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Journal articles on the topic 'Ornamental motif'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Saha, Riska, and Zulkarnain AS. "Ragam Hias Rumah Soraja di Desa Binaga Karaeng Kecamatan Lembang Kabupaten Pinrang." TIMPALAJA : Architecture student Journals 2, no. 1 (2020): 51–57. http://dx.doi.org/10.24252/timpalaja.v2i1a6.

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Abstrak_Rumah orang Bugis dapat dibedakan berdasarkan status sosial orang yang menempatinya. Daerah Pinrang dikenal istilah saoraja (istana) dan bola (rumah). Berbagai macam motif rumah adat soraja yaitu symbol-simbol ragam dan makna tertentu yang bersifat simbolik sebagai representasi perasaan, pikiran, atau juga paradigma hidup masyarakat Bugis, seperti motif tumbuh-tumbuhan (flora), yaitu motif hias bunga parenreng (sulur suluran), motif hias bunga daun, motif belo-belo tellongeng (jendela), motif hias belo-belo renring (dinding), motif hias belo-belo cappa pattolo (ujung balok), motif hias

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2

Pradnyawan, SS., M.A., Dwi. "Decorative Motifs and Periodization of Badut Temple: Comparative Review of Art Forms with The Temples of Central JavanesePeriod." Berkala Arkeologi 44, no. 1 (2024): 19–40. http://dx.doi.org/10.55981/jba.2024.2884.

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There are two known arguments of the periodization of Candi Badut. Firstly, grouping this temple as part of the oldest temple in Java, covering the early to mid-8th century AD. Secondly, positioning this temple in the period of later half of the 9th to early 10th centuries AD. The argument that Candi Badut belongs to the oldest temples in Java’s group is more widely accepted. Thus, this article discusses art analysis of Candi Badut as periodization aspect. The analysis conducted towards decorative or ornamental motifs through the comparative method with the temples in the Central Java period.

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3

Suraganov, S. K. "The leading ornamental motif koshkar muyiz in Kazakh ornamentation: in search of the primordi." Turkic Studies Journal 3, no. 2 (2021): 99–110. http://dx.doi.org/10.32523/2664-5157-2021-2-99-110.

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The ornamental motif of Koshkar Muyiz – the legacy of the Ancient times – remains key in the traditional art of felt craft. The horn-shaped figures of the Kazakhs had been a centerpiece of scholarly discourses of Kazakh, Russian and Soviet science over the entire 20th century. The first attempts to find their meaning were made by the German ethnologist R. Karutz (1911), the Russian researchers S. Dudin (1928), B. Kuftin (1926), E. Schneider (1927), and others. The horn-shaped motif had been reviewed in the works of archaeologists, art historians and ethnographers since the second half of the 2

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He, You, Mohd Jaki Bin Mamat, and Li Sun. "Adaptation Potential Evaluation of Ornamental Motifs in Huizhou Heritage Buildings under Contemporary Context: An AHP-Fuzzy Comprehensive Evaluation Model Approach." Data and Metadata 4 (July 10, 2025): 1104. https://doi.org/10.56294/dm20251104.

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The ornamental motifs in the structural elements of traditional Huizhou dwellings, listed as a World Heritage Site, embody the convergence of Confucian philosophy and geomantic principles. They integrated into wooden, stone, and brick carvings, reflect the local populace’s aspirations for prosperity, longevity, and familial harmony, possessing important inheritance significance. This study aims to establish a model to evaluate the adaptation potential of ornamental motifs under contemporary context in traditional Huizhou dwellings by investigating their development history, categories, and cul

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Tikhonova, Elena, and Dmitrii Tikhonov. "The quatrefoil motif and its probable origins in Sakha folk ornamental art." Siberian Research 5, no. 1 (2021): 52–57. http://dx.doi.org/10.33384/26587270.2021.05.01.11e.

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The quatrefoil motif is a popular ornament in Sakha decorative and folk arts and crafts. It is popular not only in Yakutia, but all over the world. Until now, however, there have been no generalized works on this ornamental motif. Its symbolic signs have not been studied. Our study has revealed that the quatrefoil motif in ornamentation and decorative art dates back to the Neolithic period in the Halaf culture of Mesopotamia around 5765 BC. A number of researchers believe that this motif was a symbol of male fertility. We hypothesized that the quatrefoil motif probably appeared in the seals of

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Vasilchenko, Alla A. "TRANSFORMATION OF THE NATURAL MOTIF AS A METHOD OF SHAPING THE ORNAMENT OF THE DOWN SHAWL OF THE ORENBURG REGION." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2023): 119–34. http://dx.doi.org/10.28995/2073-6401-2023-3-119-134.

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The article considers the natural motif as the artistic basis of the ornamental composition and its transformation as a method of shaping the elements of the ornament of the Orenburg down shawl. It analyzes the main directions of transformation of the natural motif adopted in the form-making of down knitting: the semantic concept of form; stylization and geometrization of form, experiments with material (goat down). It is clarified that the transformation of the natural motif in accordance with the artistic and technological foundations of the down knitting tradition is a condition for its dev

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Agustin, Dyan, Nur Rahmatul Lailiyah, Mu'ammar Fadhil, and M. Ferdiyan Arya. "Kajian Ornamen pada Rumah Tradisional Madura." NALARs 19, no. 2 (2020): 97. http://dx.doi.org/10.24853/nalars.19.2.97-104.

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ABSTRAK. Ornamen merupakan suatu hiasan yang dibentuk dengan mengembangkan dari bentuk-bentuk yang ada di alam. Ornamen pada bangunan tradisional berbentuk ragam hias dimana teknik maupun pengungkapannya dibuat menurut aturan-aturan, norma serta pola yang telah digariskan dan menjadi kesepakatan bersama dan diwariskan secara turun temurun. Pada rumah tinggal Madura, terdapat ornamen dalam elemen arsitekturalnya dimana keberadaan ornamen tersebut tidak lepas dari adanya akulturasi kebudayaan antar suku yang menetap di Madura. Penelitian ini membahas akulturasi kebudayaan mana saja yang mempenga

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Adiguna, Made Hendra, I. Dewa Putu Gede Budiarta, and A. A. Gede Yugus. "Bali Ornament Motif As A Source Of Inspiration Kamasan Painting Art Creation." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (2022): 29–38. http://dx.doi.org/10.59997/citakara.v2i2.1837.

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Wayang Kamasan painting is the main topic of thought in the creation of painting works of art, which were inspired by Balinese ornamental motifs. As for the research problems, namely: What are the Balinese ornamental motifs that are applied to the Wayang Kamasan form?, How to apply Balinese ornaments to the Wayang Kamasan form?, What techniques are used in creating paintings inspired by Balinese ornamental motifs?.The author conducted research on Balinese ornamental motifs as a source of inspiration in the creation of Wayang Kamasan painting through field research methods, with a source data s

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Sari, Tri, and Sri Marwati. "TERUMBU KARANG SEBAGAI MOTIF HIAS PADA DESAIN TAS RANSEL." Ornamen 19, no. 1 (2022): 7–16. http://dx.doi.org/10.33153/ornamen.v19i1.3898.

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Sadranan Beach is one of the beaches in the Special Region of Yogyakarta precisely in Gunung Kidul Regency. Sadranan Beach is famous for its rich coral reefs on its coastline. The beauty of the coral reefs found in Sadranan Beach is not found on other beaches because of the beauty of the coral reefs. However, many fishermen deliberately hunt coral reefs and are used as raw materials for buildings, ornaments, and retrieval of coral animals that use gathul which results in damage to coral reefs. Based on the above events the author is interested in creating a backpack design work with the use of

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Darsono, Christanty Ayu Indra Wibowo,, and Joko Sutrisno. "Evaluation Of Preferences And Willingness To Pay Of Aglaonema Consumers In Sleman District, Yogyakarta." IOSR Journal of Agriculture and Veterinary Science 17, no. 11 (2024): 44–54. https://doi.org/10.9790/2380-1711014454.

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Indonesia has natural conditions that are very supportive of horticultural growth, especially in the ornamental and consumer crops subsectors such as vegetables and fruits. Yogyakarta is one of the largest producers of ornamental plants in Indonesia. There has been a significant increase in the harvest area and production of several types of ornamental plants, such as aglaonema, which shows great potential for further development. The Covid-19 pandemic had a positive impact on the demand for ornamental plants, including aglaonema. People tend to seek new hobbies such as gardening or collecting

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Yuliarma, Yuliarma, and Yeza Amalta. "KAJIAN MOTIF RAGAM HIAS SULAMAN SUJI PADA PRODUK BAJU KURUNG DISENTRA INDUSTRI KOTA BUKITTINGGI." Melayu Arts and Performance Journal 6, no. 1 (2023): 17. http://dx.doi.org/10.26887/mapj.v6i1.3632.

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This study aims to describe the shape of the suji embroidery motif, the decorative pattern of the suji embroidery, and the placement of the motif in the industrial center of the city of Bukittinggi. This study uses a qualitative descriptive method with primary and secondary data sources. The research informants were the leader of Sulaman Putri Ayu, the leader of Sulaman Nova, the leader of Embroidery Bundo, and the leader of Sulaman Zahra and 6 craftsmen. Data collection techniques through interviews, observation, and documentation using interview guides and observation guides. Data analysis t

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

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

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13

Misfanny, Recka Chintya, Heri Soeprayogi, Zulkifli Zulkifli, and Mangatas Mangatas. "EKSPERIMEN KREATIF DESAIN MOTIF HIAS GEOMETRIS PADA PAPAN BERPAKU (GEOBOARD)." Gorga : Jurnal Seni Rupa 9, no. 1 (2020): 145. http://dx.doi.org/10.24114/gr.v9i1.18391.

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AbstrakPendidikan sangat memegang peranan penting dalam tatanan kehidupan manusia. Setiap individu dituntut untuk mampu berkarya dan menciptakan karya yang dapat diperoleh melalui pembelajaran Seni Budaya dan Keterampilan melalui jenjang pendidikan. Dalam kurikulum 2013 pada mata pelajaran Seni Budaya menekankan pada kreativitas, dimana pembelajaran berbasis intelegensia tidak akan memberikan hasil signifikan dibandingkan yang berbasis kreativitas. Realitas penyelenggaran pendidikan di negeri ini belum menunjukkan upaya pengembangan kreativitas peserta didik. Fenomena tersebut berdampak pada p

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14

Darmojo, Kuntadi Wasi. "Aplikasi Motif Panji-Sekartaji pada Pendok Keris Gaya Surakarta." Acintya Jurnal Penelitian Seni Budaya 11, no. 1 (2019): 63–73. http://dx.doi.org/10.33153/acy.v11i1.2615.

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Pendok is one part of kris furniture elements that are always attached to warangka or sarong kris. The main function of pendok is to wrap the gandar in order to protect the kris blade. Pendok keris also has other functions, namely symbolic and social functions. Pendok of Surakarta style kris mostly have a form with a variety of ornamental applications. Along with the dynamics of development, there has been an innovation in the application of Panji-Sekartaji motif which represents the development of wayang beber motif. This is in accordance to the basic concept of ornamental variety, with the f

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15

Febriani, Thesa, and Agusti Efi. "Tenunan songket balai panjang (studi kasus di sentra tenunan balai panjang kel. Balai panjang kec. Payakumbuh selatan)." Indonesian Journal of Education Research 1, no. 1 (2020): 45–50. http://dx.doi.org/10.24036/edunesia.v1i1.8.

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Abstrak Tenunan Balai Panjang adalah salah satu tenunan yang ada di Sumatra Barat, yang merupakan pengembangan dari tenunan songket. Namun belum banyak Masyarakat yang mengetahuinya. Maka tujuan penelitian ini adalah untuk melihat proses menenun, bentuk motif dan tata letak motif pada tenunan Balai Panjang di Kelurahan Balai Panjang Kecamatan Payakumbuh Selatan. Penelitian ini menggunakan metode kualitatif. Jenis data berupa data primer dan sekunder. Pengumpulan data menggunakan teknik observasi, wawancara dan dokumentasi. Data penelitian dikumpulkan dari sejumlah informan yang ter

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16

Putri, Dilla Annisa, and Yuliarma Yuliarma. "Decorative Decorations in Gold Thread Shown on Aisles and Women's Bride Clothes in Naras, Pariaman City." JURNAL PENDIDIKAN DAN KELUARGA 14, no. 02 (2022): 64. http://dx.doi.org/10.24036/jpk/vol14-iss02/1005.

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An overview of the characteristics of motif design, including motif design, decorative patterns, placement of motifs, color combinations, and gold thread embroidery techniques on wedding dresses and aisles in Naras Kota Pariaman, is presented in this study. The method used is descriptive qualitative with the main data needed in the form of primary data and secondary data. Data were collected through observation, interview, and documentation techniques. Data analysis was carried out through data reduction, data presentation, and drawing conclusions. To get the validity of the data obtained thro

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17

Sadah, Khozinatus, Mazaya Muftiya Al Farabi, and Agus Sunandar. "ANALISIS POTENSI RAGAM HIAS KOMPLEKS MAKAM SUNAN DRAJAT SEBAGAI IDENTITAS BATIK LAMONGAN." GESTALT 2, no. 1 (2020): 75–86. http://dx.doi.org/10.33005/gestalt.v2i1.53.

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ABSTRAKSunan Drajat merupakan salah satu wisata religi potensial di kota Lamongan dengan total pengunjung mencapai 515 ribu di tahun 2017. Selain itu, hal menarik lainnya adalah adanya ragam hias yang menghiasi kompleks makam yang diperkirakan telah ada pada zaman XVI Masehi. Hadirnya ragam hias di kompleks makam dapat dijadikan sumber inspirasi dalam menciptakan motif batik khas Lamongan. Mengingat sumber inspirasi pembuatan batik Lamongan selama ini masih terbatas pada hasil SDA laut, dan hasil bumi, sedangkan pada objek wisata religi tradisi belum terjamah. Oleh karena itu, diperlukan anali

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18

Popovic, Ivana. "Relief decorated handles of ceramic paterae from Sirmium, Singidunum and Viminacium." Starinar, no. 58 (2008): 119–34. http://dx.doi.org/10.2298/sta0858119p.

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Four handles of ceramic paterae decorated in relief (nos. 1-4) and one fragmented object for which it has been assumed on the basis of its shape way of manufacture and iconographic design to be also the patera handle (no. 5), have been found in Sirmium. The decoration on handles 1 and 2 was executed under the influence of the ornamental design of silver paterae from Gaul, while the motif of the goddesses' busts on handles 3 and 4 is the local adaptation of existing ornamental motifs. The busts of female deities also embellish two handles from Singidunum (nos. 6 and 7) and one handle from Vimin

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Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.

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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature

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Tikhonov, D.G., and E.D. Tikhonova. "Lyre shaped motif and its origins." Siberian Research, no. 2 (October 13, 2020): 74–84. https://doi.org/10.33384/26587270.2019.02.009e.

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Annotation. Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published

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Novianti, Yenny, Lisna Amalia, and Deni Deni. "Ornamen Rumah Adat Aceh Utara dalam Terminologi Arsitektur." Arsir 6, no. 2 (2023): 136. http://dx.doi.org/10.32502/arsir.v6i2.5282.

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Along with the times, Indonesian culture is starting to be neglected by various groups, especially the millennial generation. This can be seen in the erosion of culture in a region, especially in the values and meanings contained in carvings on the ornaments of traditional houses of north aceh, so that preservation is needed to inhibit the acceleration of the rate of shift in the value of modern society's life. Cultural preservation is also a process of preserving, maintaining and preserving culture so that the cultural meanings contained in it are maintained properly so as not to eliminate th

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22

Shmidt, Irina. "Paleographic evidence of localization of the early Holocene cultural unity in the southwest of Western Siberia." Camera Praehistorica 8, no. 1 (2022): 76–85. http://dx.doi.org/10.31250/2658-3828-2022-1-76-85.

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In the article the results of paleographic analysis of two daggers from the Chernoozerye II site (Sargatsky district, Omsk region) and the Pegan burial (Makushinsky district, Kurgan region) are presented. The Pegan design as it concerns to the shape and morphology, which is based on the “rhombus chains”, is an invariant of the Chernoozerye prototype. The revealed complexity of the analogy, which includes the symbolic syntax of the ornamental text, the shape and morphology of the key symbol, the order of its graphic construction, cannot be accidental, but, obviously, indicates the “kinship” of

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A., Fedoruk. "Sargarinsko-Alekseevskaya Ceramics of the Kulunda Settlements (Preliminary Results of the Study)." Teoriya i praktika arkheologicheskikh issledovaniy 36, no. 2 (2024): 159–75. https://doi.org/10.14258/tpai(2024)36(2).-09.

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The paper presents a generalization of the results of a comprehensive study of Sargarinsko- Alekseevskaya ceramics from the settlements of the Kulunda steppe: Rublevo-VI, Burla-3, Zharkovo-3, Kalinovka-II. It has been established that the basis of the ceramic series is pots. The ornament is mainly located on the shoulders, less often on the neck of a pots. Seven methods of decoration and 73 types of ornamental motifs has been recorded. Compositional patterns often consist of only one motif, one motif repeated three or more times, or two different motifs. A comparative analysis of the forms and

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24

Murashkin, Anton. "Typology of Ornaments on Bone and Antler Items Found on Mayak 2 Settlement (Murmansk, Russia)." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 30, 2024): 205–19. http://dx.doi.org/10.55086/sp242205219.

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The Neolithic and Bronze Age settlement of Mayak 2 on the northern coast of the Barents Sea was excavated by N. N. Gurina in 1979—1984 on an area of more than 1000 square metres. The unique collection of artefacts made of animal bones, antlers and teeth was obtained. 61 of them were decorated with carved ornaments (73 decorated surfaces in total). The collection of decorated objects consists of tools, personal ornaments, everyday objects, preforms, fragments of artefacts and unworked fragments of bones and antlers. “Simple” ornamental motifs include rows of notches/incisions, groups of paralle

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Попова, Л. Ф. "ОТИВ СПИРАЛИ И S-ОБРАЗНЫЙ ЗНАК В ОРНАМЕНТАЛЬНОМ ИСКУССТВЕ ЗАПАДНОГО КАЗАХСТАНА XIX–XXI вв." Terra artis. Art and Design, № 2 (10 вересня 2022): 98–109. https://doi.org/10.53273/27128768_2022_2_98.

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Мотив спирали и s-образный знак имеет основополагающее значение в орнаментальной системе казахов Западного Казахстана. Правомерна точка зрения, согласно которой эти мотивы входили в число доминирующих, составляющих яркий культурный признак этого региона. Художественные особенности воплощения названных орнаментальных мотивов охарактеризованы на примере казахских изделий из металла, войлока, ткани, дерева и камня. Столь широко, в ансамбле разных материалов, мотив спирали не был выражен в культурах Евразии Нового времени, в том числе и у других групп казахов. Попытки автора выявить аналоги западн

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Patina, Tatiana E., and Ol’ga V. Kovaleva. "Design of “industrial” textile ornament based on the ideas of russian avant-garde." Technologies & Quality 54, no. 4 (2021): 54–59. http://dx.doi.org/10.34216/2587-6147-2021-4-54-54-59.

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The article presents the concept of industrial ornament, gives stylistic features. The main trends in the art of post-revolutionary Russia, which were the ideological and methodological basis for the formation of industrial ornament, are considered. The main features that should be reflected in the construction of an industrial ornament are identified: the motif of an ornament based on geometry, industrial objects, sports subjects, objects from a computer gaming environment; a three-dimensional spatial image of the motif of an ornament in three dimensions; a colouristic solution of an ornament

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Nadyrshine, Neil, Lilia Nadyrshine, Rafik Khafizov, Nailia Ibragimova, and Karine Mkhitarian. "Parametric methods for constructing the Islamic ornament." E3S Web of Conferences 274 (2021): 09009. http://dx.doi.org/10.1051/e3sconf/202127409009.

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The article discusses the method of algorithmic construction of Islamic ornaments, which can be used as a decorative element in architectural design. Two necessary stages are highlighted in the generation of an ornamental motif by means of algorithmic design – the first includes operations on a base mesh consisting of a combination of regular or semiregular cells, for example, drawing rays from the centers of the edges of the original lattice or rotating figures relative to its nodes; the second stage involves the creation of a basic pattern of the ornamental design that fits into a regular or

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Dyachenkova, Olga V. "LINE AS THE ORNAMENTAL MATRIX OF DUTCH ART NOUVEA: JAN TOOROP AND JAN THORN-PRIKKER." Articult, no. 2 (June 28, 2023): 23–36. http://dx.doi.org/10.28995/2227-6165-2023-2-23-36.

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This article examines the line as a means of artistic expression in the Dutch variant of Art Nouvea. Inspired by natural motifs, techniques of the English, French and Belgian schools, as well as Egyptian and Indonesian aesthetics, the line marked a break with traditional forms and an exit to abstract art. The aim of this article is to analyze the pictorial and graphic works of Jan Toorop and Jan Thorn-Prikker. Particular attention will be paid to how a pictorial motif develops into ornamentation. The theoretical works of Humbert de Superville and Johannes Vloten on the problem of the relations

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Aryadi, Mirda, Asril S, and Febri Yulika. "ORNAMEN MASJID ASASI SIGANDO KOTA PADANGPANJANG." Gorga : Jurnal Seni Rupa 9, no. 1 (2020): 64. http://dx.doi.org/10.24114/gr.v9i1.17902.

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AbstrakMasjid Asasi Sigando menerapkan ornamen sebagai salah satu bagian dari bangunannya. Fungsi secara umum dari penempatan ornamen pada masjid Asasi sebagai penghias, hal ini juga berlaku pada bangunan yang khas Minangkabau lainnya. Penempatan ornamen pada masjid ini, hampir terdapat pada seluruh dinding luar. Ornamen yang diterapkan pada bagian dinding masjid seperti singok, pereang, papan banyak, papan sakapieng, dan salangko. Penelitian ini menggunakan metode penelitian kualitatif yang berifat deskriptif. Ornamen Masjid Asasi memiliki keindahan dari segi motif yang belum dikaji secara ke

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Widiadi, Aditya Nugroho, Yuliati Yuliati, Najib Jauhari, and Ronal Ridhoi. "PEMBERDAYAAN MASYARAKAT MELALUI PENGEMBANGAN MOTIF DAN PELATIHAN BATIK BERBASIS RAGAM HIAS SITUS CANDI SINGOSARI." Jurnal Praksis dan Dedikasi Sosial (JPDS) 6, no. 2 (2023): 150. http://dx.doi.org/10.17977/um032v6i2p150-161.

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COMMUNITY EMPOWERMENT THROUGH THE DEVELOPMENT OF BATIK MOTIFS AND TRAINING BASED ON THE DECORATIVE VARIETIES OF THE SINGOSARI TEMPLE SITECandirenggo village has extraordinary tourism potential to be developed as a source of community empowerment. One of these potentials is the existence of Singosari Temple. Unfortunately, the existence of Singosari Temple cannot be utilized optimally because it only relies on tourist visits to the temple and surrounding sites. Even though the Singosari Temple site has so many ornamental motifs on some parts of the temple as well as on some artifactual relics l

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., A. A. Gede Nangga Bayu Suwita, Dr Drs I. Nyoman Sila, M. Hum ., and Drs Gede Eka Harsana Koriawan, M. Erg . "KERAJINAN TENUN ENDEK LUKIS DI DESA SULANG, KECAMATAN DAWAN, KABUPATEN KLUNGKUNG." Jurnal Pendidikan Seni Rupa Undiksha 8, no. 1 (2018): 8. http://dx.doi.org/10.23887/jjpsp.v8i1.13601.

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Tenun endek lukis merupakan jenis kain yang terdapat di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung. Dalam proses pembuatanya, kain tenun endek lukis menggunakan alat tradisional dinamakan alat tenun ATBM ( Alat Tenun Bukan Mesin ). Tujuan penelitian ini adalah mendeskripsikan (1) alat dan bahan yang digunakan dalam pembuatan kerajinan tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung, (2) Proses pembuatan kerajinan tenun endek lukis di Desa Sulang, Kecamatan Dawan, Kabupaten Klungkung, (3) Motif hias yang dihasilkan pada kerajinan tenun endek lukis di Desa Sulang, K

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S., KOVALEVSKY. "THE USE OF THE “TRIPLE ZIGZAG” MOTIVE IN THE ORNAMENTATION OF THE IRMEN UTENSILS." Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 152–59. http://dx.doi.org/10.14258/2411-1503.2023.29.24.

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The article is devoted to the study of the role of the “triple zigzag” motive in the ornamentation of ceramics of the Irmen cultural and histirical community of the south of Western Siberia. It is revealed that this ornamental motif was used quite rarely. A comparative analysis of the Irmen ornamentation of various territories showed a more frequent use of the “triple zigzag” motif by the population of the southern part of the Tomsk-Narym Ob region, Barnaul-Biysk Ob region and Omsk-Irtysh region. These data were compared with the available results of the analysis of the ornamentation of cerami

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Bukhari, Bukhari, Aulia Rahman, and Mufti Riyani. "Variety of Coastal Ornaments in Aceh: Aesthetic Phenomena in the Continuation of History and Culture." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 3, no. 1 (2020): 614–24. http://dx.doi.org/10.33258/birci.v3i1.822.

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Focusing on the study of historical artifacts of art found in the Aceh Coastal region, this study seeks to analyze ornamental diversity as an aesthetic phenomenon that has a meaningful relationship with 1. Continuation of history, 2. Links in the search for cultural identity, and 3 Balancing cultural values in Acehnese society . Throughout history, the art of embroidering gold threads, woven silk fabrics, stabbing weapons, jewelry art, and wood carvings have been the hallmark of Aceh beach crafts that in their development consistently used their identity motifs. The intended identity motif is

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Hasibuan, Ahmad Taufik, and Misgiya Misgiya. "PENERAPAN ORNAMEN TRADISIONAL PADA RUMAH ADAT MANDAILING." Gorga : Jurnal Seni Rupa 9, no. 2 (2020): 455. http://dx.doi.org/10.24114/gr.v9i2.22119.

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AbstrakPenelitian ini bertujuan untuk mengatahui macam-macam bentuk, warna ornamen Mandailing yang diterapkan pada rumah adat di Desa Pidoli Dolok Kecamatan Panyabungan, untuk mengetahui sejauh manakah penerapan ornamen Mandailing pada rumah adat di Desa Pidoli Dolok ditinjau dari bentuk, warna dan tata letak. Metode penelitian yang digunakan adalah deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah observasi lapangan, wawancara dan dokumentasi. Populasi dalam penelitian ini adalah 12 jenis ornamen Mandailing yang diterapakan pada rumah adat di Desa Pidoli Dolok Kecamatan Pan

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Khalilov, Togrul. "About the ornamental motif of unglazed ceramics found in the city of Nakhchivan." Scientific Works, no. 01 (2025): 88. https://doi.org/10.59849/2218-4783.2025.1.88.

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O., Fedoruk, and Fedoruk A. "Sargarinsko-Alekseevskaya Ceramics of the Novoilinka Settlement (North Kulunda)." Teoriya i praktika arkheologicheskikh issledovaniy 36, no. 4 (2024): 178–95. https://doi.org/10.14258/tpai(2024)36(4).-11.

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The article presents the results of the study of Sargarinsko-Alekseevskaya ceramics from the Novoilinka settlement (North Kulunda). The analysis of vessel shapes, ornamentation, raw materials and molding masses is conducted. The ceramic series is based on pot-shaped vessels, but there are also jar-pot and jar shapes. The vessels were mainly ornamented in the shoulder and neck area, less often the decor was applied to the body or rim. The use of six techniques for applying ornamentation is noted, the most common being finger patterns and stamping. 35 types of ornamental motifs are noted on the

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Pranoto, Iwan, Stepanus Adi Pratiswa, and Nala Nandana Undiana. "MOTIF BURUNG ENGGANG GADING PADA PAKAIAN ADAT DAYAK KANAYATN KALIMANTAN BARAT." Gorga : Jurnal Seni Rupa 9, no. 2 (2020): 226. http://dx.doi.org/10.24114/gr.v9i2.18928.

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AbstrakRagam hias merupakan sebuah ciri khas produk kebudayaan yang terdapat di berbagai daerah, seperti di Kalimantan Barat terdapatnya stilasi ragam hias burung enggang yang memiliki makna serta filosofi pandangan masyarakat setempat terhadap ragam hias tersebut dalam kehidupan sehari-harikhususnya bagi suku Dayak Kanayatn di Kabupaten Landak, Kalimantan Barat. Karya seni yang berkembang pada masyarakat ini memiliki keterkaitan dengan fenomena sosial yang banyak menggunakan bahasa simbol dan lambang dalam mengaplikasikannya pada kehidupan sehari-hari. Simbol dan lambang yang dipakai masyarak

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Ningsih, Indah Erda, Dini Yanuarmi, Rahmad Washinton, Mirda Aryadi, and Fadri Rahmat. "MOTIF TANAMAN KOPI PADA BAJU TALUAK BALANGO." Style : Journal of Fashion Design 2, no. 1 (2023): 26. http://dx.doi.org/10.26887/style.v2i2.3267.

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The coffee plant has a taproot, straight down, short and strong. The taproot is approximately 45-50 cm long, which basically has 4-8 side roots that descend down 23 cm. Coffee leaves are long, striped to the sides, wavy, dark green, and tapered at the ends. Leaves grow and are arranged side by side in the armpits of the stems, branches and twigs. A pair of leaves located in the same plane and branches that grow horizontally.The shape of the coffee plant that has been described, the creators make it as a source of ideas as an ornamental motif. The coffee plants that are used as motifs are the f

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Shitova, N. I. "Symbolic Expression of the Heavenly Eden Image in the Traditional Culture of the Uimon Old-Believers." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 861–68. http://dx.doi.org/10.17746/2658-6193.2021.27.0861-0868.

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The work was carried out in order to identify patterns for the preservation and updating of some images and symbols expressed in the embroidery ornament. The research is based on materials of the Uimon Old-Believers culture, which is represented in the Uimon Valley of the Altai Mountains. We carried out a comprehensive analysis of the author’s field ethnographic materials of different years, unpublished archival folklore records and museum samples. It has been established that using images of Eden-related birds and plants (grapes, roses, and other flowers), folk ideas about Heavenly Eden are e

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Matulionienė, Elena. "Prototypes and Change of the Ornamental Motifs Decorating the Textile Pockets from the Lithuania Minor." Tautosakos darbai 57 (June 1, 2019): 127–53. http://dx.doi.org/10.51554/td.2019.28430.

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The historical attire of women from the Lithuania Minor (Klaipėda Region) has a characteristic practical detail: a textile pocket tied at the waist, which functionally corresponds to the modern handbag or pocket. Such textile pockets are called delmonai (pl.) and are usually decorated with colorful ornaments. The purpose of this article is introducing the prototypes of the ornamental motifs in terms of intercultural comparison, employing the visual materials collected by the author and historically formed intercultural contacts. While introducing her hypothesis of possible long-term influences

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Beschastnov, Nikolay P., Irina V. Rybaulina, and Evdokiya N. Dergileva. "DISCRETE TEXTILE ORNAMENT: GENESIS, FEATURES OF CONSTRUCTION AND MODERN IMAGINATIVE POSSIBILITIES." Technologies & Quality 58, no. 4 (2023): 52–57. http://dx.doi.org/10.34216/2587-6147-2022-4-58-52-57.

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The article considers the main properties and features of a discrete textile ornament, which appeared in the process of its improvement over time. Briefly, on separate examples, the methods of obtaining it, the principles of compositional construction are outlined. Special attention is paid to the forms and content of the ornamental motif as a fundamental element of emotional impact on a person. The text of the article notes the methods of quoting discrete ornaments of the past in the environmental culture of the XXI century, gives examples of the use of high technologies in obtaining the moti

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Suseno, Bayu Aji, Retnoning Adji Widi Astuti, and Muchammad Rizky Kadafi. "Simulator Tato Tradisional Papua dengan Aplikasi Inkhunter Mengunakan Model ADDIE." Imaji 20, no. 2 (2022): 172–86. http://dx.doi.org/10.21831/imaji.v20i2.48506.

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Penelitian ini bertujuan untuk mengeksplorasi pengembangan dan penggunaan aplikasi InkHunter berbasis Augmented Reality untuk mengoptimalkan aspek pengetahuan dan keterampilan mahasiswa dalam merancang motif tato tradisional Papua dalam perkuliahan ornamen di Jurusan Seni Rupa dan Desain Institut Seni Budaya Indonesia Tanah Papua. InkHunter adalah aplikasi simulator tato yang menggunakan metode marker based tracking untuk mengidentifikasi pola atau marker dari motif ornamen pada tato tradisional Papua melalui kamera perangkat mobile (smartphone atau gadget) menjadi objek virtual 3D ke lingkung

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Starkova, E. "Symmetry in ornamentation of the Tripolye culture." Archaeological News 32 (2021): 416–32. http://dx.doi.org/10.31600/1817-6976-2021-32-416-432.

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This paper,is the first in terms of the laws of symmetry that analyses Tripolian ornamental patterns of stages СI (pottery of the settlements of Popudnya, Shipintsy, and Kanev group) and CII (ware from the Vykvatintsy cemetery). It has been established that among the linear designs (borders) on the pottery of stage CI, mirror symmetry and symmetry of rotation are the predominating types. In the linear schemes of Vykhvatintsy, compositions with a verti- cal reflection of the motif predominate and the number of designs without a symmetry increases. In rosettes (composi- tions in a circle) from P

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YUSRI, MUHAMMAD. "BEST PRACTICE PENINGKATAN PRESTASI BELAJAR SENI BUDAYA MELALUI PEMBELAJARAN EXPERIENTIAL LEARNING KELAS X TKJ SMK NEGERI 3 BALIKPAPAN." TEACHING : Jurnal Inovasi Keguruan dan Ilmu Pendidikan 2, no. 3 (2022): 334–41. http://dx.doi.org/10.51878/teaching.v2i3.1668.

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This Best Practice is the author's best experience in learning Cultural Arts. The background of this best practice problem is the existence of problems in the form of student complaints that students are sometimes lazy to create Decorative Arts in the form of exploration of Decorative patterns in the form of Static or Dynamic. This is the cause for students when they take Cultural Arts lessons, so students only learn to draw as they are. Based on this problem, the author tries to apply Cultural Arts learning which is the assignment of an Exhibition at the end of the Semester, which will be hel

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Siregar, Siti Asyiah, Sugito Sugito, and Wahyu Tri Atmojo. "HUBUNGAN PENGETAHUAN DAN KEMAMPUAN MENDISAIN ORNAMEN DENGAN HASIL BELAJAR MEMBATIK MOTIF ORNAMEN BATAK ANGKOLA MANDAILING SISWA KELAS X SMK KARYA BUNDA MEDAN." Gorga : Jurnal Seni Rupa 8, no. 2 (2019): 363. http://dx.doi.org/10.24114/gr.v8i2.15267.

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AbstrakPenelitian ini dilakukan di SMK Karya Bunda Medan yang bertujuan untuk membuktikan apakah ada hubungan yang siknifikan antara hubungan pengetahuan ornamen dan kemampuan mendesain ornamen terhadap hasil belajar membatik motif ornamen Batak Angkola Mandailing. Populasi dalam penelitian ini adalah seluruh siswa kelas X SMK Karya Bunda Medan. Pengambilan sampel menggunakan teknik sampel jenuh sebanyak 19 orang dari kelas X. Penelitian ini menggunakan metode korelasional, yaitu penelitian ini mencari ada tidaknya hubungan antara pengetahuan dan kemampuan mendisain ornamen dengan hasil belaja

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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (2021): 589–604. http://dx.doi.org/10.5209/aris.69159.

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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taki

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Chen, Jiayi, Qifan Ran, Zhongfu Yang, et al. "Genome-Wide Identification and Expression Profile of the HD-Zip Transcription Factor Family Associated with Seed Germination and Abiotic Stress Response in Miscanthus sinensis." Genes 13, no. 12 (2022): 2256. http://dx.doi.org/10.3390/genes13122256.

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Miscanthus sinensis is an ornamental grass, non-food bioenergy crop, and forage with high feeding value. It can adapt to many kinds of soil conditions due to its high level of resistance to various abiotic stresses. However, a low level of seed germination restricts the utilization and application of M. sinensis. It is reported that the Homeodomain-leucine zipper (HD-Zip) gene family participates in plant growth and development and ability to cope with outside environment stresses, which may potentially regulate seed germination and stress resistance in M. sinensis. In this study, a complete o

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A., Fedoruk, Ivanov G., and Stepanova N. "SARGARINSKO-ALEKSEEVSKAYA CERAMICS OF THE LATE BRONZE AGE OF THE KALINOVKA-II SETTLEMENT (FOREST-STEPPE ALTAI)." Teoriya i praktika arkheologicheskikh issledovaniy 35, no. 1 (2023): 160–81. http://dx.doi.org/10.14258/tpai(2023)35(1).-10.

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The article reflects the results of a comprehensive study of the Sargarinsko-Aleksevskaya ceramics of the Kalinovka-II settlement (Eastern Kulunda). The authors analyzed the forms of vessels, ornamentation techniques, ornamental schemes, raw materials and molding masses. As a result, it was determined that the main part of the ceramics of the collection is pots. The presence of nonnumerous vessels of jar and jug-shaped forms is noted. The ceramics were decorated mainly along the neck area, less often at the shoulders. The use of six methods of applying the ornament is noted: molding, stamping,

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Ilyushina, V. V., A. D. Klimova, and I. K. Novikov. "Traditions of creating the form and ornamentation of the pottery vessels of the Alakul Culture in the Alakul burial ground (a case study for the burial mounds 1 and 14)." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 4(63) (December 15, 2023): 77–95. http://dx.doi.org/10.20874/2071-0437-2023-63-4-6.

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This paper reports on the results of the analysis of the form and ornamentation of the pottery vessels of the Late Bronze Age Alakul Culture from the burial mounds 1 and 14 of the Alakul burial ground (the Trans-Urals). The study was carried out within the framework of the historical-cultural approach developed by A.A. Bobrinsky. The work is aimed at the identification of pottery-making traditions of creating the form and ornamentation of pottery vessels amongst the population who built the burial mounds 1 and 14. In the result of the analysis, there has been identified the cultural core of th

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Haniful Furqon and Angga Elpatsa. "Penerapan Motif Minangkabau sebagai Elemen Dekoratif pada Keramik Hias dengan Teknik Wax Resist." Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi 1, no. 3 (2024): 150–65. http://dx.doi.org/10.62383/imajinasi.v1i3.304.

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The development of ceramic craft in West Sumatra reveals significant potential for productive economic sectors due to the abundance of clay. This study focuses on applying Minangkabau motifs as decorative elements on ornamental ceramics using the wax resist technique. The aim is to integrate traditional Minangkabau designs into ceramics, introduce a new decorative technique, and preserve local culture through craftsmanship. The method employed includes five stages of the art consortium: preparation, elaboration, synthesis, realization of the concept, and completion. The result is seven ceramic

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