Relevant bibliographies by topics / Rituality value of ornament

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Academic literature on the topic 'Rituality value of ornament'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Rituality value of ornament"

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Hartanti, Grace, and Amarena Nediari. "Pendokumentasian Aplikasi Ragam Hias Budaya Bali, Sebagai Upaya Konservasi Budaya Bangsa Khususnya pada Perancangan Interior." Humaniora 5, no. 1 (April 30, 2014): 521. http://dx.doi.org/10.21512/humaniora.v5i1.3079.

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Various ornament of Indonesian people comes from the ethnic groups from all over the archipelago. As a tangible cultural ornament has a specific purpose and it does not change throughout the ages. Bali is one of the ethnic group in archipelago that has beautiful decorative art and one of the most popular tourism destination in Indonesia. Bali’s ornament generally seen as decorative carving on the column, window or even in door. The beauty of Bali is not only as an inspiration for their colors and sculpture but also the variety of forms that have been simplified in the ornament. Moreover, floral & fauna forms are easy to apply as an interior element in modern buildings. Generally the value of these ornament has a specific purpose related to the cultural and social custom in Bali people. So that the application need to consider more about the purpose of the symbol of the ornament.
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Palaguta, Ilia V. "Studies of Ornament: Main Trends and Prospects." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 571–85. http://dx.doi.org/10.21638/spbu15.2020.403.

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The analysis of the ornament is the key issue in the studies of the applied decorative art. Nevertheless, the principal points pertaining to the nature of ornament, its expressivity, semantics, compositional principles and cultural value, have only been covered intermittently. This is primarily due to the disengagement of the various academic fields involved in the studies of ornament: art history, cultural anthropology, ethnography, archeology, etc. It seems important to synthesize the methods and approaches as well as set up the basis for developing the general principles for the studies of ornament, that would take into account all its various aspects. The definition of ornament through its decorative function does not encompass its essential features: rhythm, meter, and symmetry. Ornament can be considered as a strategy of visualizing rhythm and can be regarded as a specific art form. Apart from the formal trend, based on systematization of ornaments, the approaches to ornament as the basis of ethnocultural reconstructions play a prominent part. Studies concerning the semantics of ornament offer a whole range of opinions, but the widespread notion that ornament is a set of signs and symbols calls for a critical reappraisal. At the same time, ornament plays an important part in the process of intercultural and intracultural communications on the level of signal and index, being a special kind of “art-rhythm”. The interdisciplinary approach opens a much broader range of ideas concerning the options for studying ornaments and offers solutions for subsequent research. One of the most promising possibilities is the comprehensive and cross-cultural analysis of ornament as the element of a communication system, based on the search for the links between the development of the ornamental traditions and styles as well as the developments in the other spheres of human culture.
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Nediari, Amarena, and Grace Hartanti. "Pendokumentasian Aplikasi Ragam Hias Toraja sebagai Konservasi Budaya Bangsa pada Perancangan Interior." Humaniora 5, no. 2 (October 30, 2014): 1279. http://dx.doi.org/10.21512/humaniora.v5i2.3271.

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Various ornaments of Indonesia come from ethnic groups from all over the archipelago. As a tangible culture, ornament has specific purpose and does not change throughout the ages. Tana Toraja is one ethnic group in the archipelago that has beautiful decorative art and one of the most popular tourism destinations in Indonesia. Toraja’s ornament generally is seen as decorative carving on the column of Tongkonan (Toraja traditional house), window, or even in barn doors. The beauty of Tana Toraja is not only as an inspiration for its colors and sculptures but also the variety of forms that has been simplified in the ornament. Moreover, the geometric forms are easy to apply as interior element in modern buildings. Generally, the value of these ornaments has a specific purpose related to the cultural and social custom of the Toraja people. Hence, the application needs to consider about the purpose of the symbol of the 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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Chansuwan, Pattamawadee, Suphanni Luaboonchu, and Terdchai Pantachi. "Developing of Stage Ornament Creation for Enhancing Economic Value Added in Isan Community." Journal of Social Sciences 5, no. 4 (April 1, 2009): 386–89. http://dx.doi.org/10.3844/jssp.2009.386.389.

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Nediari, Amarena, and Grace Hartanti. "Pendokumentasian Aplikasi Ragam Hias Budaya Betawi pada Desain Interior Ruang Publik Café Betawi." Humaniora 6, no. 3 (July 30, 2015): 367. http://dx.doi.org/10.21512/humaniora.v6i3.3363.

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Various ornaments of Indonesia come from the ethnic groups from all over the archipelago. Ornament is a tangible culture which has specific meaning and purposes. Its meaning does not change throughout the ages. Betawi culture has become cultural roots for most people in Jakarta which also as the capital city of Indonesia. Betawi culture is seen in a wide variety of dance, batik, decorative ornaments, and culinary. Betawi ornament can also be seen in the architecture and public areas since the geometrical shape is very easy to apply as interior element. The application of Betawi ornaments in a restaurant interior represents the idea of dining area in Betawi house. The study of Betawi ornaments was conducted by documentation of decorative elements in a restaurant as a public space. Objective of this research is to preserve various ornaments of Betawi culture. So that, the data can be valuable as an inspiration for designing restaurant interior with Betawi style. Generally, value of the ornaments has specific purposes related to Betawi’s cultural and social customs. Therefore, the application needs to consider more about the purpose of the symbol of the ornament.
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Kafri, Saniman Andi. "MESIKHAT DALAM KAJIAN ESTETIKA SIMBOLIS PADA RUMAH ADAT ALAS ACEH TENGGARA." Jurnal Ilmu Budaya 14, no. 2 (February 25, 2018): 89–103. http://dx.doi.org/10.31849/jib.v14i2.1138.

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Mesikhat ornament is one of heritage artworks made by people in Alas tribe. As one of the cultural heritages, the motif of Mesikhat ornament which is really important as th eaesthetic symbol for Alas tribe in Southeast Aceh. People in south Aceh call all of carve motif that come from south Aceh as Meshikat. However Meshikat is originally came from Alas tribe. Meshikat motif can be found in traditional house, traditional costume, bag, wallet and others accessories. Meshikhat ornament had existed before the Independence day of Indonesia. However, it became popular around 1990 when these wing machine was firstly used in south east of Aceh. Formerly, meshikat is only applied in traditional house but nowadays the motif is also used in fashion, bag, wall and others accessories. Meshikat, that is applied in traditional house and costume, has five colors; red, yellow, green, white and black. The basic colors symbolize different meanings. For example red symbolizes the bravery, green symbolizes the fertility, yellow shows the glory or the greatness, white symbolizes the purity, and black symbolizes the leadership. The idea of Meshikat motif originated from plants, animals, social life and chess board. The descriptions are applied in the form of two dimension motif without ignoring the aesthetic aspect and the meaning of these objects. Meshikat, notif present many interpretations and messages such as social message, moral value, and spiritual message depending on the motifs.
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Simanowski, Roberto. "Digital Anthropophagy: Refashioning Words as Image, Sound and Action." Leonardo 43, no. 2 (April 2010): 159–63. http://dx.doi.org/10.1162/leon.2010.43.2.159.

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This paper discusses the incorporation of text within interactive installations as an expression of cultural anthropophagy. This “consumption” is carried out not by displacing the text (i.e. replacing it with images) but by transforming text into image, sound or action, or into a post-alphabetic object (i.e. depriving the text of its linguistic value). As shown in detailed examples, the de-semanticization of text turns words into ornament, while in other cases (where the linguistic value of the text is stressed within the interactive installation or can be “rescued” from it) the literary is still an important subject of attention.
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Saitaer, Xiakeer. "Study on Technical Base of Uyghur Hotan Carpet." Advanced Materials Research 1048 (October 2014): 298–302. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.298.

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Uyghur carpet is the traditional Uyghur handicraft, it is the fusion of spinning, dyeing, knitting and painting with both practical and artistic value. Its origination dates back to more than 2000 years ago and it has been evolving gradually ever since along with the economic development. Hotan carpet is the most representative one of Xinjiang carpet, and it represents the highest achievement. [1] This paper is focus on the textile technology, dyeing technology and ornament of Uyghur Hotan carpet.
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Fujimura, Makoto, Kousuke Imamura, and Hideo Kuroda. "Study on Elemental Techniques of Image Search Method using Pixel Value Histograms for Ornament Attacked Images." International Journal of Signal Processing, Image Processing and Pattern Recognition 8, no. 3 (March 31, 2015): 11–22. http://dx.doi.org/10.14257/ijsip.2015.8.3.02.

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Dissertations / Theses on the topic "Rituality value of ornament"

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Qian, Jingjing. "More Than an Ornament: Intercultural Communication Value of Metaphors from Chinese and English Literature." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/37.

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Due to China's important status on the global stage, its language and culture have drawn a great deal of attention in academia. Meanwhile, the United States remains a major power, and English continues to be the most widely spoken language in today's world. Exploring intercultural communication among people who speak Chinese and English continues to be an important research area. This study, with its primarily linguistic concern, was designed to focus on a frequently employed figure of speech, metaphor. Based on a comprehensive review of literature on intercultural communication and cognitive linguistics, this research focused on metaphor's cognitive value in order to explore its universal validity. A sample database was generated utilizing metaphorical expressions in classical poetry from Chinese, British, and American literature. An in-depth content analysis was conducted using grounded theory methodology to investigate the common place understanding between Chinese and English cultures. Similarities were achieved among existing patterns of metaphorical expressions from relevant poems. Three primary types of metaphors were found. The first metaphor included abstract concepts projected to concrete concepts. The second metaphor was objects projected to human beings. The third metaphor was objects projected to objects. Two main implications were found based on this research. The primary implication for intercultural communication was related to common ground understanding, adaptation of Chinese immigrants in the United States, and improved international relations. Metaphor's universally cognitive validity constitutes the secondary implication of this study, which contributes to the development of cognitive linguistic theory.
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Brunet, Olivier. "Les éléments de parure en pierre de la péninsule omanaise du 6è au 2è millénaire av. J.-C. : production, circulation, valeurs." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010689.

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Dans la péninsule omanaise, les éléments de parure font partie des artefacts les plus nombreux retrouvés dans les sites archéologiques du Néolithique et de l’âge du Bronze. Nous avons privilégié l’étude de plus de 100 000 perles en pierre (agate, cornaline, lapis-lazuli, pierre tendre verte, etc.) sur environ quatre millénaires, d’un point de vue morphologique, dimensionnel et surtout technologique. Parmi les principaux résultats, notons que deux catégories d’éléments de parure ont été mises en évidence, principalement à l’âge du Bronze (fin 4e-fin 2e millénaire av. J.-C.), l’une étant bien supérieure à l’autre. Ces deux catégories reflèteraient le savoir-faire d’ateliers différents localisés dans des régions distinctes. La majorité serait issue d’une production locale, d’autres de la région indo-pakistanaise pour certaines perles en cornaline ou d’Iran pour les perles en lapis-lazuli par exemple. Cette étude a permis de restituer les principaux réseaux de circulation pour chaque matériau minéral utilisés pour les perles à l’intérieur de la péninsule omanaise pour la production locale et entre les différentes régions voisines de cette zone dans le cas de perles importées. Nous avons aussi pu percevoir l’impact du contexte historique sur la circulation des matériaux entre la Péninsule d’Oman et les régions de l’Asie moyenne. Les éléments de parure sont des objets hautement symboliques, notamment dans la péninsule omanaise où ces artefacts expriment de nombreuses valeurs très diverses : marchande, apotropaïque, esthétique, temporelle, sexuelle, hiérarchique ou spirituelle
In the Oman Peninsula, items of personal ornament are among the most numerous artifacts found at archaeological sites from the Neolithic and Bronze Age. This study focuses on more than 100,000 stone beads (agate, carnelian, lapis lazuli, green softstone, etc.), spanning approximately four millennia, from a morphological, dimensional, and especially technological perspective. Key results include the identification of only two categories of ornamental elements, mainly in the Bronze Age (late 4th-late 2nd millennium BC), one being of substantially higher quality than the other. These two categories reflect the expertise of different workshops located in distinct regions. The majority appears to be of local production, while others, such as some carnelian and lapis lazuli beads, are likely from the Indo-Pakistan region or Iran, respectively. This study permitted the recreation of the main circulation patterns for each mineral material used in the manufacture of beads, both within the Oman Peninsula for those produced locally, and between neighboring regions in the case of imported beads. It is also possible to see the impact of historical context on the circulation of material between the Oman Peninsula and Middle Asia. Elements of personal ornamentation are highly symbolic objects, especially in the Oman Peninsula where these artifacts convey many diverse values: commercial, apotropaic, aesthetic, temporal, sexual, hierarchical, or spiritual
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Vancl, Kryštof. "Ornament Struktura a znak." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-300142.

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Vancl, K.: Ornament, structure and sign /MA Dissertation/ Prague 2011, Charles University in Prague, Faculty of education, Art education department The MA dissertation Ornament, structure and sign is a thoughts project, which considers its own topic based on philosophical texts from J. Derrida, M. Foucalt and J. Patočka. Ornament as a topic includes its fundamental questions, what is and how ornament appears today. Immanently there is an expression of ornament, which marks an order of repetition and an extensive reference to ornament, which masks his culture and society on the other side. Own project is focused on pass over classicism again, find original and discover new meaning of ornament in a structure and sign. True difference of expression and reference became its own detecting, following by next step to ritual meaning and from hear through ornament as repetition and reproduction sign to being in present until to deeper understanding of my-self in personal structure. Thanks to this knowledge seeing beauty of ornament seems to be more valuable. At last the project of ornament brings also theoretical basement for painting and didactic in art education. Key words: ornament, expression and reference, ritual meaning, structure of repetition, presence, phenomenology
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KEMZOVÁ, Miroslava. "Historické dveře (Prakticko-teoretická práce)." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-53131.

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Subject of this diploma thesis are historical doors as an indivisible part of architecture. The main focus is on gradual discovering of their underrated artistic value and historical authenticity of these elements. The paper is divided into two parts, theoretical and practical part. The opening of the theoretical part introduces a debate on the ambivalent term ``door{\crqq} and its meaning in people{\crq}s life. I look closely at the terminology and particular basic structural types of historical door wings from the late medieval time to the end of the 19th century. All types are presented with several examples of extant doors in urban conservation area of the towns of České Budějovice and Třeboň between 1760-1900, using author drawing studies and photo documentation. In the practical part of the paper I deal with creative design of the parterre in the historical house no. 91 in the square of the town of Třeboň, which is directly linked to the prior theoretical findings. Drafts and an architectural study came out of the preliminary builder historical connections, elaborations and debates. At the same time I include an insight into parterre executions in the past years.
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Books on the topic "Rituality value of ornament"

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Hutchison, Ken. Affordable art deco: Identification & value guide. Paducah, Ky: Collector Books, 1999.

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Graham, Amelia. In the first half of the 20th century where do Modernism and Abstraction align, and what is the value of ornament in each?. London: Chelsea College of Art and Design, 2003.

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Fashioning Value - Undressing Ornament. Onomatopee office and project-space, 2016.

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Nicki, Pierce, ed. Hallmark keepsake ornament value guide. 2nd ed. Braintree, MA: Bangzoom Pub., 2006.

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Pierce, Nicki. Hallmark Keepsake Ornament Value Guide: 1973-2006. 2nd ed. Bangzoom Publishers, 2006.

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Hallmark Keepsake Ornament Value Guide: Tracker Edition 1973-2005. Bangzoom Publishers, 2006.

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Hallmark Keepsake Ornament Value Guide: Tracker Edition 1973-2005 (Tracker Guides). Bangzoom Publishers, 2005.

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Stephen, Bayley, ed. Commerce and culture: From pre-industrial art to post-industrial value. Kent: Penshurt Press Ltd., 1989.

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Johnson, Greg, and Ken Hutchison. Affordable Art Deco: Identification & Value Guide. Collector Books, 1998.

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Book chapters on the topic "Rituality value of ornament"

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Feng, Z., P. Gu, M. Zheng, X. Yan, and D. W. Bao. "Environmental Data-Driven Performance-Based Topological Optimisation for Morphology Evolution of Artificial Taihu Stone." In Proceedings of the 2021 DigitalFUTURES, 117–28. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_11.

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AbstractTaihu stone is the most famous one among the top four stones in China. It is formed by the water's erosion in Taihu Lake for hundreds or even thousands of years. It has become a common ornamental stone in classical Chinese gardens because of its porous and intricate forms. At the same time, it has become a cultural symbol through thousands of years of history in China; later, people researched its spatial aesthetics; there are also some studies on its structural properties. For example, it has been found that the opening of Taihu stone caves has a steady-state effect which people develop its value in the theory of Poros City, Porosity in Architecture and some cultural symbols based on the original ornamental value of Taihu stone. This paper introduces a hybrid generative design method that integrates the Computational Fluid Dynamics (CFD) and Bi-directional Evolutionary Structural Optimization (BESO) techniques. Computational Fluid Dynamics (CFD) simulation enables architects and engineers to predict and optimise the performance of buildings and environment in the early stage of the design and topology optimisation techniques BESO has been widely used in structural design to evolve a structure from the full design domain towards an optimum by gradually removing inefficient material and adding materials simultaneously. This research aims to design the artificial Taihu stone based on the environmental data-driven performance feedback using the topological optimisation method. As traditional and historical ornament craftwork in China, the new artificial Taihu stone stimulates thinking about the new value and unique significance of the cultural symbol of Taihu stone in modern society. It proposes possibilities and reflections on exploring the related fields of Porosity in Architecture and Poros City from the perspective of structure.
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"Esteemed ornament: An overlooked value for approaching Roman visual culture." In Ornament and Figure in Graeco-Roman Art, 279–98. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110469578-012.

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Carlos Maria, Correa. "Ch.8 Industrial Designs." In Trade Related Aspects of Intellectual Property Rights. Oxford University Press, 2020. http://dx.doi.org/10.1093/law/9780198707219.003.0008.

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This chapter focuses on industrial designs, which are generally defined as features of ornamentation applied to an article. They consist of the shape, configuration, pattern, or ornament—or a combination thereof—of a product that gives it eye-appeal. Industrial designs normally exclude those designs determined solely by their utilitarian function on an article. The protection of industrial designs is addressed in the Trade-related Aspects of Intellectual Property Rights (TRIPS) Agreement by only two Articles. Article 25 defines the requirements for protection, and Article 26 the extent of exclusive rights and the admissible exceptions. This scant treatment reflects the fact that the protection of industrial designs had a low priority in the TRIPS negotiations for the US and other countries, except perhaps the European Communities (EC), which aimed at enhancing such protection, of particular value, for instance, for fashion industries.
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Conference papers on the topic "Rituality value of ornament"

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Supatmo, Supatmo. "The Manifestation of Cultural Tolerance Value of Traditional Ornament: Study on Ornaments of Sendang Duwur Mosque-Graveyard, Lamongan, East Java." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.26.

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Supatmo, Supatmo. "The Manifestation of Cultural Tolerance Value of Traditional Ornament: Study on Ornaments of Sendang Duwur Mosque-Graveyard, Lamongan, East Java." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.80.

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