the form of animal motifs, ornaments in the form of natural motifs, and ornaments in the form of calligraphy motifs. Then the writer explained the ornament based on its meaning contained in the Maimun Palace based on semiotic approach. The average function of the ornaments in the Maimun Palace is as decoration on the walls and the Sultan’s Throne.
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Zahra, Fatima, and Seyedeh Samaneh Fatemi. "Cultural Diversity: Aesthetic Analysis of Persian and Kashmiri Paisley Ornaments." PERENNIAL JOURNAL OF HISTORY 2, no. 2 (December 10, 2021): 81–90. http://dx.doi.org/10.52700/pjh.v2i2.61.
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The article focuses on the origins and evolution of the Indo-Persian decoration "Paisley," as well as the use of this flowery linear pattern on textiles such as shawls, table wraps, and carpets. Paisley has gone through many stages in its evolution, including the Iranian art period and the Indo-Subcontinent phase (Mughal era). The intrinsic nature of the decoration is shown via a comparative research technique that defines Indo-Persian motif features. This article looked at the primary ornamental elements of the paisley pattern, which are floral and geometrical in nature, and how they are used in Iran and Kashmir. Finally, this article discusses how, because of Paisley's growing and blooming character, it is often a prominent ornament in the most important works of enrichment and plays an accentuation role in the decoration of textile surfaces. Paisley, a masterpiece, is especially linked to techniques for conveying the aesthetic brilliance of the pattern used in many cultures.
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Florea, Eleonora. "6. Design – Synthesis Phenomenon: Art, Science and Technology." Review of Artistic Education 1, no. 24 (April 1, 2022): 215–21. http://dx.doi.org/10.2478/rae-2022-0026.
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Abstract In the nineteenth century, the century of electricity and railways, radio and cinema, in the process of vertiginous technical progress, within the industrial civilization, appears a new phenomenon of creative, artistic and scientific activity – design. It gave birth to a “way of industrial thinking”, oriented towards creating useful and functional objects, but at the same time able to delight the eye with their beauty without recurring to ornament and decoration effects.
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Lungu, Antonela, Antonius Androne, Lidia Gurău, and Camelia Coşereanu. "Simulating traditional textile heritage motifs by applying CAD-CAM-CAE tool for furniture decoration." MATEC Web of Conferences 343 (2021): 04012. http://dx.doi.org/10.1051/matecconf/202134304012.
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As an interaction of multiple domains including design, the furniture industry may valorise in furniture ornamentation the traditional motifs, and could encourage the creativity of designers to develop original products with a modern design, based on the digitalized technology. The article presents an example of applying CAD-CAM-CAE tools for analysing the possibility of transposing traditional motifs from the textile heritage to the furniture decoration, and to select the appropriate CNC routing method and tool in order to obtain an ornament as close as possible to the original one. Traditional motifs (rose, tulip, bird, North Star) selected from the textile heritage of Ţara Bârsei - a historical and ethnographic region of Transylvania - were drawn in a digital format, using CorelDraw and AutoCAD programs, and then imported for a simulation of CNC routing process on wooden materials, using the software vCarvePro 9.519 developed by Vectric, with two types of tools and two processing methods, namely engraving (Engrave) and carving (VCarve). Following the simulation and the analysis of the obtained images, both visually and by ImageJ software, it was assessed which method is suitable for each ornament, considering also the processing times indicated by the simulation process of the models.
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Голофаст, Л. А., and А. Н. Свиридов. "THE GLASS BEAKER WITH APPLIQUE SNAKE-THREAD DECORATION FROM FRONTOVOYE 3." Краткие сообщения Института археологии (КСИА), no. 266 (October 4, 2022): 107–26. http://dx.doi.org/10.25681/iaras.0130-2620.266.107-126.
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При раскопках грунтового могильника Фронтовое 3 в пригороде Севастополя (Юго-Западный Крым) в захоронении конца II - середины III в. был обнаружен уникальный для Крыма импортный стеклянный кубок с растительным орнаментом, выполненным накладными «змеевидными» нитями. Такой орнамент, известный под названием «snake-thread decoration» или «Schlagenfaden Glas», характерен для продукции Восточного Средиземноморья, Кёльна (и, возможно, ряда других западноевропейских мастерских) и Паннонии. Посуда с такой орнаментацией относится к разряду предметов роскоши и была неотъемлемой частью сервировки стола сельской и городской элиты и, как правило, встречается в богатых захоронениях. Комплекс данных о форме и характере декора сосуда из Фронтового не позволяет определить точное место его изготовления, однако он, вероятно, относится к продукции одной из европейских мастерских. Его находка в одном из захоронений Фронтового хорошо объяснима: в рассматриваемый период юг и часть юго-запада Таврики находились под контролем римской военной администрации, и ее экономические связи с Херсонесом существенно расширились. During the excavations of the in-ground Frontovoye-3 cemetery in a suburb of Sevastopol (southwestern Crimea) an imported glass beaker with a floral ornament made with applique snake-threads was found. The beaker is unique for the Crimea. It was discovered in a grave dating to the end of the 2nd - mid 3rd centuries. This decoration known as snake-thread decoration or Schlagenfaden Glas is typical for the products from the eastern Mediterranean, Cologne (and, possibly, a number of other West European workshops) and Pannonia. Vessels with such ornament were luxury items used as table settings in houses of rural and urban elite; as a rule, they are found in rich burials. The dataset on the form and nature of the decoration on the beaker from Frontovoye does not make it possible to say where exactly it was produced; however, it is likely that it was made in a European workshop. Its discovery in one of the Frontovoye graves can be easily explained. During the discussed period the southern part and some areas in the southwestern part of Taurica were under control of the Roman military administrations and its economic links with Chersoneses were substantially expanded.
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Lungu, Antonela, Mihai Ispas, Luminiţa-Maria Brenci, Sergiu Răcăşan, and Camelia Coşereanu. "Comparative Study on Wood CNC Routing Methods for Transposing a Traditional Motif from Romanian Textile Heritage into Furniture Decoration." Applied Sciences 11, no. 15 (July 22, 2021): 6713. http://dx.doi.org/10.3390/app11156713.
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This paper presents experimental research on the Computer Numerical Control (CNC) routing of a traditional motif collected from Ţara Bârsei (Transylvania region) using two methods, namely, engraving (Engrave) and carving (V-Carve). The analysis of the CNC router processes includes the calculation of the path lengths, an assessment of the processing time and wood mass loss, and an evaluation of the tool wearing by investigating the tool cutting edge on a Stereo Microscope NIKON SMZ 18 before and after processing the ornament on wood. An aesthetic evaluation of the ornament routed on wood, using both the engraving and carving methods, is also conducted, whilst a microscopic analysis of the processed areas highlights the defects that occurred on the wood surface depending on the tool path.
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Wan, Jinbo. "The influence of Buddhism upon the Chinese traditional lotus pattern." Человек и культура, no. 5 (May 2021): 89–105. http://dx.doi.org/10.25136/2409-8744.2021.5.36541.
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Lotus pattern is one of the traditional Chinese ornaments that dates back to the ancient times. During the rule of Wei and Jin dynasties, as well as Northern and Southern dynasties (222 – 589 AD), Buddhism has largely prevailed across the territory of the Great Plain of China. The forms, methods of expression, and meanings of the Chinese traditional ornaments that used the lotus pattern have changed under the influence of Buddhism. This article analyzes the peculiarities of synthesis of the Buddhist lotus ornament with the Chinese traditional culture, as well as the degree of impact of Buddhism upon the form, means of expression, and symbolic meaning of lotus patterns in the Chinese society. Having studied the scientific literature and research on the topic, the author analyzes he peculiarities of evolution of lotus pattern in China after the spread of Buddhism. The key stages of the development of lotus ornament in Buddhist decoration are examined. The conclusion is made that Buddhism played a crucial role in transformation of characteristics and means of expression of the lotus ornament, as well as extensively complemented and changed the symbolic meaning of lotus in Chinese culture and people’s perception. Buddhism not only enriched the exterior and shape of the Chinese louts ornament, but made a significant contribution to its inscape.
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Bourke, Cormac, Thomas Fanning, and Niamh Whitfield. "An Insular Brooch-Fragment from Norway." Antiquaries Journal 68, no. 1 (March 1988): 90–98. http://dx.doi.org/10.1017/s0003581500022502.
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A silver-gilt ornament of Insular origin from a Viking age burial in Norway is here identified for the first time as the pin-head of a ring brooch of pseudo-penannular form. The decoration and typology of the pin-head are discussed in relation to Insular metalwork, and its iconography is considered in the context of Early Christian art. The pin-head and an associated ringed pin are dated to the eighth or ninth century.
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., Mirza Prastyo, Dr Drs I. Ketut Supir, M. Hum ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "Omprok Gandrung Banyuwangi." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (March 27, 2018): 27. http://dx.doi.org/10.23887/jjpsp.v7i1.13630.
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Penelitian ini bertujuan untuk mendeskripsikan: (1) Alat dan bahan dalam pembuatan Omprok Gandrung Banyuwangi (2) Proses pembuatan Omprok Gandrung Banyuwangi (3) Ornamen Omprok Gandrung Banyuwangi (4) Makna Ornamen Omprok Gandrung Banyuwangi. penelitian ini merupakan penelitian deskriptif kualitatif. Sasaran adalah Omprok (Mahkota) Penari Gandrung dengan memilih Sutrisno, Suwari, Eko Susanto dan Sayun Sisiyanto sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) Observasi, (2) wawancara, (3) Dokumentasi, dan (4)Triangulasi, serta menggunakan Analisis Taksonomi Domain.
Hasil temuan dalam penelitian ini adalah: (1) alat dalam pembuatan Omprok Gandrung Banyuwangi dibagi menjadi dua kelompok, yaitu alat pokok berupa pahat, kuas, jarum, pisau, tindhih dan alat bantu pensil, batu asahan, penggaris. Bahan utama yang digunakan kulit sapi, spon matras. (2) Tahapan proses pembuatan Omprok Gandrung Banyuwangi, yaitu proses pemahatan, proses pewarnaan, proses pembuatan Kuluk, dan proses pembuatan hiasan yang terdiri dari Kembang Goyang, hiasan Gombyok, hiasan Pilis Stenlis, dan hiasan kaca. (3) Ornamen yang ada pada Omprok Gandrung Banyuwangi, yaitu Ornamen pilisan yang terdiri dari bidang pola pilis depan, pilis tengah dan pilis atas, Ornamen wayang Gatutkaca, Ornamen Gajah Uling, Ornamen Tebokan yang terdiri dari pola gunungan dan sabuk gombyok. (4) Makna dari Hiasan dan Ornamen Omprok Gandrung Banyuwangi yaitu bahwa pemimpin dan masyarakat yang mempunyai norma-norma sosial untuk bekerjasama mengatur wilayah Banyuwangi sebagai bentuk puji syukur kepada mahabesar akan anugrah yang diberikan.Kata Kunci : Kata kunci: Omprok, Gandrung, Banyuwangi. The research aimed to describe about, (1) the tools and materials in making Omprok Gandrung Banyuwangi, (2) the process of making Omprok Gandrung Banyuwangi, (3) ornament of Omprok Gandrung Banyuwangi, and (4) the meaning of Omprok Ornament Gandrung Banyuwangi. This study used a qualitative descriptive research. The subject of this study was Suwari, Eko Susanto, and Sayun Sisiyanto as the resource person to know making Omprok (crown) of Gandrung dancer. The collection of data in this study was performed with the techniques of: (1) observation, (2) interview, (3) documentation of (4) triangulation, and use the analysis domain taxonomi.
The results of this study were (1) the tool of making Omprok Gandrung Banyuwangi divided into two groups a staple tool in the from of the chisel, brushes, needles, knives, tindhih and pencil tools, grindtones, stones, of a ruler. the main ingredient use cow leather, sponge mattresses. (2) The stages of making Omprok Gandrung Banyuwangi process which were the process of carving, coloring process, Kuluk making process, and decoration process consisting of Kembang Goyang, Gombyok ornament, Pilis Stenlis ornament, and glass decoration. (3) Ornaments in exist of Omprok Gandrung Banyuwangi were the pilisan ornament that was consisting of the pattern of front pilis, middle pilis and upper pilis, Gatut kaca ornaments, Ornament Gajah Uling, Ornament Tebokan consisting of gunungan and belt gombyok. (4) The meaning of embellishment and Omprok Gandrung Banyuwangi ornaments, namely the leaders and communities who had social norms to cooperate regulating the Banyuwangi region as a form of praise to the enormous as the grace given to us.keyword : Omprok, Gandrung, Banyuwangi.
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Rustanto. "HUBUNGAN HASIL BELAJAR DASAR DESAIN DAN KREATIVITAS TERHADAP HASIL BELAJAR PEMBUATAN HIASAN." Jurnal Pendidikan Teknik dan Vokasional 4, no. 1 (December 9, 2021): 29–34. http://dx.doi.org/10.21009/jptv.4.1.29.
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This study aims to determine the relationship between basic lessons of fashion design and creativity to student learning outcomes in the subject of making decoration. The test site of this research is conducted at SMK Negeri in DKI Jakarta study program of expertise of fashion field of tourism expertise. This research is done by giving test in the form of theory test and practice on Making Ornament subject. The method used in this research is quantitative research method correlational relationship between variables by using questionnaire. Using a sample of 172 students. The data generated by each variable is tested by using the validity, reliability, normality, regression, and correlation test. Test results in this study are as follows: a) There is a positive relationship between the basic subjects of design with the results of learning decoration, b) There is a positive relationship between creativity with the results of decorative learning and c) There is a positive relationship between basic subjects Design and creativity together towards the learning outcome of decoration making
Keywords: competency for design basic, creativity, the result of embroidery.
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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.
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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
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Adams, S. "Ornament: a modern perspective * Rethinking decoration: pleasure and ideology in the visual arts." Journal of Design History 19, no. 1 (January 1, 2006): 88–90. http://dx.doi.org/10.1093/jdh/epk008.
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Michałowski, Andrzej, and Andrzej Sikorski. "Ornament sznurowy na ceramice ludności kultury amfor kulistych z Poznania-Nowego Miasta (stan. 314)." Folia Praehistorica Posnaniensia 13 (November 1, 2018): 175–85. http://dx.doi.org/10.14746/fpp.2005.13.13.
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The article discusses a corded decoration on pottery from the Amphorae Globular Culture seasonal camp. Analysis of impressions on the pot outer surfaces revealed that this characteristic motif was produced by a simple textile template. Fragments of a five-stranded cord (S/3S/2Z) - certainly not a two-stranded one - were sewn on a net 'band' (item of a sprang type). This technique guaranteed a precise layout and space between particular impressions (ca. 2 mm each) on a soft amphorae (?) surface irrespective of an angle of ornament placements and decorative element joints.
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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.
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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.
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Shyntyapina, Ye S. "FAIRY-TALE AND MYTHOLOGICAL MOTIFS IN THE DECORATION OF ARCHITECTURAL COMPLEXES BY N. P. KRASNOV IN YALTA DISTRICT." Arts education and science 1, no. 3 (2021): 101–9. http://dx.doi.org/10.36871/hon.202103013.
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The article deals with fairy-tale and mythological motifs in the work of the architect N. P. Krasnov, represented in the decoration of the palace and manor complexes of the Romanov family Dulber and Livadia, as well as the estates of the princes Yusupov in Koreiz and Kokkoz, erected on the territory of Yalta district in 1880–1913. The stylistic continuity of architectural complexes was expressed in the ornament and decorative plastics created by the architect under the influence of Italian Renaissance, Classicist canons and Neo-Moorish elegance. The paper analyzes characteristic features of stylistic interrelations in the considered constructions by N. P. Krasnov, identifying fairy-tale, mythological artistic and figurative motifs in exterior decoration and sculpture. A full-scale study of architectural decoration and sculpture of the palace and manor complexes allows to identify the main fabulous and mythological motifs, borrowed and interpreted by N. P. Krasnov during his work as chief architect of Yalta. The study reveals that, referring to the traditions and historical architectural heritage of the Southern Coast of Crimea and artistic culture of the Mediterranean, the architect interpreted mythological subjects in plastic exterior relief, bas-reliefs and sculpture.
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Sandu, Ioan Gabriel, Viorica Vasilache, Ion Sandu, Felix Adrian Tencariu, and Andrei Victor Sandu. "Study on the Middle Bronze Age Disc-Butted Axe Ornament from Archaeometallurgical Point of View." Applied Sciences 11, no. 21 (October 20, 2021): 9814. http://dx.doi.org/10.3390/app11219814.
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Our research was conducted on a copper disc-butted axe, with a surface decoration made of a tin-based alloy, which was found east of the Carpathian Mountains in the Moldavian Plateau. This unique piece is thought to belong to the Middle Bronze Age in the Western Carpathians—Wietenberg, Suciu de Sus and Otomani–Füzesabony cultures. In order to evaluate the application process and the origin of the ores used, the surface and volume phase variation of the concentration of the metal components of the basic alloy (copper) and of the ornament was analysed using optical microscopy (OM), stereomicroscopy (SM) and SEM-EDX. The archaeometric features, formed both during its use and during its lying in the archaeological site, were identified and later used in archaeometallurgical evaluations and in determining the preservation condition of the two components (axe and ornament) on the surface, interface and in stratigraphic section. Experimental data revealed that, after its casting in porous silicon stone moulds, the object was coated with a thin film by immersion in an easily fusible tin alloy, which included copper as the major alloying component and arsenic and iron as minor components. After finishing the shiny white coat, a beautiful decoration was applied by incision and engraving. Used as a battle axe, it also had a rank function, as it belonged to the community leaders. The data prove the ability of ancient craftsmen to design and process copper alloys to obtain authentic extremely beautiful artefacts, which provide new possibilities to reveal the social and symbolic function of certain ancient bronze objects.
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MAHARLIKA, FEBRY. "STUDI MULTIKULTURAL PADA ORNAMEN BALI PEPATRAAN: PATRA CINA." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 67. http://dx.doi.org/10.28932/srjd.v2i1.478.
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Ornaments are one of the decorative elements that can not be separated from Balinese culture. In addition to decoration, ornaments also contain philosophical content, especially for Hindus in Bali. One type of Balinese ornament is well known is pepatraan. Pepatraan applied to traditional Balinese building by sangging creativity, also obtained from acculturation result between a local culture with other culture that came to Bali, one of them is patra china. Patra china can be found in traditional Balinese buildings as a decorative element placed among other Balinese ornaments. This study describes one of the local cultural products formed by the influence of other nations. A Form of Patra china is described with qualitative interpretative method then attributed to traditional Indonesian archetype. This study also described the history of Patra China, which allegedly originated from China. From the analysis of the form and history of the Patra china, it is concluded that the Patra china is a patra whose basic pattern refers to the pattern of the traditional form of Indonesia, but takes the form Flower Shoes originating from China. The benefit of this research is to developing knowledge about the values contained from patra china ornament as a traditional artwork which created from the process of acculturation of Balinese and Chinese culture. Keywords: Bali; multicultural; ornament; patra china
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Biddulph, Michael. "Moughtin, Cliff, Oc, Taner and Tiesdell, Steven, "Urban Design: Ornament and Decoration" (Book Review)." Town Planning Review 67, no. 2 (April 1996): 245. http://dx.doi.org/10.3828/tpr.67.2.d71288x86162684u.
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Soelistyowati, Soelistyowati. "Visual Variety on the Change of Bridal Ornamental Kebaya Clothes for Generation Z in Sumenep, Madura." Humaniora 13, no. 1 (February 15, 2022): 73–79. http://dx.doi.org/10.21512/humaniora.v13i1.7672.
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The research discussed one of the problems with Indonesian cultural heritage in this digital world like nowadays. It was the form of decoration on wedding dresses in the Sumenep-Madura area, which was rarely seen in Indonesia, especially wedding dresses. They made some modifications to the traditional Madura wedding dress to look more modern. In this digital world where people could easily access everything, generation Z preferred cultural products from abroad rather than local culture. The research applied a qualitative method with descriptive analysis of document analysis and library sources with Java-Madura boundaries. The interviewes were conducted with cultural experts, young women, especially those who were about to get married, and creative industry players of bridal kebaya. The aim of the research was to determine the interest of young people in the decoration of wedding dresses. The research used the theory of triadic interplay concept analysis of forms, visuals and characters, and ornamentation as a visual object of tradition that was expected to be able to transform not only as an object of decoration but also as an object of education that gave value and meaning to its users. The research finds it important to study the changes in decoration to be maintained by revitalizing it without leaving the old form based on design work that can be applied through creation. By using quantitative methods through experiments with detachable techniques, fashion design concepts with meaning values can be conveyed in each form, motif, and ornament. So that the younger generation accepts and likes changes in decoration with modern forms that can practically be mixed and matched.
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Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.
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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft materials of late 19th - the 1980s, wooden objects of the first half of the 20th century. In some cemeteries of the Nogai District of the Dagestan Republic, carved stone sepulchral stelae (‘syntas’) of the19th - 20th cc. were studied. Two authors albums with traditional Nogai ornaments, unique stencils made of white paper and used as a silhouette base of patterns in felt carpets (‘kiyiz’) and for decoration of clothes, head-dresses, tobacco pouches, shoes, pillows, and blankets were revealed during the field studies and recorded. During the research, all the revealed objects of the Nogai decorative and applied art with traditional ornament were photographed, their detailed inventory and large-scale sketches were made. The stencil patterns and drawings from the albums were copied. As a result of the researches in 2014 - 2016, a database of the Nogai folk ornament has been replenished with 942 objects and 1102 kinds of stencils and drawings.
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Chuprina, N. V., T. V. Remenieva, I. V. Frolov, and O. H. Tereshchenko. "DESIGN OF THE CONTEMPORARY GARMENTS ON THE BASIS OF THE TRANSFORMATION OF STYLISTIC AND ARTISTIC-COMPOSITIONAL CHARACTERISTICS OF TRADITIONAL DECORATIVE ART." Art and Design, no. 3 (December 13, 2021): 30–44. http://dx.doi.org/10.30857/2617-0272.2021.3.3.
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The purpose. This research aims to analyze artistic-compositional characteristics of Ukrainian traditional embroidery and decorative-applied art (using the example of M. Prymachenko’s art) used in the decoration of the actual ethno-styled garments. Methodology. A systematic approach was used in this research to project authorial contemporary garments: literary-analytical, morphological, and comparative analysis of the creative primary source, associative means of its adaptation to the actual fashion trends. The methodology of the research is based on the systematic analysis of the design projects using elements of the cultural heritage of Ukraine. Systematic-informational and visual-analytical methods were used in this research. Systematic-structural analysis was used to analyze the transformation of artistic-compositional elements in the process of shaping contemporary costumes based on associative transformations. Results. In the process of design project of the authorial collection of female Ethno-style clothes, it was found that decorative art and national garments have a high level of authentic symbolism if used for the actual projection image in conditions of contemporary design activity. Characterizations were given to some principles of implementation of the national image in contemporary trends of fashion industry development. Symbolic image of the floral ornament adapted from Prymachenko’s works as well as stylization of her works in ornamental motifs of the collection were used. Based on pre-project analysis and customer survey it was defined that there is significant interest in national motifs. A collection of female clothes targeted at a wide group of customers was designed. Scientific novelty. Principles of design-project of the collection of contemporary garments with authorial embroidery were proposed using an adaptation of national traditions of female clothes embroidery and folk-art decoration as a basis. Usage of different floral motifs and geometric ornament in ethno-style and implementation of this image as popular among contemporary women in their everyday life were justified. Practical significance lies in the development of principles of formation of authorial costume collection project-image, in justification of principles of ethnographically oriented prints and embroidery and the choice of decoration methods of contemporary female clothes.
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Danbury, Elizabeth A., and Kathleen L. Scott. "THE PLEA ROLLS OF THE COURT OF COMMON PLEAS: AN UNUSED SOURCE FOR THE ART AND HISTORY OF LATER MEDIEVAL ENGLAND, 1422–1509." Antiquaries Journal 95 (September 2015): 157–210. http://dx.doi.org/10.1017/s000358151500044x.
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The court of Common Pleas was one of the most important courts in the English legal system for more than 600 years, until its abolition by Act of Parliament in 1873. The cases heard before this royal court were civil disputes between the king’s subjects, often relating to land, inheritance and debts. The purpose of this paper is to introduce readers to the ornament and imagery that appeared on the headings of the main records of the court of Common Pleas between 1422 and 1509 and to explore the origins and contemporary context of the images and representations employed by the clerk-artists who wrote and decorated these headings. The decoration they chose ranged from simple ornament to representations of plants, birds, animals and people. Great emphasis was placed on the role of the sovereign as the fount of justice, and this emphasis was reinforced by the incorporation of words and phrases, acclamations and verses from the Psalms chosen to underline the majesty and power of successive monarchs. The illustrations provide an important insight into the art, history and politics of late fifteenth-century England.
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Rusteikaitė, Ieva. "Kaip medžiaga medžiagą mėgdžiojo: istorinio dekoratyvinio popieriaus tyrinėjimai." Semiotika 18 (December 18, 2023): 82–117. http://dx.doi.org/10.15388/semiotika.2023.3.
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Crossing the boundaries of any one discipline, the article provides an overview of research into historical decorated paper conducted by the author over the last several years. Examples of this seemingly very specific, ephemeral material, considered as an imitation of other materials, applied in bindings of printed books and manuscripts during the 18th and 19th centuries, are presented as anonymous artifacts of the past, strikingly characterised by their own materiality and thus involving also the researcher’s senses. Besides a historical overview of the main techniques of paper decoration in Europe, the place of this applied decorative element in the three-dimensional structure of the handmade book is also explored. The second part of the paper addresses the relevant problem of ornament as a plastic discourse, which has so far received less attention in semiotic research. Through a closer analysis of a several samples of decorated paper, questions about the semantic structure of the ornament and its effects are raised. Finally, when placed in the context of certain habits, needs and interests of eighteenth-century European society, decorated paper and its ornamental language emerge as a multilayered object with a culturally defined meaning.
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Lungu, A., L. Gurău, S. Georgescu, and C. Coşereanu. "Computer-aided methods for furniture decoration with traditional motifs of textile heritage." IOP Conference Series: Materials Science and Engineering 1235, no. 1 (March 1, 2022): 012041. http://dx.doi.org/10.1088/1757-899x/1235/1/012041.
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Abstract The present paper introduces computer-aided methods for the transposition of ornaments inspired from the textile heritage into the surface furniture decoration. Using digital technology, the furniture industry may bring into modern life the traditional motifs, contributing thus to the preservation of the cultural heritage from the region Ţara Bârsei, located in Transylvania. Two motifs inspired by the traditional costumes from South-Eastern Transylvania were digitized using CorelDraw software. They were imported in AutoCAD and the information was transferred both to CNC router and laser equipment. The CNC routing of ornaments was simulated with two types of tools and two processing methods (engraving and carving) using CAD-CAM-CAE software and the models were afterward processed on wood panels by CNC router and laser equipment and then visually analysed, concluding which method and tool is suitable for each type of ornament, so to transpose better the original motif on furniture wood surface.