Academic literature on the topic 'New Zealand Decorative arts'

The Pir-i Bakran mausoleum (completed by 1312–13; Linjan, Isfahan) is considered to be a typical example of exuberant Ilkhanid architectural decoration. In the 1970s, the International Association of Mediterranean and Oriental Studies (IsMEO) undertook significant research and restoration work on the mausoleum. After their efforts were interrupted by the onset of the Iranian Revolution, restoration activities were continued by the Iranian Cultural Heritage Organization. Almost four decades later, questions concerning the mausoleum’s history, function, decorative program, patronage, and craftsmen—as well as the identity of the deceased—nonetheless remain unresolved. The mausoleum’s tile and original polychrome stucco decoration also require further scholarly attention. This article proposes a new view of the mausoleum’s decorative aesthetic and contributes to our understanding of the Ilkhanid architectural legacy. The article argues that, rather than being a haphazard application, the aesthetic characteristics of Pir-i Bakran’s revetments were determined by multiple undertakings executed according to specific decorative principles. Moreover, the mausoleum’s decorative program illustrates a rapid change in Ilkhanid decorative principles and aesthetics. I also propose a hypothetical timeline of mausoleum’s constructive and decorative undertakings, and reconsider its function and political significance.

The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.

This article uses the shared "natural" property of the fractal geometry to analyze the style and decorative arts of traditional furniture so as to help furniture designers apply their new design approach to abroad practice of furniture design, which will develop a new field for creating new furniture forms and decorative patterns.

In this thesis I portray through a history of music and art education in New Zealand the forms knowledge production took in these subject and the discourses within which they were embedded. This enables a more comprehensive understanding of curriculum and unearths connections with what Lyotard (1984) described as 'grand narrative' used to legitimate knowledge claims and practices at certain historical moments. Through such histories we may chart the progress of European civilization within the local context and provide the historical raison d'être for the present state of affairs in music and arts areas of the New Zealand curriculum. Curriculum and its 'reform' representing in part the distribution of public goods and services, has been embroiled in a market project. I seek to expose the politics of knowledge involved in the construction of the notion of The Arts within a neo-liberal policy environment. This environment has involved the deliberate construction of a 'culture of enterprise and competition' (Peters, 1995: 52) and, in the nurturing of conditions for trans-national capital's freedom of movement, a withdrawal from Keynesian economic and social policy, an assault on the welfare state. The thesis delves beyond the public face of policy-making. It follows and scrutinizes critically the birth of The Arts in the New Zealand Curriculum to the production of the first draft of the proposed policy presented by the Ministry of Education in 1999. I examine it as a site of the 'accumulation of meaning' (Derrida, 1981: 57) through a discussion of the history of meaning of 'art' and 'art' education. There is much of value in the Draft document. In particular, the arts have been invested with a new intellectual weight and the professionalism, passion and dedication of those involved in its writing shines through in each of the subject areas within the arts. However, through a process of analysis, I will show that there has been, in fact, a fashioning of a new container for the isolation of artistic knowledge. This is despite official sentiments mentioning possibilities within the document for flourishing separate Music, Art, Dance, and Drama education that implies increased curriculum space. The Draft Arts (1999) document both disguises and rehashes the 'master narrative' of universal rationality and artistic canons and is unlikely to work towards revitalising or protecting local cultural identities though not through lack of intention. I use Lyotard's notion of 'performativity' to critique notions of 'skills' and their 'development' which are implicitly and explicitly stated within the 'levels' of development articulated in the Draft Arts (1999) document. It is argued that this conflation works to enforce cultural homogeneity. There are clear dangers that the Draft Arts' (1999) conception of 'Arts Literacies' might operate as mere functional literacy in the service of the dominant culture's discourse of power and knowledge-one which celebrates the art-as-commodity ideal. It is argued that the Education Ministry's theoretical and epistemological construction of The Arts as one area of learning is unsound, and in fact represents a tightening of modernism's hierarchical notion of culture. New Zealand, now post-colonial or post-imperialist, both bi-cultural and multi-cultural, is situated on the south-western edge of the Pacific Rim. Culturally, it now includes Pacific Island, Asian, and new immigrants, as well as Maori and people of European descent. This therefore necessitates aesthetic practices which, far from promoting a set of universal principles for the appreciation of art - one canonical rule or 'standard' - recognise and reflect cultural difference. Merely admitting cultural difference is inadequate. By working away critically at the deeply held ethno-centric assumptions of modernism, its selective traditions concerned with 'practices, meanings, gender, "races", classes' (Pollock, 1999: 10), its universalising aesthetics of beauty, formal relations, individuality, authenticity or originality, and self-expression, of 'negativity and alienation, and abstraction' (Huyssens, 1986: 209), it is possible to begin to understand the theoretical task of articulating difference with regard to aesthetics. The development of the arts curriculum in New Zealand is placed within the modernism/postmodernism and modernity/postmodernity debates. These debates have generated a number of questions which are forcing us to re-examine the assumptions of modernism. The need for the culture of modernism to become self-critical of its own determining assumptions in order to come to understand its cultural practices, is becoming an urgent theoretical task, especially in disciplines and fields concerned with the transmission of acquired learning and the production of new knowledge. The culture of modernism is often taken as the historical succession of twentieth century avant-gardes (B. Smith, 1998) yet the culture of modernity, philosophically speaking, strictly begins with René Descartes several hundred years earlier, with a pre-history in the Florentine renaissance and the re-discovery of Graeco-Roman artistic and literary forms going back to the thirteenth century. Aesthetic modernism identifies with consumer capitalism and its major assumptions are rationalist, individualist and focus upon the autonomy of both the 'work of art' and the artist at the expense of the artwork, its reception and audience within its localised cultural context. The ideological features of humanism/liberalism - its privileging of the individual subject, the moral, epistemological and aesthetic privileging of the author/artist - are examined as forces contributing to modernism's major values (or aesthetic). Such approaches, it is argued, were limited for dealing with difference. The security and reproductive nature of modernistic approaches to curriculum in the arts areas are destabilized by thinking within the postmodern turn, and the effects of the changes questioning the basic epistemological and metaphysical assumptions in disciplinary fields including art/literature, artchitecture, philosophy and political theory, are registered here, within the field of the education in and through the arts. In a seminal description or report on knowledge, Jean-François Lyotard defines postmodernism as 'incredulity towards metanarratives' (1984: xxiv). Postmodernism, he argues, is 'undoubtedly part of the modern', 'not modernism at its end but in its nascent state and that state is constant (1984: 79). After Lyotard, postmodernism might be seen, therefore, not just as a mode or manner or attitude towards the past, but also as a materializing discourse comprising a dynamic reassessment and re-examination of modernism and modernity's culture. The thinking subject (the cogito) seen as the fount of all knowledge, its autonomy, and transparency, its consideration as the centre of artistic and aesthetic virtuosity and moral action, is subjected to intellectual scrutiny and suspicion. The need for an aesthetics of difference is contextualised through an examination of western hierarchies of art and the aesthetics of marginalized groups. I use the theories of poststructuralist, Jacques Derrida and Jean-François Lyotard, to examine the concept of difference. These theoretical inspirations are used as methodological tools for offsetting the privileging of the liberal individual and individualism. Rather than the mere consideration of difference in curricula, I seek to insert and establish the principle of an aesthetics of difference into relations of pedagogy and curricula. The implications for professional practice resulting from a recognition of a politics of representation are examined and a politics of difference. I argue that art education in all its manifestations can no longer avoid the deeper implications of involvement with representation, including forms of gender, ethnicity and class representation as well as colonial representation. The Western canon's notion of 'artists' and their 'art', often based upon white bourgeois male representations and used in many primary school classrooms, are part and parcel of 'social and political investments in canonicity', a powerful 'element in the hegemony of dominant social groups and interests' (Pollock, 1999: 9). Difference is not appreciated in this context. School art, music, and drama classrooms can become sites for the postmodern questioning of representation of 'the other'. In this context, an aesthetics of difference insists upon too, the questioning of images supporting hegemonic discourses, images which have filled the spaces in the 'chinks and cracks of the power/knowledge-apparati' (Teresa de Lauretis, 1987 cited in Pollock, 1999: 7-8). What would an 'eccentric rereading', a rediscovery of what the canon's vicarly cloak disguises and reveals, mean for music, and for the individual arts areas of the curriculum? I hope to reveal the entanglements of the cultural dynamics of power through an examination of the traditions of Truth and Beauty in imagery which are to be disrupted by inserting into the canon the principle of the aesthetics of difference. Art education as a politics of representation embraces art's constitutive role in ideology. This is to be exposed as we seek to unravel and acknowledge which kinds of knowledges are legitimised and privileged by which kinds of representations. Which kinds of narratives, historical or otherwise, have resulted in which kinds of depictions through image? A recognition of the increasing specification of the subject demands also the careful investigation of colonial representation, the construction of dubious narratives about our history created through visual imaging and its provision of complex historical references. How have art, music, dance, drama been used in the service of particular political and economic narratives? Through revisioning the curriculum from a postmodern perspective, suggestions are made for an alternative pedagogy, which offsets the ideological features of humanism/liberalism, one in which an aesthetics of difference might pervade cultural practices - 'systems of signification', 'practices of representation' (Rizvi, 1994). I draw upon Lyotard's notion of 'small narratives' (1984), and present an investigation of what the democratic manifestation of 'the differend', and multiple meaning systems, might indicate in terms of 'differencing' music education as a site in which heterogenous value systems and expression may find form.<br>Whole document restricted, but available by request, use the feedback form to request access.

In my exegesis, I will explore the different social, political, cultural and artistic themes, influences and methods that direct my art practice. I will dissect my current work, outlining these transformations and how they impact my work here at Massey, as well as how they will continue to inspire my art practice in the future.

This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.

Thesis (MA--Art and Design) -- AUT University, 2005.<br>Cover title. Includes bibliographical references. Also held in print (xxii, 85 leaves : col. ill. ; 30 cm.) in City Campus Collection (T 707 JOE)

Thesis (PhD--Film, Television and Media Studies)--University of Auckland, 2009.<br>"A thesis submitted in fulfilment of the requirements for the degree of Dotor of Philosophy in Film, Television and media Studeis, the University of Auckland, 2009." Includes bibliographical references.

This study examines the work of Elwyn Stuart Richardson, director and teacher of Oruaiti School between 1949 and 1962, an experimental school in Northland, New Zealand and places it with the context of the history of art education in New Zealand. After documenting the historical and educational reform contexts of the first half of the twentieth century, Richardson’s philosophy of art education is framed through an analysis of moments of his early life, schooling and teaching experiences. Richardson (1925-) is best known for his book In the Early World published by the New Zealand Council of Educational Research in 1964. The book describes his work as a teacher at Oruaiti and highlights his pedagogical belief that the most powerful learning arises out of children’s own lives and experiences, that learning through the arts raises students’ potential for self-knowledge, critical discernment, imagination, understanding, awareness and empathy for others, and that the arts have an important role to play in the fostering of community and social reform. The administration of art and craft education in the New Zealand primary school during Richardson’s years at Oruaiti was shaped by early advances in manual and technical education. The development of these reforms and the varied educational doctrines school officials used to advocate for the inclusion of these subjects in the curriculum are examined from 1885 to 1920. As well, significant educational policies and events in the 1920s provided exposure to progressive education ideology from abroad. These initiatives contributed to the great interest in child art which grew out of the New Education movement of the 1930s. New ideas about the development of artistic ability in children led to innovative policies in art and craft education that transformed teaching practices and the place of art and craft in New Zealand schools during the 1940s and 1950s. The newly formed Art and Craft Branch of the Department of Education in 1946 reorganised the administration of art education to change public perceptions of art, create contexts of art appreciation and develop community education in tandem with primary school art education. Examining Richardson’s educational biography is another lens used to understand his philosophy and pedagogy. Oruaiti's status as an experimental school is explored through the unique relationship of Oruaiti School to the Art and Craft Branch of the Department of Education. Further, Richardson’s developing educational philosophy, in particular his ideas about artistic ability in children and the growth of aesthetic standards, is explored relative to the teaching practices of his day. The study also uncovers the critical role that science played in Richardson’s educational pedagogy and curriculum and the profound influence Richardson’s early educative experiences were to have on the development of his educational philosophy. Locating Richardson’s work within its historical context demonstrates both that he worked in an environment which was hospitable to educational experimentation in the field of art and crafts, and that, on many levels, he transcended the educational practices of his times.

This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia. As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities. Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country. Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

Thesis (MA--Maori Development) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (v, 105 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 305.899442 RAE)

&lt;p&gt;The Christchurch Town Hall (CTH) complex contains six reinforced concrete buildings constructed circa 1970 in Christchurch, New Zealand (NZ). The complex is used for performing arts and entertainment, with an Auditorium that is internationally recognized for its acoustics. It is listed as a Grade-1 heritage building due to its cultural and historical significance. Unfortunately, the CTH foundation system was not originally designed to accommodate liquefaction-induced differential settlement and lateral spreading effects, as highlighted by the 2010–2011 Canterbury earthquake sequence. Although the most extreme ground motions exceeded the NZS 1170.5 code-defined 1/2500 year earthquake loads, the CTH structures performed remarkably well for a design that pre-dated modern seismic codes. Most of the observed structural damage was a result of the differential ground deformations, rather than in response to inertial forces. The post-earthquake observations and signs of distress are presented herein. The primary focus of this paper is to describe two major features of the seismic retrofit project (initiated in 2013) which were required to upgrade the CTH complex to meet 100% of current NZS 1170.5 seismic loadings. Firstly, the upgrade required extensive ground improvement and a new reinforce concrete mat slab to mitigate the impacts future ground deformations. Soil stabilization was provided by a cellular arrangement of jet-grout columns, a relatively new technique to NZ at the time. The new mat slab (typically 600-900 mm) was constructed over the stabilized soils. Secondly, upgrading the superstructure had many constraints that were overcome via a performance-based design approach, using non-linear time-history analysis. Recognizing the heritage significance, the superstructure “resurrection” as a modern building was hidden within the original skin minimized disruption of heritage fabric. Retrofit solutions were targeted, which also minimized the overall works. The 2015–2019 construction phase is briefly discussed within, including jet-grout procedures and sequencing considerations.&lt;/p&gt;

The topic of this chapter is the geometry and the construction of vaulted and decorative systems called ‘muqarnas', one of the most typical elements of Islamic architecture. This way of ‘vaulting spaces' or building roof and decorations with a system of regular staircase-elements that break down the surface covering it with simple geometrical figures, so as to make up complex patterns, spreads throughout Arabic countries, leading to the development of several styles, deriving from different generative geometries, and from building techniques and used materials. The reason which accounts for the widespread development of this type of decoration is to be found in the prohibition of the Moslem religion to portray idols or anthropomorphic figures of God, in contrast with the decorative techniques of sculpture and painting characterizing Christian art. The geometrical study which is at the basis of the Islamic art of decorating is arousing new interest and attention as regards the new systems of parametric modeling in computer art, besides opening new perspectives in standardized building techniques with new materials.

Around the 1870s, artists such as Charle Albert aimed to find a decorative unity of style through their personal homes, with the precise desire to repropose the original aspects of Flemish culture. The Vlaams Huis by Charle Albert was decorated in a variety of ancient Flemish styles ranging from late Gothic to Baroque. The interior pieces were organized in a sequence revealing the historical evolution of Flemish Renaissance decorative styles, thus illustrating the country’s ancient roots: they narrated national history and served as a model for Belgian artists. This chapter aims to give a new reading of the Vlaams Huis linking historical and artistic research, educational strategies, heritage promotion, and identity politics.

The NMIT Arts &amp; Media Building in Nelson, New Zealand is the first in a new generation of multi-storey timber structures. It employs a number of innovative timber technologies including an advanced damage avoidance earthquake design that is a world first for a timber building. Aurecon structural engineers are the first to use this revolutionary Pres-Lam technology developed at the University of Canterbury

Resumen: Desde principios de la década de 1980, Toyo Ito asumió la misión de traducir el mensaje mecanicista de Le Corbusier en la era de la electrónica. Anhelaba superar la referencia a la máquina únicamente como inspiración estética, así como abolir la relación entre forma y función, de acuerdo a la nueva era digital. La experimentación doméstica de Ito, a lo largo la primera mitad de la década, le llevo a concebir finalmente una ‘arquitectura de líneas simples’. Desde el Proyecto Dom-ino (1980) hasta la Casa en Magomezawa (1986), se da una paulatina liberación de la formalidad lecorbuseriana—basada en una sociedad de la producción—en favor de una arquitectura sin forma—en consonancia con una sociedad del consumo. El proyecto que supone un punto de inflexión en esa evolución fue la Casa en Hanakoganei (1983), que introducía una serie de maniobras arquitectónicas que Ito implementó posteriormente en Silver Hut (1984), Pao I (1985) y en la Casa Magomezawa. Estos tres proyectos aglutinan las características que definen la arquitectura de Toyo Ito desde mediados de los 80 y que en última instancia impulsan ‘la aventura doméstica de los 80 en Japón’, la cual vuelve su mirada hacia las artes decorativas. La aspiración última de Ito—al igual que la de su ‘alter ego’ Le Corbusier seis décadas antes—fue diseñar una ‘nueva arquitectura’ acorde con los avances tecnológicos del momento, para ello Ito ensayó las siguientes estrategias arquitectónicas: desmaterialización, permeabilidad interior-exterior, indefinición funcional, provisionalidad, liberación formal respecto de la estructura, ligereza, arquitectura como vestido y anti-monumentalidad. Abstract: Toyo Ito took on the mission of translating Le Corbusier’s mechanistic message for the electronic age at the beginning of the 1980s. He desired to go beyond the reference of the machine only as aesthetic inspiration, as well as to abolish the relationship between form and function, visible in the new digital era. Ito’s domestic experimentation, during the first half of the decade, finally led him to conceive an ‘architecture in simple lines.’ From the Dom-ino Project (1980) to the House in Magomezawa (1986), there is a gentle liberation of the Corbusian formality—based on a society of production—in favor of an architecture without form—in accordance with a society of consumption. The House in Hanakoganei (1983) is as milestone in this evolution, where Ito introduced a series of design techniques that he later implemented in Silver Hut (1984), Pao I (1985), and in the Magomezawa House. These three projects congeal the characteristics that define Ito’s architecture from the middle of the 1980s and, ultimately, give impulse to the ‘domestic adventure of the 80s in Japan,’ that turns its eye to the decorative arts. Toyo Ito’s goal, similar to that of his ‘alter ego’ Le Corbusier six decades earlier, was to design a ‘new architecture’ in harmony with the technological advances of the time, which led him to try the following design strategies: dematerialization, interior-exterior permeability, undefined function, provisionality, formal liberation of the structure, lightness, architecture as a dress, and anti-monumentality. Palabras clave: Le Corbusier; Toyo Ito; Máquina; Electrónica; Hanakoganei; Pao I. Keywords: Le Corbusier; Toyo Ito; Machine; Electronic; Hanakoganei; Pao I. DOI: http://dx.doi.org/10.4995/LC2015.2015.711