To see the other types of publications on this topic, follow the link: Rituality value of ornament.
Journal articles on the topic 'Rituality value of ornament'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Rituality value of ornament.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
Full textAbstract:
The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
5
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.
Full text
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Nirmala, Apsari Putri Haryani, Oudilia Azhar Violaningtyas, and Resky Annisa Damayanti. "ORNAMEN ISLAM PADA BANGUNAN ARSITEKTUR MASJID DIAN AL MAHRI KUBAH EMAS DEPOK." Jurnal Dimensi Seni Rupa dan Desain 16, no. 1 (September 1, 2019): 29. http://dx.doi.org/10.25105/dim.v16i1.6159.
Full textAbstract:
<p><strong>Abstract</strong></p><p><strong></strong><br />In the teachings of Islam the sources of the Qur’an and the Hadith are basically no rules governing the building of the Mosque other than the terms of the place that can be used in performing the Prayer, but on the other hand many Mosques are adaptive in the form of ornaments. as well as local value systems. The form of ornament that is a decorative<br />element of a building is often directly related to the times and culture of the community. In terms of the ornament of the Mosque does not escape the Islamic law that is found in the Hadith and the Quran. This is the focus of this study. The method used is a descriptive qualitative beginning of the field. The results show that the shape of the ornament in the Dian Al Mahri Mosque is no indication of the animal ornament, so the ornamentation of the Mosque is acceptable to Muslims especially in Jakarta and its surroundings.<br /><br /><strong>Abstrak </strong></p><p><strong></strong>Di dalam ajaran agama Islam yang bersumberkan Al Qur’an dan Hadist pada dasarnya tidak terdapat aturan yang secara langsung mengatur mengenai bangunan Masjid selain syarat-syarat tempat yang dapat dipakai dalam melaksanakan Sholat, namun di sisi lain banyak Masjid yang bersifat adaptif dengan memasukkan bentuk ornamen serta sistem nilai setempat (lokal). Bentuk ornamen yang merupakan elemen dekorasi pada suatu bangunan sering kali berkaitan langsung dengan zaman dan budaya masyarakat. Dalam hal ornamen pada Masjid tidak lepas dari hukum Islam yang tertuang dalam Hadis dan Al Quran. Hal demikianlah yang menjadi pusat perhatian dalam penelitian ini.<br />Metode yang digunakan adalah kualitatif deskriptif yang dimulai dari lapangan. Hasil penelitian menunjukkan bahwa bentuk ornamen pada bangunan Masjid Dian Al Mahri tidak terdapat indikasi yang menunjukkan ornamen binatang, sehingga ornamentasi pada Masjid tersebut dapat diterima oleh umat muslim terutama di Jakarta dan sekitarnya.<br /><br /></p>
12
Колісник, О. В., and С. В. Мисак. "СИМВОЛІКА ОРНАМЕНТУ НАРОДНОЇ ВИШИВКИ У ГРАФІЧНОМУ ДИЗАЙНІ." Art and Design, no. 2 (June 15, 2018): 35–42. http://dx.doi.org/10.30857/2617-0272.2018.2.4.
Full textAbstract:
To analyze the role of the symbol-amulet as a means of designating the cultural value space and also to consider the specifics of ancient symbols-ornaments of Ukrainian folk embroidery in graphic design. A combination of complex and comparative methods that allow to identify the peculiarity of the problems of visual persuasive design in the modern society, as well as the principles of objectivity and impartiality of analysis, the principle of critical reflection of the investigated material. The symbolic design of the folk embroidery ornament is analyzed in the practice of graphic design, was carried out its characteristic features, such as expressiveness, persuasiveness, informative character, emotional influence on the person's subconscious reactions and, as a result, the possibility to transform the orientations of the target auditor through the sense of belonging to the common space of cultural values are established. The semantic resource of using national ornament in graphic design products was investigated. We found that it is a powerful factor in forming a sense of belonging to the value space of the native culture, which is important for the progressive development of Ukrainian society to use the national symbols as a factor for formation the positive and constructive intentions and behavioral reactions of its representatives. The obtained results of the research should help to better understand the specifics and role the application of etnosimvolika, ancient symbol-amulets in graphic design, its interconnectedness with various aspects of human beingness.
13
Sêrro, Luís Manuel. "Seven Unknown Drawings by Luigi Manini." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 3 (June 11, 2021): 231–60. http://dx.doi.org/10.30958/ajha.8-3-3.
Full textAbstract:
Luigi Manini, set designer at the Nacional Theatre of S. Carlos lived in the second half of the 19th century, which was characterized, in the field of aesthetics, by the transition from romanticism to naturalism. This article aims to analyze seven unknown drawings by Luigi Manini, as an expression and illustration of this artistic period. For this, we analyse the three major periods of art exhibition by Hegel in his work Aesthetics. Integrated in this analysis the evolution of artistic expression, with more emphasis, is illustrated the study of ornamentation, its nature, its importance in stylistic participation and, along its journey, the variation between the expression plane and the content plane that the ornament, as a sign, suffered. To conclude this journey, romanticism, used ornamentation as an evocative element of cultural styles and cultures, consistent with the essence of romanticism: a sublime expression. But in its final phase, romanticism evolved into naturalism that manifests, not the differentiated architectural element, but its collective nature. Urbanism is a social response of Architecture. The ornament loses, at this time, its symbolic value, but maintains its expression plan that was developed with an appreciation of its plastic value. It’s the ornate by the ornate that keeps, still, more time in Belle Époque; in Art Nouveau and Art Deco, to disappear completely in Modernism. These drawings, from an affirmation phase of Luigi Manini’s, are integrated at this time, and their analysis will be concluded from the historical conclusion of this article.
14
Berezka, K. M., and O. M. Berezsky. "SYNTHESIS OF IMAGES-ORNAMENTS." Ukrainian Journal of Information Technology 3, no. 1 (2021): 56–62. http://dx.doi.org/10.23939/ujit2021.03.056.
Full textAbstract:
The article developed the mathematical model for the synthesis of ornamental images and implemented the software editor of ornamental images, based on symmetry theory. The paper shows the fundamental role of symmetry. It is analyzed that the symmetry theory methods are used in physics, chemistry, biology, and engineering. It was found that symmetry is based on transformation and storage. In addition, the symmetrical system is based on a set of invariants that are built according to certain rules. It is shown that the symmetry of borders and the symmetry of mesh ornaments are used in ornaments. The synthesis of ornamental images is considered on the example of Ukrainian folk embroidery. The contribution of foreign and domestic scientists to the development of the symmetry theory and synthesis of images is analyzed. It is indicated that Ukrainian folk embroidery is the valuable property of the cultural and material heritage of people and an important source of research. It is analyzed that there are more than 100 types of different embroidery techniques. The role of famous Ukrainian artists in the popularization and organization of Ukrainian folk embroidery museums is presented. It is investigated that embroidery is built from separate motives or from ornaments. Ornaments consist of sub-ornaments. A sub-ornament is a pattern consisting of rhythmically ordered identical elements (built on one group transformation). Subornaments are divided into reports. The report is called the minimum for the area of the area that can cover the sub-ornament, using only transfers. The report, in turn, is divided into even smaller particles: motive or elementary picture. It is found that in embroidery ornaments there are 7 groups of stripe and 12 - plan. Mathematical models of images-ornaments synthesis for groups of a strip and plan groups are developed. Mathematical models are given for ideal ornaments. If offsets of axes or centers of symmetries, it is necessary to adjust the coefficients of transformation matrices displacement. Samples of embroidered ornaments of the corresponding plane and stripe groups are provided. Editor of image-ornaments has been developed, which allows the synthesis of complex ornamental images based on analytical formulas of elementary picture, sub-ornament, and ornament. Examples of real and synthesized samples of Ukrainian folk embroidery are provided. The scientific novelty of the work lies in the development of mathematical models of ornaments on the basis of symmetry groups on the strip and the plane. The practical value of the work lies in the development of an image editor-ornaments.
15
Triawan, Edo Wahyu, Misgiya Misgiya, and Nelson Tarigan. "ORNAMEN MELAYU DENGAN MEDIA KACA BIDANG DATAR DITINJAU DARI PRINSIP-PRINSIP SENI RUPA." Gorga : Jurnal Seni Rupa 10, no. 1 (April 24, 2021): 62. http://dx.doi.org/10.24114/gr.v10i1.23037.
Full textAbstract:
This study aims to analyze and describe the application of Malay ornaments on flat-plane glass media by class XI SMAS Dharma Karya Beringin students based on the principles of fine arts, especially in the aspects of unity, balance, harmony, center of attention, and rhythm. This study used descriptive qualitative method. The subjects of this research were students of class XI SMAS Dharma Karya Beringin and the object of the research was the Malay ornament work on flat glass media totaling 15 students' works using the Census Sampling technique. The results of this study explain that the mean score of the work as a whole is categorized as good with an average of 84.9 (good). Malay ornament works are assessed based on the aspects of unity, balance, harmony, center of attention, and rhythm. The aspect of assessment with the highest score is the balance with an average score of 85, that is, the similarity of the left and right motives is relatively the same. aspects of harmony with an average value of 85.47, namely the harmony of the motives is well ordered. The aspect of unity with an average score of 85.3, namely the combination of several shapes and motifs that are linked appropriately. The rhythm aspect with an average value of 84.4, namely the order in which the motifs are placed in order and the attention center aspect with an average value of 83.7, namely the shape of the different motifs and placed in the middle. If broken down as a whole based on student achievement, the works with the very good category are 0 ornamental works by 0%. In the good category there are 15 ornament works at 100% and works with enough category are 0 ornament works by 0%.Keywords: overview, ornaments, malay.AbstrakPenelitian ini bertujuan untuk menganalisis dan mendeskripsikan penerapan ornamen Melayu pada media kaca bidang datar karya siswa kelas XI SMAS Dharma Karya Beringin berdasarkan dari prinsip-prinsip seni rupa khususnya dalam aspek kesatuan, keseimbangan, keselarasan, pusat perhatian, dan irama. Penelitian ini menggunakan metode deskriptif kualitatif. Subjek penelitian ini adalah siswa kelas XI SMAS Dharma Karya Beringin dan objek penelitian adalah karya ornamen Melayu pada media kaca bidang datar berjumlah 15 karya siswa dengan menggunakan teknik Total Sampling. Hasil penelitian ini menjelaskan bahwa nilai rata-rata karya secara keseluruhan dikategorikan baik dengan rata-rata 84,9 (baik). Karya Ornamen Melayu dinilai berdasarkan aspek kesatuan, keseimbangan, keselarasan, pusat perhatian, dan irama. Aspek penilaian dengan nilai tertinggi adalah keseimbangan dengan nilai rata-rata 85, yaitu kesamaan motif kiri dan kanan relatif sama. aspek keselarasan dengan nilai rata-rata 85,47, yaitu keserasian motif tertata dengan baik. Aspek kesatuan dengan nilai rata-rata 85,3, yaitu perpaduan beberapa bentuk dan motif tertaut dengan tepat. Aspek irama dengan nilai rata-rata 84,4, yaitu urutan penempatan motifnya sudah tertata dan aspek pusat perhatian dengan nilai rata-rata 83,7, yaitu bentuk motif berbeda dan ditempatkan ditengah. Apabila dirincikan secara keseluruhan berdasarkan capaian siswa maka karya dengan kategori sangat baik berjumlah 0 karya ornamen sebesar 0%. Kategori baik berjumlah 15 karya ornamen sebesar 100% dan karya dengan kategori cukup berjumlah 0 karya ornamen sebesar 0%.Kata Kunci: tinjauan, ornamen, melayu. Authors: Edo Wahyu Triawan : Universitas Nrgeri MedanMisgiya : Universitas Nrgeri MedanNelson Tarigan : Universitas Nrgeri Medan References: Atmojo, W.T. (2013). Penciptaan Batik Melayu Sumatera Utara. Jurnal Seni dan Budaya Panggung, 23(01), 90-97. http://dx.doi.org/10.26742/panggung.v23i1.89.Sukimin, A.W. Sutandur. (2008). Terampil Berkarya Seni Rupa 1. Solo: Tiga Serangkai.Dalijo, D. (1983). Pengenalan Ragam Hias Jawa. Jakarta: Depdikbud.Feldman, E.B. (1967). Art Image and Idea. New Jersey: Prentice Hall Inc.Resita, R.A. Diah, (2010). Ragam Hias Nusantara. Jurnal Humaniora, 1(02), 246-252.Sirait, Baginda. (1980). Pengumpulan dan Dokumentasi Ornamen Tradisional di Sumatera Utara. Medan: IKIP Medan.Sugiyono. (2014). Metode Penelitian Pendidikan. Bandung: Alfabeta.Triawan, E.W. (2020). “Karya Ornamen Melayu Siswa Kelas XI SMAS Dharma Karya di Atas Media Kaca Bidang Datar”. Hasil Dokumentasi Pribadi: 11 November 2020, SMAS Dharma Karya Beringin.Utami, A., Soeprayogi, H., & Azis, A. C. K. (2020).Pembuatan Kerajinan Bunga Berbahan Kulit Jagung Ditinjau dari Prinsip-prinsip Seni Rupa dan Kerajinan. Journal of Education, Humaniora and Social Sciences (JEHSS), 3(1), 260-264. https://doi.org/10.34007/jehss.v3i1.282.
16
Sunaryo, Sidik. "Formal genus of the value of justice in Indonesia." Legality : Jurnal Ilmiah Hukum 29, no. 2 (June 25, 2021): 223–36. http://dx.doi.org/10.22219/ljih.v29i2.16609.
Full textAbstract:
This research aimed to find the formal genus of the value of justice in Indonesia. As known, justice that holds the sense of plurality universally transcends the boundary of formality of narrative texts in a normative way. The plurality of the value of justice that is laden with universality transforms to the genus of the school of thoughts vis-à-vis justice throughout history. Reduced meaning of justice in the perspective and the process of legislation is not powerful enough to negate the genus of justice that inherently represents the fundamental characteristics of justice. The look of the legislative process attractively reflects the genus of hunger for power intended to justify ambitions among factions in the domain of democracy. The formality in the legislation no longer represents the principle of the definition of the legislation and it is getting further away from the reach of the definition of aspiration, let alone to become an inspiration of the objectives of the state as mandated in the constitution. Holistic approach used in this research to find out the formal genus of justice in Indonesia. This research found that religious matters in the legislation-related authorities have become an acceptable ornament among the piles of the works of morality. The integrity that has become the genus of justice morality has transformed into a collection of texts hanging all over the wall of the national parliament. Religions are used as tools of negotiation in the formulation and the making of narrative texts before they are further transformed into legislation. Religions and powers in legislation are competing to find their point of the genus of normativization as expected by each faction. Law came into existence earlier than expected, leaving behind its umbilical cord like a prematurely born soul, the cord through which the values of justice are transferred from its mother, and these values have the dimension of plurality. Law is born, but since it is separable from its genus, it does not carry much of the meaning of birth.
17
Mazzawi, Nisreen, and Amalia Sa'ar. "THE ḤAWĀKĪR OF NAZARETH: THE HISTORY AND CONTEMPORARY FACE OF A CULTURAL ECOLOGICAL INSTITUTION." International Journal of Middle East Studies 50, no. 3 (August 2018): 537–56. http://dx.doi.org/10.1017/s0020743818000764.
Full textAbstract:
AbstractThis article documents the ḥawākīr of Nazareth. Once widespread in the city, these traditional domestic gardens were integral to households of all economic backgrounds. They served as a space for work and socializing, constituted a center of collective (extended family) life, and provided a wide diversity of crops. However, in recent decades ḥawākīr have disappeared rapidly as new houses were built overtop them and residents’ tastes changed. Today people prefer gardens with green lawns and flowers. Intended strictly for recreation and ornament, this new kind of garden acts as a marker of privacy and economic success. We use ethnographic data to provide detailed descriptions of historical and contemporary examples of the traditional garden. The analysis dwells on the resonances between changing practices around and meanings of ḥawākīr and the changing character of the urban landscape, on the value of ḥawākīr as sites of attachment and identity, and on the potential of their revival to generate urban sustainability.
18
Jouxtel, Pascal. "Rituals and routines." Society and Business Review 14, no. 1 (February 11, 2019): 93–111. http://dx.doi.org/10.1108/sbr-03-2018-0029.
Full textAbstract:
Purpose The terms rituals and routines are often conflated in everyday speech about teams, which betrays a common ontology. Yet these concepts have long been researched in two segregated currents of thought: one stemming from sociology and anthropology, focused on the quality of togetherness and the other from evolutionary economics, focused on market performance. The common ontology is nevertheless present in the processual nature of rituals and routines, the underlying shared reference to the “structure-action-artifact” triad and the statement that both are sources of change as well as stability. This paper aims to assess the pertinence of a joint approach. Design/methodology/approach The paper presents a historical and contrasted view on the two concepts. A comprehensive field observation of two teams in mid-term organizational change contexts, focused on collective “doings”, is reported. The tentative “binocular lens” was made of two chosen sets of variables, drawn from the theoretical fields of rituals and organizational routines. Findings The distinction between rituals and routines in people’s perception, though largely confused, nonetheless reveals the tension between variable and opposing demands for both change and stability from the team side and from the organization side. Their joint action is effective in enhancing the team’s feelings of confidence and control over its own performance and its future within the organization. Research limitations/implications This paper is supported by a comparison of only two teams, leaving room for further empirical research about the effects of endogenous rituality and localized routines on autonomy, efficiency and pride. Originality/value This paper offers a new theoretical joint view on the two concepts and explores an endogenous potential for organizational change feeding on emotional and symbolic aspects of team work.
19
Gani, Abdul. "RELIGIUSITAS PADA KUMPULAN CERITA SI PALUI DI SURAT KABAR BANJARMASIN POST EDISI BULAN RAMADAN." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 9, no. 2 (December 7, 2019): 142. http://dx.doi.org/10.20527/jbsp.v9i2.7478.
Full textAbstract:
Abstract Religiousity in the Collection of Cerita si Palui in the Newspapers ofBanjarmasin Post, edition of Ramadhan. This study examines the religiousity ofCerita si Palui in the Newspapers of Banjarmasin Post, edition of Ramadhan months of 2014-2016. The result obtained are as follows: (1) the value of theideological dimension found in the collection of Cerita si Palui in the newspaper ofBanjarmasin Post consists of three parts: showing that Islam is truly a religion ofmonotheism , the Oneness of God (Tauhid) and the Oneness Of moral. The value ofthe ideological dimension shows that Islam is a truly monotheism, a belief in itsGod. God’s belief is single or personal and the belief in doing God’scommandments. The value of the ideology dimension of God’s Oneness (Tauhid) isto look humanity as equal in the eyes of God. Meanwhile, the value of theideological dimension of moral imbalance is the realization of the existence ofGod, the faithfulness to his angels and the belief in his books. (2) the value of thedimension of rituality (religious practice) found in the collection of Cerita si Paluiin the newspapers of Banjarmasin post, edition of Ramadhan monts consists of twoparts of ritual and obediens. The value of the ritual dimension is a formal religiousact and sacred practice that expect the adherents to perform and the moment whenone can perform the concentration of worship in the month of Ramadhan.Meanwhile, the value of the dimension of obedience is a form of obedience to Godby performing worship: praying and fasting. Key words: religiousity, cerita si Palui in Ramadhan month Abstrak Religiusitas pada Kumpulan Cerita si Palui di Surat Kabar Banjarmasin PostEdisi bulan Ramadan. Penelitian ini mengkaji religiusitas pada Kumpulan Ceritasi Palui di surat kabar Banjarmasin Post Edisi Bulan Ramadan 2014-2016. Hasilpenelitian yang diperoleh adalah sebagai berikut. (1) Nilai dimensi ideologi(keyakianan) yang ditemukan pada kumpulan cerita si Palui di surat kabarBanjarmasin Post edisi bulan Ramadan terdiri dari tiga bagian, yaitumenunjukkan bahwa Islam benar-benar agama monotheisme, Ke-Eseaan Tuhan(Tauhid) dan Ke-Eseaan Moral. Nilai dimensi ideologi yang menunjukkan bahwa Islam benar-benar monotheisme ialah keyakinan terhadap Tuhannya, KeyakinanTuhan itu tunggal atau personal, dan keyakinan menjalankan perintah-perintahAllah. Nilai dimensi ideologi Ke-Eseaan Tuhan (Tauhid) ialah Memandang umatmanusia sama derajatnya di mata Tuhan. Sedangkan, nilai dimensi ideologi KeEsaanmoralialahkeyakiananadanyaAllah,keyakianankepada malikat-malaikatNyadan keyakinan kepada kitab-kitab-Nya. (2) Nilai dimensi ritualitas (praktekagama) yang ditemukan pada kumpulan cerita si Palui di surat kabar BanjarmasinPost edisi bulan Ramadan terdiri dari dua bagian ritual dan ketaatan. Nilaidimensi ritual ialah tindakan keagamaan formal dan praktik-praktik suci yangmengharapkan para pemeluknya melaksankan dan momen ketika seseorang bisamelakukan konsentrasi beribadah yaitu bulan Ramadan. Sedangkan, nilai dimensiketaatan sebuah bentuk ketaatan kepada Tuhan dengan melakukan ibadah, yaitusalat dan puasa. Kata-kata kunci: religiusitas, cerita si Palui bulan Ramadan
20
Szacka, Léa-Catherine. "Insight: life, death, and ephemerality of Postmodern Architecture." Architectural Research Quarterly 22, no. 3 (September 2018): 271–74. http://dx.doi.org/10.1017/s1359135518000659.
Full textAbstract:
In De Arquitectura, Vitruvius lists three interrelated Latin terms – firmitas (strength or structural stability), utilitas (functionality or appropriate spatial accommodation), and venustas (beauty or attractive appearance), as being the basis of good architecture. Regarding firmitas, he implies that a good architect needs to choose the best and most solid materials, regardless of their cost. Yet, perhaps dismissing Vitruvius's advice, in the late 1970s and early 1980s, most Postmodern architects went on to erect buildings that often looked more like stage sets than anything strong and durable.Postmodern designers applied colour, pattern, and ornament to buildings, transferring ordinary and everyday popular imagery, forms, and material into high culture. By rejecting modern design and aesthetics, they also dismissed the building techniques and materials used by their predecessors. As explained by experts from the Portland-based architecture firm Peter Meijer Architect, PC (PMA), ‘there is an inherent impermanence of the original materials based on a default decision making process that limited a building's longevity to a twenty-five year life-cycle’ for Postmodern architecture. In other words, Postmodern buildings were often built as ephemeral constructions, for which longevity was not an absolute value.
21
Abroe, Betsy, Julia C. Garvin, Marc C. Pedersen, Linda A. Whittingham, and Peter O. Dunn. "Brood Sex Ratios are Related to Male Size but not to Attractiveness in Common Yellowthroats (Geothlypis Trichas)." Auk 124, no. 1 (January 1, 2007): 176–84. http://dx.doi.org/10.1093/auk/124.1.176.
Full textAbstract:
Abstract When the reproductive value of sons differs from that of daughters, selection will favor broods biased toward the sex that can provide greater fitness benefits. In species where female choice is based on male ornamentation, females mated to highly ornamented males may experience a reproductive advantage by skewing the brood sex ratio toward sons. In the Common Yellowthroat (Geothlypis trichas), males with larger black facial masks are more likely to gain a social mate and sire extrapair young and, as a result, have increased seasonal reproductive success. Females mated to larger-masked males could benefit if they produced more sons. Given that larger- masked males are preferred as extrapair sires, females may also benefit by producing more extrapair sons. We tested these hypotheses during a five-year study of Common Yellowthroats in Wisconsin. Contrary to our predictions, females did not produce more sons when mated to males with larger masks, and extrapair young were not more likely to be male. However, sons were more likely to be sired by males with longer tarsi, which suggests that females may respond to male body size rather than to male ornament size. El Cociente de Sexos en las Nidadas Está Relacionado con el Tamaño de los Machos pero no con el Atractivo en Geothlypis trichas
22
Baykaoglu, Nursel, and Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 85–92. http://dx.doi.org/10.18844/gjae.v10i1.4793.
Full textAbstract:
Forming one of the most important branches of our culture and traditional arts, embroidery was born by sewing in a decorative way and it is worth mentioning that it is as early as humanity. Embroidered clothing on the sculptures excavated and the narration that the daughter of Noah in Hebrew history wears an embroidered belt shows that this branch of art goes back to earlier times. Hand embroidery, which is the products of intelligence, skill and subtle wit, has reached the current time by preserving its value. Out of a great many embroidery techniques reaching large public masses, a technique called ‘German Embroidery’ was encountered in the researches carried out in the city of Kahramanmaras and its towns in the years 2013–2014. According to the information obtained from the source people in the research carried out in the city of Kahramanmaras, German Embroidery dating back to earlier times is not produced today; however, we are likely to find pillows, clothes and dresses embroidered with German Embroidery in houses. In the current paper, embroidery samples were determined in order to unveil this technique that was embroidered on any kind of cloth with a plain surface and it was aimed to make the embroidery alive and to promote it by analysing the way of embroidering. Keywords: Embroidery, ornament, technique, traditional.
23
Marwiya, Arfatul, Zulkifli Zulkifli, Sugito Sugito, and Muslim Muslim. "ANALISIS ESTETIS KARYA KERAJINAN KAIN PERCA SISWA KELAS VII SMP NEGERI 1 BERINGIN KABUPATEN DELI SERDANG." Gorga : Jurnal Seni Rupa 7, no. 2 (December 30, 2018): 267. http://dx.doi.org/10.24114/gr.v7i2.11894.
Full textAbstract:
AbstrakPenelitian ini bertujuan untuk meningkatkan hasil belajar siswa pada pelajaran prakarya, khususnya pada materi pelajaran kerajinan limbah kain perca dan mengetahui pemanfaatan limbah kain perca menjadi produk kerajinan tangan kain perca sarung kotak tisu dan mengetahui kualitas estetis karya kerajinan tangan kain perca sarung kotak tisu yang dihasilkan siswa kelas VII SMP Negeri 1 Beringin Kabupaten Deli Serdang. Penelitian ini menggunakan metode penelitian kualitatif dengan sampel 20 karya kerajinan kain perca sarung kotak tisu siswa kelas VII yang diambil menggunakn teknik Cluster Random Sampling. Instrumen penelitian ini menggunakan tes membuat karya kerajinan kain perca sarung kotak tisu. Teknik analisis data yang digunakan analisis deskriptif.Berdasarkan hasil penelitian dapat disimpulkan bahwa secara keseluruhan siswa telah menghasilkan karya kerajinan limbah kain perca berupa sarung kotak tisu. Secara keseluruhan tingkat kualitas estetis karya kerajinan kain perca pada kelas VII-1 SMP Negeri 1 Beringin Kabupaten Deli Serdang yaitu dari aspek bentuk, warna, ornamen/hiasan, dan nilai fungsi dikategorikan cukup baik. Dari aspek bentuk kerajinan secara umum memperoleh jumlah nilai rata-rata cukup baik karena, secara keseluruhan bentuk dari karya kerajinan sarung kotak tisu siswa belum tersususn secara baik dalam kesatuan yang harmonis dan bentuk yang sempurna. Aspek warna secara umum memperoleh nilai rata-rata cukup baik, karena secara keseluruhan warna dari karya kerajinan sarung kotak tisu siswabelum terdapat warna yang harmonis dan kesesuaian warna dengan unsur lain. Aspek ornamen atau hiasan secara umum memperoleh jumlah nilai rata-rata cukup baik, karena secara keseluruhan ornamen atau hiasan dari karya kerajinan sarung kotak tisu siswa tampak kurang rapi, unik, menarik dan harmonis dengan unsur lain. Dan aspek nilai fungsi secara umum memperoleh jumlah nilai rata-rata cukup baik, namun secara keseluruhan nilai fungsi dari karya kerajinan sarung kotak tisu siswa sudah memiliki nilai fungsi yang ergonomis.Kata Kunci: nilai estetis, kerajinan, kain percaAbstractThis study aims to improve students’ learning achievement at the craft lesson, especially for the lesson material about the handicraft made of rag and to find out the use of the rag in order to make one handicraft product, namely sarong tissue boxes and to find out the aesthetic quality of sarong tissue boxeshandicraft made of rag, which is made by students of seventh (VII) grade of SMP Negeri 1 Beringin Deli Serdang. The study used qualitative research design with 20 products of rag sarong tissue boxes made by seventh (VII) grade students which is taken by using cluster random sampling technigue. The instrument of the study use a test how to make rag sarong tissue boxes. The technigue of data analysis is descriptive analysis. Based on the research finding, it is concluded that all the students made rag sarong tissue boxes handicraft the level 07. The aesthetic quality on them made by VII-1 classs SMP Negeri 1 Beringin Deli Serdang which consist of some aspects, namely shape, colour, ornament/decoration, and function value can be categoryzed at fair level. From the shape aspect totally is got the fair score because the shape of all rag sarong tissue boxes have ast been ordered well in harmonious unity and perfect form. The colour aspect is got the fair score, because totally the colour of students’ rag sarong tissue boxes handicraft have not used harmonious calour and unmatching colour to another element. Overall, the ornament aspect or decoration got fair score, because all the ornaments or the decoration of students’ rag sarong tissue boxes handicraft looked less neat, less unigue and less atractive and less harmonic to another element and the function value aspect got fair score but overall the function value of the students’ rag sarong tissue boxes already had ergnoic function value.Keywords: aesthetic value, patchworks craft
24
Cakabawa Landra, Putu Tuni. "Hukum Investasi dalam Industrialisasi Kepariwisataan Bali." Jurnal Magister Hukum Udayana (Udayana Master Law Journal) 7, no. 1 (May 28, 2018): 100. http://dx.doi.org/10.24843/jmhu.2018.v07.i01.p09.
Full textAbstract:
The threat to agrarian culture values which that why becomes investment object of itself tourism, marked practice of investment of tourism denying cosmology Tri Hita Karana. In other words, implementation of the development of investment of tourism through an institution of investment law in Province of Bali looks on inconsistent applying of law which ended at becoming disappears it itself culture tourism. The investment performance of Tourism in Province of Bali spelled out members hardly phenomenal, followed by the destruction of a norm, structural and source of economics as a result of arranging value liberalistic and individualistic sticking at investment law, with ideology Tri Hita Karana placing forward togetherness principles and balance, runs with the logic is himself. Tourism in Provinsi Bali, which is a manifestation of ideology value totality Tri Hita Karana, where culture is the main specification besides geographical uniqueness and life of its the rituality. Tri Hita Karana becomes a kind of commitment of value about understanding about life, how life must be experienced, and leading base consensus coexists. The arrangement of investment law is not accommodated to this Tri Hita Karana ideology, even in By Law and also development philosophy Province of Bali is affirmed Tri Hita Karana is development manual of Bali in general, and or especially expansion philosophy of cultural tourism. As a result, where ever is happened inconsistency law applying, is beginning from regulation of investment law which just making account of vertical synchronization with higher level regulation or which below his its, and harmonization with regulation on an equal.
Objek investasi pariwisata di Bali yang sesungguhnya berakar dari nilai-nilai budaya agraris semakin terancam terlihat dari praktik investasi pariwisata yang semakin inkonsisten dengan fisolofi Tri Hita Karana. Tulisan ini bertujuan untuk mengkaji keberadaan hukum investasi dalam pembangunan investasi pariwisata di Bali dalam kaitannya dengan nilai-nilai dan prinsip Tri Hita Karana. Metode yang dipergunakan adalah metode penelitian hukum doktrinal, dengan pendekatan perundang-undangan serta pendekatan konsep, serta dianalisis secara kualitatif. Hasil studi menunjukkan bahwa pembangunan investasi pariwisata di Provinsi Bali inkonsisten dengan nilai filosofi Tri Hita Karana, yang ditandai kian menghilangnya pariwisata budaya itu sendiri. Capaian investasi pariwisata di Propinsi Bali yang sangat fenomenal, diikuti oleh keberantakan nilai, norma, struktur dan sumberdaya ekonomi akibat tata nilai liberalistik dan individualistik yang melekat pada hukum investasi. Filosofi Tri Hita Karana mengedepankan prinsip-prinsip kebersamaan dan keseimbangan, sudah seharusnya kepariwisataan di Bali dengan budaya sebagai kekhasan utama, keunikan geografis, dan kehidupan ritualitasnya konsisten dengan Tri Hita Karana. Tri Hita Karana menjadi semacam komitmen nilai tentang pemahaman mengenai hidup, bagaimana hidup harus dijalani, serta konsensus dasar yang menuntun hidup bersama. Pengaturan hukum investasi tidak akomodatif terhadap ideologi Tri Hita Karana., meskipun dalam Peraturan Daerah maupun falsafah pembangunan Provinsi Bali ditegaskan Tri Hita Karana merupakan penuntun pembangunan Bali. Akibatnya, terjadi inkonsistensi penerapan hukum, yang bermula dari regulasi hukum investasi yang hanya sekedar mementingkan sinkronisasi vertikal dengan peraturan yang lebih tinggi atau di bawahnya, dan harmonisasi dengan peraturan perundangan sederajat. Solusinya, penting adanya konstruksi hukum Peraturan Daerah semi-otonom.
25
Chapman, Alison Georgina. "Apple Pips, Fruit Stains, and Clammy Juice." Nineteenth-Century Literature 75, no. 3 (December 2020): 372–98. http://dx.doi.org/10.1525/ncl.2020.75.3.372.
Full textAbstract:
Alison Georgina Chapman, “Apple Pips, Fruit Stains, and Clammy Juice: Nature’s Ornaments and the Aesthetics of Preservation in Thomas Hardy's The Woodlanders” (pp. 372–398) This paper explores Thomas Hardy’s representation of the natural world as ornamental in The Woodlanders (1887). Previous critics have pointed to the ornate and artificial descriptions of the environment to argue that nature is strangely absent in The Woodlanders. However, I argue that Hardy sees ornamental aesthetics as uniquely capable of representing ecology. As a mode that appeals to the senses while resisting interpretation, ornament captures how nature can be simultaneously overbearing in its influence over, and remote as a source of consolation to, its human interlopers. Moreover, ornament’s formal openness—specifically its capacity for endless embellishments—is better suited to nature’s mutability and inherent complexity. This adaptive, combinatory capacity proves to be a central aesthetic value for Hardy. In his architectural writing, the author argues that old buildings must be preserved from renovators who would replace these monuments’ eccentric, bric-a-brac histories with simplified, formally coherent structures. Hardy’s concern here is not only aesthetic but also ecocritical, as the author notes that such renovations often entail massive amounts of waste. Ornamental complexity and its capacity for adaptation, repurposing, and reuse thus yoke together Hardy’s interests in historic preservation, aesthetics, and ecology. By reading The Woodlanders as an ornamental novel, this essay shows how Hardy’s decorous style is part of a broader ecological and ethical project.
26
Chapman, Alison Georgina. "Apple Pips, Fruit Stains, and Clammy Juice." Nineteenth-Century Literature 75, no. 3 (December 2020): 372–98. http://dx.doi.org/10.1525/ncl.2020.75.3.372.
Full textAbstract:
Alison Georgina Chapman, “Apple Pips, Fruit Stains, and Clammy Juice: Nature’s Ornaments and the Aesthetics of Preservation in Thomas Hardy's The Woodlanders” (pp. 372–398) This paper explores Thomas Hardy’s representation of the natural world as ornamental in The Woodlanders (1887). Previous critics have pointed to the ornate and artificial descriptions of the environment to argue that nature is strangely absent in The Woodlanders. However, I argue that Hardy sees ornamental aesthetics as uniquely capable of representing ecology. As a mode that appeals to the senses while resisting interpretation, ornament captures how nature can be simultaneously overbearing in its influence over, and remote as a source of consolation to, its human interlopers. Moreover, ornament’s formal openness—specifically its capacity for endless embellishments—is better suited to nature’s mutability and inherent complexity. This adaptive, combinatory capacity proves to be a central aesthetic value for Hardy. In his architectural writing, the author argues that old buildings must be preserved from renovators who would replace these monuments’ eccentric, bric-a-brac histories with simplified, formally coherent structures. Hardy’s concern here is not only aesthetic but also ecocritical, as the author notes that such renovations often entail massive amounts of waste. Ornamental complexity and its capacity for adaptation, repurposing, and reuse thus yoke together Hardy’s interests in historic preservation, aesthetics, and ecology. By reading The Woodlanders as an ornamental novel, this essay shows how Hardy’s decorous style is part of a broader ecological and ethical project.
27
Al-Hajebi, Abdulghani. "Les récits de voyage épistolaires en Arabie au XVIIIe siècle." Estudios Románicos 28 (December 20, 2019): 11–30. http://dx.doi.org/10.6018/er/377131.
Full textAbstract:
Narratives of travel to Arabia in the eighteenth century are often stories written during the journey. These letters form after the return of the traveler the matter of a story published by the traveler himself or by a publisher. The letter that constitutes the travel narrative is usually of particular value: it gives the story a more real character. Based on an analysis of four epistolary travel relationships, this article's main objectives are to prove the presence of letters in travelogues in Arabia, to demonstrate the functions and characteristics of these letters, the originality and specificity of each epistolary narrative. Our study focuses on the letter as a narrative, and not as a mere ornament or circumstantial element related to the course of the action. Les récits de voyage en Arabie au XVIIIesiècle sont souvent des récits par lettres écrites pendant le voyage. Ces lettres forment après le retour du voyageur la matière d’un récit publié par le voyageur lui-même ou par un éditeur. La lettre qui constitue le récit de voyage possède en général une valeur particulière : elle donne au récit un caractère plus réel. Basé sur une analyse de quatre relations de voyage épistolaires, cet article a pour principaux objectifs de prouver la présence des lettres dans les récits de voyage en Arabie, de démontrer les fonctions et les caractéristiques de ces lettres, l’originalité et la spécificité de chaque récit épistolaire. Notre étude se focalise sur la lettre en tant que récit, et non comme simple ornement ou élément circonstanciel lié au déroulement de l’action.
28
Nurcahyani, Luh Putu Ayu Depi, I. Wayan Gede Astawa Karang, and Widiastuti Karim. "Laju Pertumbuhan dan Tingkat Kelangsungan Hidup Transplantasi Karang Acropora secale di Pantai Serangan dan Pantai Geger, Bali." Journal of Marine and Aquatic Sciences 4, no. 2 (November 10, 2017): 297. http://dx.doi.org/10.24843/jmas.2018.v4.i02.297-303.
Full textAbstract:
The status of Indonesian coral reefs are in fair to poor categories, therefore it requires more approaches in order to recover the natural ecosystem. One of the reef restoration method is coral transplantation. Genus Acropora is one of the main constituent of reefs in the Indo-Pacific waters. Reef transplantation may not only rehabilitate the damaged reef, but also an effective way to collect coral for economic purposes. Acropora secale has high economic value as aquarium ornament, however it is vulnerable to the environmental stress and marine pollution. Therefore, finding the suitable transplantation location is one of important part in the transplantation. The objective of this research is to investigate the growth of transplant A. Secale at Serangan and Geger Beach which has different morphology feature. A. secale was Transplanted for 3 months on the 2 x 1 m table with 16 fragments and observed each week. The results obtained are total growth and growth rate of A. secale transplanted on Serangan Beach is significant higher than Geger Beach (P<0.05). The total growth of A. secale on Serangan Beach is higher by 0,83 cm, wider by 0,61 cm, and branches are more 7 branches than Geger Beach. The growth rate of A. secale at Serangan Beach was higher by 0,27 cm/month and wider by 0,21 cm/month than Geger Beach. The survival rate of A. secale on Serangan Beach and Geger Beach is 100% which means that all transplanted corals survive until the end of the study.
29
Izzati, Fauziana, Yuniarti Munaf, and Dharsono SK. "ORNAMEN PADA MASJID TUANKU PAMANSIANGAN NAGARI KOTO LAWEH KABUPATEN TANAH DATARSUMATERA BARAT." Gorga : Jurnal Seni Rupa 7, no. 2 (October 9, 2018): 101. http://dx.doi.org/10.24114/gr.v7i2.10920.
Full textAbstract:
AbstrakMasjid Tuanku Pamansiangan merupakan masjid yang mempunyai nilai sejarah serta memiliki ornamen khas Minangkabau. Adapun motif -motif yang terdapat pada masjid yaitu: pucuak rabuang, sakek tagantuang, pandan tajulai, sikambang manih, aka cino, saik galamai, mangkuto, kuciang lalok, dan kaligrafi. Warna-warna yang terdapat pada ormanen masjid Tuanku Pamansiangan yaitu: merah, hijau putih, dan coklat keemasan. Ornamen yang terdapat pada masjid Tuanku Pamansiangan diterapkan pada tiang-tiang masjid, mimbar, dinding, serta jendela-jendela masjid. Adapun fungsi ornamentasi pada masjid Tuanku Pamansiangan yaitu sebagai penghias permukaan atau bidang-bidang pada bangunan tersebut, selain itu juga memiliki fungsi simbolis dapat ditemukan dalam bentuk ornamentasi berbentuk kaligrafi yang berisikan penjelesan tentang tahun pembuatan mesjid serta tahun selesai pembangunannya. Kata Kunci :Masjid, Ornamen, Bentuk, Fungsi AbstractTuanku Pamansiangan Mosque is a mosque that has historical value and has a typical Minangkabau ornament. The motives found in the mosque are: rabuang pucuak, sakek tagantuang, pandan tajulai, sikambang manih, aka cino, saik galamai, mangkuto, kuciang lalok, and calligraphy. The colors found in the Tuanku Paman mosque are: red, white, green and golden brown. Ornaments in the Tuanku Pamansiangan mosque are applied to mosque pillars, pulpits, walls, and mosque windows. The ornamentation function of Tuanku Pamansiangan mosque is to decorate the surface or fields in the building, but it also has a symbolic function which can be found in the form of ornamentation in the form of calligraphy which contains descriptions of the year of the mosque and the year of its construction.. Keywords:Masjid, Ornaments, Shapes, Functions
30
Chaudhary, Sujan, Gyanu Thapa Magar, Shiv Nandan Sah, and Sanju Parajuli. "Ethnic Plants of Tharu Community of Eastern Nepal." International Journal of Applied Sciences and Biotechnology 8, no. 2 (June 25, 2020): 223–30. http://dx.doi.org/10.3126/ijasbt.v8i2.28325.
Full textAbstract:
Ethnobotany is the study of ethnic plants of particular people living in particular place. It accommodates list, details and description of all those studied plants regarding with their various uses. Tharu people belong to one of the indigenous communities especially in Terai region of Nepal. Tharu people have been using these plant resources since 18th century. This study aims to identify ethnic plants of Tharu community of eastern Nepal and their uses in their daily lives. Enumeration of useful plants from Tharu ethnic community was conducted in four villages of Ramdhuni municipality of Sunsari district. Participatory Rural Appraisal (PRA) and household sampling technique were used for data collection. Plant specimens were collected and information regarding it was obtained from local Dhamis, Jhankris, farmers and old age people. This study reported thirty-seven useful plant species under 25 families. In total 37 species, 25 were recorded as medicinal plant, used to treat pneumonia, menstrual disorder, stones, piles, skin disease etc. Other plant species were used for food, fodder, timber, fiber and ceremonial/ religious activities. Most plant species (78.3%) were having multiple use value, and kept under more than one use category and few species (21.7%) with single use category. Trees (27.02%) and herbs (27.02%), both were dominant over grass, shrubs, climbers and creepers. This study has revealed that many plants species are being used by Tharu community of Eastern Nepal as their ethnic plants for medicine, food, fodder, ornament, material etc which needs to be more explored.
Int. J. Appl. Sci. Biotechnol. Vol 8(2): 223-230
31
Crutchfield, Will. "The Prosodic Appoggiatura in the Music of Mozart and His Contemporaries." Journal of the American Musicological Society 42, no. 2 (1989): 229–74. http://dx.doi.org/10.2307/831657.
Full textAbstract:
The existing literature on appoggiatura conventions in vocal music of Mozart's time, though it has peered under many of the right rocks, is hampered by three problems of focus. One is that a largely specious distinction has arisen between the application of these conventions to recitative and to measured music. A second is the failure of some investigators to distinguish sufficiently the prosodic appoggiatura (a dissonance applied to express the weight of an accented syllable) from the ornamental or expressive appoggiatura (the same musical value employed independently of any prosodic mandate)-with the result that theorists' discussions of the latter practice have been applied misleadingly to the former. Third, the appoggiatura requires to be understood in the context of a range of devices used to "lean" on accented syllables, of which the familiar alteration of the first note in a pair is the simplest example. The present paper employs theoretical works, annotated performance materials, instrumental transcriptions, and internal evidence of scores to examine the appoggiatura in Mozart's time. The conclusions are: 1) The prosodic appoggiatura was not, during that time, understood as an optional nuance, ornament, or expressive device, but rather as a simple principle of execution. 2) Although there are still some passages in which it it is open to question whether a prosodic appoggiatura would have been required, they are fewer than previous accounts have suggested, and almost always related to special musical factors that are readily identifiable. Different ways of executing the appoggiatura are also surveyed briefly at the end of the paper.
32
Bernal, María Dolores Capelo, Pedro Araújo Pinzón, and Warwick Funnell. "Accounting for the male domination through legislative empowerment of upper-middle class women in the early nineteenth century Spain." Accounting, Auditing & Accountability Journal 31, no. 4 (May 21, 2018): 1174–98. http://dx.doi.org/10.1108/aaaj-04-2014-1664.
Full textAbstract:
Purpose The purpose of this paper is to address both the neglect of non-Anglo-centric accounting gendered practices beyond the predominant professional setting and the controversial roles of women and accounting in power relationships inside the household. Analyzing a Spanish upper-middle class Catholic family in the early nineteenth century, the research focuses on the reciprocal interaction of accounting with practices and processes of daily life in a rigid patriarchal socio-cultural and juridical context. Design/methodology/approach This microhistory draws upon several archives, including in Spain the Archivo Histórico Provincial de Cádiz. In England, the Bath Record Office has preserved documents and correspondence, both personal and business related, and the Worcester Record Office preserved notarial documents concerning the family. The large number of letters which have survived has facilitated an in-depth study of the people who were affected by accounting calculations. Findings In a juridical context where women were conceived as merely the means for the circulation of property between two families, the evidence shows that accounting provided the proof of women’s patrimony value and the means to facilitate their recovery in this cosification process. Although women had a little involvement in the household’s accounting and management, they demonstrated confidence in accounting, fulfilling a stewardship function for the resources received. Also, evidence shows that by using accounting practices to shield supposedly defenseless women, this reinforced male domination over women and promoted the view that the role of women was as an ornament and in need of a good husband. Originality/value Contrasting with the Anglo-Saxon contemporary context, the Spanish law preserved a woman’s property rights, guaranteeing recovery of properties owned by her before marriage should the marriage be legally annulled or be dissolved because one of the spouses’ death. This required a detailed accounting of the wife’s properties brought to her marriage, most especially regarding the dowry provided by her family.
33
Batubara, Nur Hasanah, Mesra Mesra, and Daulat Saragi. "PENGARUH KEMAMPUAN MENGGAMBAR RAGAM HIAS TERHADAP HASIL BELAJAR KRIYA BATIK SISWA KELAS X SMK SWASTA MANDIRI PERCUT SEI TUAN." Gorga : Jurnal Seni Rupa 8, no. 2 (December 2, 2019): 382. http://dx.doi.org/10.24114/gr.v8i2.15620.
Full textAbstract:
AbstrakPenelitian ini bertujuan untuk mengetahui apakah ada pengaruh kemampuan menggambar ragam hias terhadap hasil belajar kriya batik dan seberapa besar pengaruh kemampuan menggambar ragam hias terhadap hasil belajar kriya batik. Adapun populasi dalam penelitian ini seluruh siswa kelas X SMK Swasta Mandiri Percut Sei Tuan dengan jumlah 357 siswa yang terdiri dari 11 kelas dan jumlah sampel sebanyak 1 kelas berjumlah 25 siswa yang diambil secara acak dengan menggunakan teknik cluster random sampling. Hasil penelitian menunjukkan bahwa hasil belajar materi menggambar ragam hias lebih tinggi dari hasil belajar materi kriya batik. Hasil belajar menggambar ragam hias memperoleh nilai rata-rata sebesar 82,44, sedangkan nilai rata-rata kriya batik sebesar 78,64. Berdasarkan uji hipotesis nilai yang diperoleh yaitu 5,7768, dibandingkan dengan nilai berdasarkan tabel distribusi t pada taraf signifikansi α = 0,05 terdapat nilai 2,010. Dengan demikian nilai > = 5,7768 > 2,010 menunjukkan bahwa terdapat pengaruh signifikan kemampuan menggambar ragam hias terhadap hasil belajar kriya batik siswa kelas X SMK Swasta Mandiri Percut Sei Tuan T.A. 2019/2020. Besar sumbangan (kontribusi) diperoleh (koefisien penentu/indeks determinasi) = 17%, artinya bahwa kemampuan menggambar ragam hias (X) memberikan kontribusi atau masukan atau sumbangan terhadap hasil belajar kriya batik (Y) dengan rata-rata sebesar 17%, sisanya ditentukan oleh faktor lain atau variabel lain. Kata Kunci: menggambar ragam hias, kriya batik.AbstractThis study aims to determine whether there is an influence of ability draw a variety of decoration on the learning outcomes of batik crafts and how large the influence of the ability to draw ornament on the learning outcomes of batik crafts. The population in this study were all grade X student of SMK Mandiri Private Percut Sei Tuan with 357 students consisting of 11 classes and numbers a sample of 1 class totaling 25 students were taken randomly with using a cluster random sampling technique. The results showed that learning outcomes of ornamental diversity drawing material is higher than learning outcomes batik craft materials. The result of learning to draw decorative figures have an average value an average of 82,44, while the average value of batik crafts is 78,64. Based on the hypothesis test the value of obtained is 5,7768, compared with the value of ttable based on the distribution table t at the significance level α = 0.05 there is a value of 2,010. Thus the value of > = 5,7768 > 2,010 shows that there is a significant influence on drawing ability ornamental variety of batik handicraft learning outcomes of class X SMK Mandiri Private Percut Sei Tuan T.A 2019/2020. The amount of contribution is obtained (determinant coefficient/determinant index) = 17%, meaning that ability draw decorative colors (X) contribute or input or contribution to batik learning outcomes (Y) with an average of 17% the rest is determined by other factors or other variables. Keywords: drawing ornamental variety, batik craft.
34
Belonogova, Lyudmila N., Aleksey M. Sokolov, and Svetlana V. Bogatova. "GAMIFICATION AS A MECHANISM OF PATRIOTIC EDUCATION OF THE YOUNGER GENERATION." Yaroslavl Pedagogical Bulletin 117, no. 6 (2020): 49–55. http://dx.doi.org/10.20323/1813-145x-2020-6-117-49-55.
Full textAbstract:
The article presents the experience of using gaming technologies and gamification in the patriotic education of the younger generation. The authors consider the features of Z generation (iGeneration), parameters for their successful learning. The article presents approaches to patriotic education. In the article the basis and purpose of patriotic education are considered as patriotic consciousness as a result of the development of the initial concrete-sensory perception of the surrounding world. The authors disclose the criteria for the formation of patriotic consciousness – motivationalvalue, cognitive and behavioral. The author's set of games is presented, the mechanics of which are universal and can be applied in the patriotic education of preschool and school age children in any region of the Russian Federation. The complex of games is united in the project «Welcome to the city of Technoinnovations», which is part of the system of additional education and is designed to instill love and interest in the native land through the use of information technology, to provide a wide range of additional knowledge and help to form the necessary social and 4K competencies. The complex includes the following elements: conducting a city tour using robotics and QR-coding technology; creation of virtual city tours for schoolchildren; development of educational board games of regional content using Photoshop; design of the Simbirsk national ornament using the Scratch programming language; creation of the ABC of the hometown using the Power Point program; creating puzzles «Hometown Streets» using a puzzle generator. The implementation of these network projects contributes to the formation of motivational-value, cognitive and behavioral components of patriotism in the younger generation.
35
Білий, В. Д. "АКАДЕМІЧНІ ДИСЦИПЛІНИ У ПІДГОТОВЦІ ФАХІВЦІВ ДЕКОРАТИВНО-ПРИКЛАДНОГО МИСТЕЦТВА: РИСУНОК." Art and Design, no. 2 (August 11, 2021): 75–84. http://dx.doi.org/10.30857/2617-0272.2021.2.7.
Full textAbstract:
Purpose: to analyze the value of theoretical and practical knowledge and skills obtained in the study of Academic Drawing by students of the Decorative and Appling Art`s Department of the Kosiv Institute of Applying and Decorative Art LNAA. Methodology. Analytical and comprehensive approaches to the subject of research, structural analysis, observation and modeling methods, as well as comparative analysis were used, which made it possible to identify the features of drawing techniques` using in the realization of decorative and applied art projects. Results. The importance of the Drawing in the process of creating and making of decorative and applied art`s projects has been determined. It was revealed that for the realization, analysis of the form, its design (architectonics) and material is of particular importance, while the graphic means characteristic of a drawing is most often used to apply an ornament to the surface of the item. It is also important to sketching, aimed at theoretical comprehension of existing forms; search for new forms and designs in accordance with the previous idea. Special attention to the importance of the drawing in the education of students' aesthetic ideas and the creation of artistic and expressive works of art is paid. Scientific novelty of the paper lies in identifying the theoretical and practical skills and abilities that students of decorative and applied art`s specialties receive in the study of Academic Drawing and how they use them in the creating projects and art works based on the Kosiv Institute of Applying and Decorative Art LNAA. Practical significance. The obtained results into account in the process of teaching special disciplines can be taken, developing guidelines for them, in further scientific research.
36
Bai, Qian, Shuchai Su, Zhu Lin, Pingsheng Leng, and Wenhao Wang. "The Variation Characteristics and Blooming Phenophase of Monoecious Pistacia chinensis Bunge." HortScience 51, no. 8 (August 2016): 961–67. http://dx.doi.org/10.21273/hortsci.51.8.961.
Full textAbstract:
Pistacia chinensis Bunge is a pioneer tree for afforestation, and of high value as an ornament and for timber and medicine. It has also become the preferred biofuel tree in northern China in current years, with a broader development prospect. However, this development is seriously limited due to its dioecious character (separate sexes), because the male (nonfruit) trees are indispensable for pollination, and this leads to a waste of field and low yields. Fortunately, this bottleneck can be broken with the emergence of rare monoecious (having both female and male flowers, and even bisexual flowers) resources in Hebei Province, China. To determine their cultivation characteristics, the variation characteristics and blooming phenophase of local Pistacia were recorded with text, data, and images, by germplasm resources survey, telephone interviews, and field visits. Results showed that 1) 23 monoecious Pistacia were found, with very complex morphological features. 2) The branches of different gender types, ordered by inflorescence length were female > female on monoecious trees > bisexual flowers > inflorescence with male and female > male on monoecious trees > male. Ordered by inflorescence width: female > bisexual flower > female on monoecious trees > inflorescence with male and female > male on monoecious trees > male. Among these, the inflorescence length, inflorescence width, floret diameter, and floret spacing of bisexual flowers were significantly greater than that of male flowers, providing a basis to judge gender type without destructive sampling. 3) Gender types were unstable in successive years—female, male, mixed, or bisexual flowers could convert to another gender within 1 year, except that no female became male, and the overall trend was from male to mixed or bisexual gender in recent years. 4) The blooming phenophase changed a lot among different strains and sex types, which could enlarge the blooming period.
37
López de Munain, Gorka. "La decoración vegetal de Estíbaliz “ante el tiempo”. Fluctuaciones en los significados iconográficos a la luz de la historiografía artística = The botanical decoration of Estibaliz “Devant le temps”: Fluctuations of iconographic meaning in the light of artistic historiography." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 163. http://dx.doi.org/10.20318/revhisto.2019.4900.
Full textAbstract:
Resumen: La portada Speciosa de la iglesia de Nuestra Señora de Estíbaliz (Álava) cuenta con una decoración vegetal sumamente rica y variada. Sin embargo, los investigadores que se han ocupado de su estudio han aportado visiones radicalmente opuestas, dividiéndose entre quienes consideraban su decoración como mero ornato y quienes apreciaban complejos simbolismos comprensibles sólo a la luz de los textos sagrados. Este singular caso de estudio nos permitirá reflexionar sobre el propio acto de historiar y sobre el modo en el que se relacionan las imágenes con el tiempo y con las personas que protagonizan cada una de las etapas en las que éstas son reactivadas. En un caso particular en el que no es posible conocer las motivaciones o intenciones de los constructores de esta portada, comprobaremos el valor de apreciar esos otros instantes en los que las imágenes son reapropiadas para un nuevo uso, estudio o interpretación.Palabras clave: iconografía vegetal, Nuestra Señora de Estíbaliz, historiografía, Ramiro de PinedoAbstract: The Speciosa portal of the church of Our Lady of Estíbaliz (Álava) has a rich and varied botanical decoration. The researchers who have studied it have, however, developed radically opposed interpretations, dividing those who consider the decoration merely as ornament and those who appreciate complex symbolisms connected with sacred texts. This case study will allow us to think about the very act of historicising and about how the images are linked with time and with the people involved in every stage in which the images are reactivated. In a case such as this, where it is not possible to know the motivations or intentions of the builders of the portal, we will appreciate the value of considering those other instants in which the images are reappropriated to give them a new use, study or interpretation.Key words: botanical iconography, Our Lady of Estíbaliz, historiography, Ramiro de Pinedo.
38
Molodin, Vyacheslav I., Lyudmila N. Mylnikova, Marina S. Nesterova, Liliya S. Kobeleva, and Dmitrii A. Nenakhov. "Baraba Culture of Early Neolithic Period." Archaeology and Ethnography 19, no. 7 (2020): 69–73. http://dx.doi.org/10.25205/1818-7919-2020-19-7-69-93.
Full textAbstract:
Purpose. Based on the results of the study of materials of the Tartas-1 and Ust-Tartas-1 sites and radiocarbon dating, the article explores the Baraba culture of the early Neolithic era (VII thousand BC, entering the VIII and VI thousand BC). Results. The Neolithic parking lot, studied at Tartas-1, is represented by two structures, a smokehouse and a series of pits for storing fish. A significant number of finds from bone and stone have been found. The ceramic complex is of particular importance. These are flat-bottomed containers, made in the technique of orderly patchwork, using a molding cord on the top of the vessel, and roller-flow around the perimeter of the bottom. The ornament is represented by a complex plot of an asymmetrical composition. The stone industry is characterized as plate-like with a high value of linear technology. The absence of stone arrowheads is characteristic of this. Fish was harvested in pits. At different stages of operation, corpses of different animals were placed inside. The bones of Late Pleistocene fauna have been revealed. The original ritual complex was discovered on the monument of Ust-Tartas-1. Conclusion. In Baraba, the ceramics of Tartas-1 and Ust-Tartas-1 are similar to the ceramics of Autodrome-2/2, which is related to Boborykinskaya culture, direct dating of ceramics attributed to the last quarter 6th – mid 5th thousand BC. The early Neolithic sites of the North with complexes with flat-bottomed utensils date from the end of the 7th – first half of 6th thousand BC. Neolithic flat-bottomed utensils of Western Siberia should be assessed as a phenomenon of general historical and stage nature. The classification of Tartas complexes with flat-bottomed utensils to Boborykinskaya culture is inaccurate and incorrect. The latter appears to be much younger in time. The discoveries of sites with flat-bottomed ceramics allow a completely new idea of the dynamics of historical and cultural processes in the forest and steppe of the Irtysh area.
39
Мельникова, Екатерина Александровна. "The Mezen Horse: Between Tradition and Brand." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (April 24, 2021): 85–96. http://dx.doi.org/10.26158/tk.2021.22.1.007.
Full textAbstract:
Статья посвящена истории бытования мезенской росписи - зооморфного орнамента, использовавшегося с начала XIX в. мастерами д. Палащелье Архангельской губ. для декорирования деревянных изделий, и в первую очередь прялок. В центре внимания находится судьба мезенской лошадки - главного символа палащельской росписи, ставшего в XXI в. основой локального бренда в г. Мезени и его окрестностях. В работе рассматривается история палащельского промысла, включая трансформацию его социального, экономического и культурного значений на протяжении XX-XXI вв. Прялка - главный носитель мезенской росписи - перестала выполнять свою утилитарную роль, став объектом семейной памяти и культурной ценностью, связанной с локальной идентичностью местных жителей и художественным значением, определяемым экспертами-профессионалами. Вследствие этих перемен, а также миграций населения из деревень в города прялки с мезенской росписью стали ассоциироваться с покинутой малой родиной и деревенским миром в целом, вызывая к жизни особую форму чувствительности, требующей специальных навыков понимания, толкования и любви к мезенской росписи. Как показано в работе, два режима восприятия мезенской лошадки - семейной памяти и эстетической ценности - тесно взаимосвязаны, определяя эмоциональную привязанность и популярность этого элемента традиционной росписи среди современных жителей г. Мезени и Мезенского района. This article concerns the history of the Mezen horse, a zoormorphic ornament from the village Palashchelye in the Mezen Region of Arkhangelsk Province. From the beginning of the 19th century it has been used by craftsmen to decorate wooden items, especially spinning wheels. In the beginning of the present century the Mezen horse became the symbol of Palashchelye painting and the main local brand for the city of Mezen and its environs. The article examines the history of Palashchel crafts and discusses the transformation of its social, economic and cultural significance during the 20th and 21st centuries. The spinning wheel, the main bearer of Mezen decoration, has ceased to fulfill a utilitarian role, becoming instead a focus of family memories and cultural value, interpreted both in terms of local identity and artistic significance. As a result of this change, as well as the migration of the population from villages to cities, spinning wheels with Mezen painting began to be associated with one’s abandoned birthplace and the rural world in general. This has given rise to a special kind of sensitivity that entails special skills of interpretation as well as love. Two different modes of such sensibility are discussed in the article - the mode of family memory and the mode of esthetic value - that are interwoven, endowing the Mezen horse with emotional meaning and broad popularity among the modern urban inhabitants of Mezen and its environs.
40
Usatenko, Тamara. "“UNDERGROUND ETERNITY OF PODESENNYA” IN THE RESEARCHES OF V.E. KURYLENKO"." Almanac of Ukrainian Studies, no. 22 (2017): 141–46. http://dx.doi.org/10.17721/2520-2626/2017.22.24.
Full textAbstract:
The article is devoted to the study of the historical development of the territory of the Chernihiv-Siversky Podesennya by the researcher-archaeologist Vasily Eliseyevich Kurylenko, to the learning of his role in the development of Ukrainian archaeological science, museum affairs and his educational activities. The author analyzes the life and search path of the researcher, describes the importance of field archeological activity and museum-educational work. The study tested the significance of scientific (archeological), literary heritage and educational activities for the development of modern views on the ancient history of Ukraine. The study of the historical processes of the Desnian region for some reasons has not been sufficiently disclosed. Among them, the Mizun stand, named after the culture of the Eastern player of Sivershchyna, which is the most prominent archaeological sites, whose age reaches 20-18 millennium BC. The Mizun stand testifies the transition of people in ancient times at the turn of the Paleolithic and Mesolithic period from the caves of natural origin in handmade dwellings built from the bones and skins of mammoths. The opening of the Mizun stand nowadays equates to the opening of Troy by H. Schliemann, Trypillia culture by V. Khvoika, the Scythian Golden pectoral by B. Mazolevsky, the value of Egyptian hieroglyphs be Zh.F. Champolion. Having analyzed the formation of V.E. Kurylenko as an archaeologist-researcher focuses on the significance of his archaeological researches, scientific activity, literary-journalistic, artistic, educational, museum-heritage for the development of contemporary views on the ancient history of Ukraine, on the factors of the formation of the Ukrainian ethnic group, and the consolidation of civil society. In the article the significance of V.E.Kurylenko’ researches of the Mizun bracelets, fragments of the original products with ornament, which was deciphered by the scientist, the monthly protocalendar of the hunters and fishermen of the Neolithic Age, the protozoan instruments, etc., which do not have world analogues were noted. By deciphering the Mizun bracelets the scientist launched a new direction in archaeological science - astroarheology. The researcher has developed a scientific method of complex study of cultures of the district. V.Kurylenko looked for traces of the Mesolithic and Neolithic settlements in the district of Mizin on Podesennya during 46 years (from 1965 to 2011). He found the second Mizun Paleolithic stand "Kostomakh’ well”. V.Kurylenko discovered more than 60 archeological artefacts, found on the banks of the Desna more than twenty different cultures, in particular - previously unknown − Preyukhnov culture. V.E.Kurilenko collected more than 54,000 archaeological finds, systematized them, classified and created archaeological museums for them, among them a museum near the world-famous Mizun stand. V.Kurylenko studied the interconnection, interplay of chronological changes in the cultures of a particular region., avoid pseudo-scientific, imposed, ideologically-ordered conclusions. He created the Ukrainian concept of museum creation.
41
Ahmab Sabri, Ahmab Zaharubbin Sani. "Hukum Pemakaian dan Zakat Suasa dan Emas." Journal of Fatwa Management and Research 2, no. 1 (October 23, 2018): 73–89. http://dx.doi.org/10.33102/jfatwa.vol2no1.118.
Full textAbstract:
World has already stepped into progressive era with society capability in affording to possess item not only of their own needs, but for their ornament and luxury. Gold and silver are among decorative goods liked to be owned by human to portray individual status and pride. A part from that it's also acts as useful forms of investment due to its value and stable price. Nowadays, due to its' high demand, gold and silver have been revolutionized into various forms by using technological development and specialist's skill, especially by mixing it with copper, alloy and palladium, gold end up transforming into various kinds of decorative goods such as white gold and ormolu. However this new revolution arises with many new problems which need to find solution or fatwa. For instance when essential goods form such as crockery, glass etc, created from gold how should it been address in Islam. How about white gold and ormolu that are created from transforming gold, should it be zakat(ed)? If gold is strictly for women and silver for men and to who white gold and ormolu exclusively address? Hence, this study will try to untie multiple views of Islamic scholars, selected qaul, beside making juhud through reasoning aqliah on current problem-oriented scenario.
Abstrak
Dunia sudah melangkah ke zaman era kemajuan dengan kapasiti masyarakat sudah mampu memiliki tahap ekonomi yang stabil juga sudah boleh memiliki sesuatu barangan yang bukan sahaja bagi kegunaan keperluan bahkan untuk perhiasan dan kemewahan. Emas dan perak merupakan salah satu barangan perhiasan yang amat digemari untuk dimiliki sebagai lambang status kebanggaan seseorang individu malah ia juga sebagai satu bentuk pelaburan berguna kerana emas dan perak merupakan harta yang semakin tinggi nilai dan harganya selepas pembelian. Lantaran permintaan yang tinggi terhadap barangan ini maka, emas dan perak telah direvolusikan dalam pelbagai bentuk hasil dari perkembangan teknologi dan kemahiran pakar yang semakin meningkat. Percampuran emas dan perak, tembaga dan emas, termasuk juga aloi serta palladium dengan emas juga akhirnya membentuk pelbagai jenis barangan perhiasan lelaki dan wanita seperti yang ada di pasaran kini antaranya seperti emas putih dan suasa. Namun disebabkan berlakunya revolusi ini banyak permasalahan baru yang timbul dan perlu dicari resolusi penyelesaiannya. Bila emas ini dijadikan bentuk barangan keperluan seperti pinggan mangkuk, gelas dan sebagainya, bagaimana pula hukumnya disisi Islam. Apakah hukum pemakaian emas putih dan suasa? Bagaimana pula dengan pembayaran zakat? Apakah hukum pembayaran zakat emas putih dan apakah ada keperluan pembayaran barangan emas yang menjadi mas kahwin kerana ia bukan barangan perhiasan. Kepada siapakah hak esklusif emas putih dan suasa ini jika emas memang untuk wanita dan perak untuk lelaki? Justeru itu, kajian ini akan cuba merungkai pandangan, qawl-qawl yang terpilih di samping membuat juhud melalui pena’kulan aqliah terhadap senario permasalahan semasa kini.
42
BRENNINKMEYER-DE ROOIJ, B. "Zeldzame bloemen, 'Fatta tutti del natturel' door Jan Brueghel I." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 218–48. http://dx.doi.org/10.1163/187501790x00101.
Full textAbstract:
AbstractThe letters Jan Brueghel (1568-1625) wrote to his Italian patron Federico, cardinal Borromeo, between 1605 and 1625, provide some information about his flower paintings. The first significant item occurs in a letter of April 14, 16o6, in which he mentions having started on a flower piece with beautiful and rare species, all painted from life. He had seen and `portrayed' some of them in Brussels (note 16). In a letter of almost the same date to Borromeo's fellow-citizen, the collector Bianchi, Brueghel writes that the piece was to consist of m<>re than a hundred different flowers, and that he had never made such a picture before (note 17). The painting, which is still in the Ambrosiana in Milan, was thus Brueghel's very first flower piece (fig. 3). This is even more obvious when it is compared to a second version (fig. 4), probably painted soon afterwards, in which the flowers are distributcd more evenly over the surface. An arrangement of this kind of bouquet was not possiblc in Brueghel's day. Such flowers were too costly to be placed in vases (note 21); even in gardens they were displayed as single specimens (figs. 5 and 6). They were exotic rarities like the sunflower, which was thought to have been imported from Peru (note 25; fig. 7). Brueghel's native city, Antwerp, was the centre of botanical knowledge in the early 17th century in Europe because of the books published by Plantijn on herbs and plants, written by the leading botanists: Dodonacus, Lobelius and Clusius. In Brueghcl's day plants were fashionable collector's items, not only in the gardens of the aristocracy but also in those of the wealthy bourgeoisie. In this context a picture by a Brueghel imitator featuring Pictura painting a large flower piece (fig. 9) seems quite understandable. Illustrations of plants in books show little or no shadow on their forms, and the light is often diffuse (figs. 7 and 11). Brueghel's flower pieces have the same diffuse light and ignore the effect of light and shade. He may have becn influenced by these illustrations, and he adhered to the same principle: the recognizability of his flowers was all important. Brueghel's bouquet for Borromco (fig.3) consists of flowers which were rare, and therefore valuable. As he wrote to his pastron: 'Underneath the flowers I have made an ornament, with some coins (..). Your Excellency must judge for himself whether flowers do not deserve to take precedence above gold and ornaments' (note 18). Cardinal Borromeo was delighted (notes 47 - 5 1) and wrote that he had paid the value of the ornament as the price of the painting (note 48). However, painted flowers were merc substitues for the real ones to the Cardinal, who docs not seem to have reacted to the next flower piece Brueghel sent him, at the end of 1609 (fig. 15). It was the last flower piece Brueghel painted for him. It is interesting to note that the correspondence gives the impression that this piece was painted partly out of doors (notes 5 4 and 56). Remarks in a letter to Bianchi give some impression of how Brueghel painted his flower pieces. According to him he made no drawing or sketch, he painted alleprinle and arranged he flowers on the surface of the painting while working on it. The combination of spring and summer flowers is understandable when one realizes that it took him about four months to make such a picture. One wonders, however, whether he and his assistants (note 61) did not work on several near identical paintings at the same time. His remark that he painted several bouquets every spring (note 64) suggests the possibility and so does the fact that only about twelve different compositions of flower pieces by him are known, all in more than one version (cf. e.g. figs. 18 and 19). Only very few paintings - the ones for Borromeo, possibly those for the Vienna and/or Brussels court - have no known repeats. Brueghel was boasting when he wrote that he worked exclusively from life. Examination of a flower piece in Cambridge revealed a complete underdrawing (fig. 23); moreover, the iris is copied from a print by Pierre Vallet (fig. 25; note 68). He borrowed some day lilies from a woodcut in Dodonaeus' Stirpium Historiae Pemptades Sex (figs. 26 and 27). One flower - the red Anemone coccinaea on its twisted stem which often appears in his pictures - may be artificial, made from cloth or silk. Nevertheless, his flowers pieces were portraits of betanical rarities, as was probably the case in similar situations at the time (note 79). Any other meaning - for example as a vanitas - is highly unlikely. Neither Brueghel nor Borromco ever mention a religious morality in connection with these flower paintings. Therefore, the endeavour to 'Immorta]17.e' the ephemeral beauty of these flowers must often have been the chief motivation. On the basis of this appreciation for rare flowers, their occurrence in bouquets, and the assumption that Brueghel painted several near-identical flower pieces during a number of years a chronology of (most of) Brueghel's flower pieces has been added as appendix.
43
Зауст, С. К. "The Image of the Snow Maiden in the Sketches of Costumes for the Russian Theater of the Late 19th Century: Paths of Evolution." Nasledie Vekov, no. 2(26) (June 30, 2021): 54–66. http://dx.doi.org/10.36343/sb.2021.26.2.004.
Full textAbstract:
В исследовании на основе эскизов костюмов для постановок пьесы «Снегурочка» А. Н. Островского выявляются основные тенденции эволюции образа главной героини на протяжении последней четверти XIX в. Художественное изучение эскизов русских художников-станковистов этого периода и обращение к результатам исследований в области истории народного и сценического костюма, этнографии, биографическим изысканиям позволило рассмотреть изменение облика костюма Снегурочки от первых постановок пьесы (1873) до врубелевского воплощения (1890). Анализируемый образ развивался путем отказа от «художественного подхода», присущего русскому академизму (М. Клодий), последующего обращения к интерпретации В. М. Васнецова, в которой Снегурочка оказалась наиболее точным выражением идеала русской красоты, а затем – к народной романтизации, проявившейся в эскизах Н. К. фон Бооля и М. А. Врубеля. Трактовка В. М. Васнецова установила новый «сказочный канон», сохраняемый в театральном и киноискусстве до сих пор. The aim of the study is to identify the ways and features of the transformation of the fairytale image of the Snow Maiden (the main heroine of the play of the same name by Alexander Ostrovsky) in the conditions of the Russian stage of the late 19th century. The work was carried out on the basis of sketches of stage costumes created by Russian easel painters of the late 19th century. Other important sources were studies in the field of the history of Russian painting and scenography, the history of folk and stage costumes, ethnography; biographical research on Viktor Vasnetsov; Ostrovsky’s diaries. The core of the research was an evolutionary approach, which eventually made it possible to achieve the aim of the study. A comparative historical method was used for discovering the similarity between the motives reflected in the images of the Snow Maiden in the analyzed sketches and Russian folk ornaments of the 19th century that decorated the traditional costumes of Russian peasant women. In the course of the study, the appearance of the Snow Maiden’s costume was analyzed. From how it was shown in the sketches for the first productions of Ostrovsky’s play in the Bolshoi and Maly Theaters (sketches by M. P. Klodt) to the image of the heroine captured in the relief drawing by Mikhail Vrubel. Particular attention was paid to Vasnetsov’s interpretation, in which the image was successfully correlated with the traditional motives that existed in the folk ornament and embroidery of the Russian North. The characteristic features of the image of later authors (Nikolay von Bool and Mikhail Vrubel) were revealed. The later incarnations of the image were studied (for example, in Soviet cinema at the end of the 20th century). It has been established that a sketch of a stage costume solves the problem of the structure of the embodied image, it is an illustration of the author’s artistic beliefs and (in the case of reaching a certain level of artistic perfection) is a guideline for determining the technology of creating a costume. It has been determined that sketches made by old masters of Russian theatrical costume have a special artistic value and expressiveness. The leader among the masters, according to the author, is Vasnetsov, the creator of the authentic, perfect graphics of the Russian folk costume. The image of the Snow Maiden on the Russian stage of the late 19th century developed from the “artistic approach” characteristic of Russian academism and implemented in the works of M. P. Klodt to the most accurate expression of the ideal of Russian beauty embodied by Vasnetsov and further towards popular romanticization (von Bool and Vrubel).
44
Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
Full textAbstract:
During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
45
Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
Full textAbstract:
During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
46
Prayogi, Rendy, Ganal Rudiyanto, and Achmad Syarief. "ANALISIS BENTUK KUBAH DAN AKULTURASI BUDAYA PADA BANGUNAN MASJID AL OSMANI MEDAN." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 2 (June 9, 2021): 121. http://dx.doi.org/10.25105/jsrr.v3i2.9426.
Full textAbstract:
<div class="WordSection1"><p><strong><em>Abstract</em></strong></p><p><em>Medan City is a combination of several ethnicities and cultures, because in Medan there are several Acehnese, Batak and Malay ethnic groups. Medan has a Malay Deli building with exotic religious and artistic nuances to visit, especially if we like typical Malay buildings such as the Al Osmani Mosque building which still elevates and preserves cultural arts even though there has been a renewal of traditional architecture into modern architecture, but the Malay building still has value. aesthetics with various types of ornament forms, colors, placement of Malay ornaments and also the acculturation of various cultures. Al Osmani Mosque was first built in 1854 with selected wood materials imported from Penang. During the VII Deli Malay Sultanate, namely Sultan Osman Perkasa Alam. Then in 1870 - 1872 the wooden mosque was built permanently by his son, Sultan Mahmud Perkasa Alam (VIII Sultan of Deli). The Al Osmani mosque building was designed by a German architect named GD Langereis with materials sent from Spain and Persia. This study uses a historical approach and aesthetic approach. The historical approach will involve a discussion of the origins of the building form of the Al Osmani Mosque and its functional development since it was founded until now. The aesthetic approach will involve a discussion of the dome shape of the Al Osmani Mosque, what cultural acculturations are there in the Medan Al Osmani Mosque building so that it can attract attention and have unique characteristics? The results showed that the Al Osmani Mosque and its interior as well as the space filling elements in it were not fully influenced by the aesthetics of the forms that came from the Deli Malay culture but were also influenced by the aesthetic forms of Chinese, European, Indian and Middle Eastern cultures.</em><em></em></p><p><strong><em>Keywords : </em></strong><em>Acculturation, Ornaments, Aesthetics, History, Al Osmani Mosque.</em></p><p><strong><em> </em></strong></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Kota Medan merupakan perpaduan dari beberapa etnis dan budaya, karena di Kota Medan di dapati beberapa etnis Aceh, etnis Batak dan etnis Melayu. Medan memiliki bangunan Melayu Deli bernuansa seni dan religi yang eksotis untuk dikunjungi khususnya jika kita menyukai bangunan-bangunan khas Melayu seperti Bangunan Masjid Al Osmani masih mengangkat dan melestarikan seni budaya meskipun terjadi pembaharuan arsitektur tradisional menjadi arsitektur modern, tetapi pada bangunan Melayu tersebut masih memiliki nilai estetis dengan berbagai jenis bentuk ornamen, warna, penempatan ornamen Melayu dan juga akulturasi dari berbagai budaya. Masjid Al Osmani pertama kali dibangun pada tahun 1854 dengan bahan kayu pilihan yang didatangkan dari Penang. Pada masa Kesultanan Melayu Deli ke-VII yaitu Sultan Osman Perkasa Alam. Kemudian pada tahun 1870 - 1872 masjid yang terbuat dari bahan kayu itu dibangun permanen oleh putranya yakni Sultan Mahmud Perkasa Alam (Sultan Deli ke-VIII). Bangunan masjid Al Osmani di desain oleh arsitek asal Jerman yang bernama GD Langereis dengan material yang dikirim dari Spanyol dan Persia. Penelitian ini menggunakan pendekatan sejarah dan pendekatan estetika. Pendekatan sejarah akan menyangkut pembahasan tentang asal-usul bentuk bangunan Masjid Al Osmani dan perkembangan fungsionalnya sejak didirikan hingga sekarang. Pendekatan estetika akan menyangkut pembahasan tentang bentuk kubah Masjid Al Osmani, akulturasi budaya apa saja yang terdapat pada bangunan Masjid Al Osmani Medan sehingga bisa menarik perhatian dan memiliki ciri khas yang unik?. Hasil penelitian memperlihatkan bahwa Masjid Al Osmani dan interiornya serta elemen pengisi ruang di dalamnya tidak sepenuhnya dipengaruhi oleh estetika bentuk yang berasal dari budaya Melayu Deli tetapi juga dipengaruhi oleh estetika bentuk dari kebudayaan China, Eropa, India dan Timur Tengah.</p></div><p><strong>Kata Kunci :</strong> Akulturasi, Ornamen, Estetika, Sejarah, Masjid Al Osmani.</p>
47
Fülöp, Attila, Dóra Lukács, Péter Imre Fábián, Bianka Kocsis, Gabriella Csöppü, Judit Bereczki, and Zoltán Barta. "Sex-specific signalling of individual personality by a mutual plumage ornament in a passerine." Behavioral Ecology and Sociobiology 75, no. 2 (January 26, 2021). http://dx.doi.org/10.1007/s00265-021-02971-z.
Full textAbstract:
Abstract The significance of colour signals in species with strong sexual dimorphism and/or elaborated visual ornaments is rather well-understood. Less attention has, however, been devoted to study colour signals in species with weak or no apparent sexual dimorphism. In such species, an interesting possibility arises as both sexes can bear the same colour ornament(s) (i.e. sexes are mutually ornamented), but their signalling value might differ in males and females. We aimed to explore this possibility by investigating the phenotypic correlates of the black bib, a melanin-based plumage ornament, in the Eurasian tree sparrow (Passer montanus). More specifically, we studied the sex-dependent relationships between bib size and three aspects of individuals’ phenotype: body condition (i.e. size-corrected body mass), physiology (i.e. cellular innate immunity/inflammation status, expressed through total leucocyte counts, and chronic physiological stress, expressed through the ratio of heterophils to lymphocytes) and individual personality (i.e. activity in a novel environment). We found that bib size was not associated with body condition and cellular innate immunity/inflammation status, but was positively related to physiological stress levels independent of sex. Furthermore, bib size was negatively associated with activity in males but positively in females. Our findings bring important correlative evidence that mutual ornamental traits may have sex-specific signalling value. Significance statement The signalling role of elaborated colourful ornaments, that are usually possessed only by males in sexually dimorphic species, is well-established. The function of various colour traits which are borne by both sexes (i.e. mutual ornaments), however, is less obvious. Do they have a signalling value in both sexes? If yes, do they signal the same information in males and females? Or, most intriguingly, can they convey different information in the two sexes? To test these alternatives, we studied the signalling value of the black bib, a melanin-based mutual plumage ornament, in Eurasian tree sparrows (Passer montanus). Apart from being correlated with chronic stress in both sexes, bib size was positively related to activity in females but negatively in males. Our results suggest that the information content of the same colour trait in males and females can be different in mutually ornamented species.
48
Sundari, Sri, and Yulimarni Yulimarni. "Estetik Ornamen Masjid di Kota Padang." Besaung : Jurnal Seni Desain dan Budaya 5, no. 1 (May 4, 2021). http://dx.doi.org/10.36982/jsdb.v5i1.1454.
Full textAbstract:
<p>The study was conducted aiming to find the aesthetic values that exist in the mosque building ornament in the city of Padang. The development and spirit of changing times has accompanied the development of the Mosque in Padang City, not only in the function and role of the Mosque, but also seen from the model of the mosque building and ornaments attached to the building. To achieve this goal the approach used in this paper is the aesthetic approach, and multi-disciplinary approach. The aesthetic value of mosque building ornaments can be viewed through the quality structures that make up beauty; first, unity; that each element in the mosque's ornament is a unified and mutually supportive unit, summarized in the quality of art consisting of rhythm, lines and shapes. Second, harmony (harmony); placement of motifs on the mosque building shows harmony by considering the balance between the shape of the motif with the field of placement. Third; symmetry; Almost all the ornaments contained in the mosque building contain symmetrical elements in vertical and horizontal forms. Symmetry can be seen in the motif lines and also the building lines themselves. Fourth; balance (balance); Mosque ornaments in the city of Padang, has three types of balance, namely; symmetrical balance, asymmetrical balance, and centering balance. And the fifth resistance (contras); the contrast does not only occur because of differences in the size of the motif, the contrast can also be seen from the shape and color of the ornament attached to the mosque building.</p>
49
Bekeshov, S. S., and А. А. Bekenzhanova. "ORNAMENTS ON TRADITIONAL WOODEN PRODUCTS – EMBOSSING PATTERN." BULLETIN Series Historical and socio-political sciences 68, no. 1 (June 6, 2021). http://dx.doi.org/10.51889/2021-1.1728-5461.35.
Full textAbstract:
This article examines the traditions of the Kazakh people in ancient woodcarving. It is about the semantic interpretation of the art of ornamentation and its significance in history. The composition of wooden interior furniture includes bed linen, pillows made of wood, dzhukayak, kebezhe, sandyk, abdire, yaglan, uldyryk, abazha, as well as a technique (method) for processing household utensils. Historical background, philosophical understanding of the symbolic meaning of each line of the ornament, indicated against the background of the object of artistic value of wooden products. This article is also important for understanding the genesis of the entire Kazakh traditional art of wood carving, as well as the evolution of ornaments, the general art of weaving (carpet weaving, jewelry made of wood, bone, etc.). It has been scientifically analyzed that home furniture and household appliances represent a holistic system entirely based on stylistic composition.
50
"SOME PECULIARITIES OF ARTICLES STUDYING OF AGING PRINTING BOOKS OF THE CYRIL PRINT." Criminalistics and Forensics, no. 64 (May 7, 2019): 819–28. http://dx.doi.org/10.33994/kndise.2019.64.77.
Full textAbstract:
Taking into account the fact that in recent years, forensic institutions began to receive printed publications for research and realizing the value and value of book wealth, it became necessary to develop a methodology for the study of old-print books (old-timers). Today, old-timers are called publications that were published before 1830 inclusive. Rare in historical and cultural terms is not limited to the number of copies that have survived, although this fact should be taken into account. The rarest are, as a rule, not small-circulation, but mass editions, the number of surviving copies of which today is not great. The study of the Slavic editions brings a lot of valuable information on the history of both book publishing itself and the paper production and engraving art connected with it. Almost all the books at that time were illustrated with engravings and decorated with ornaments. Therefore, they are a source of valuable information on the history of art, The RV process of studying early printed books should adhere to the following algorithm: book size, external signs, edition, form, term, font height, sheet composition, signatures, alphabet, font, output, headings, author of the book, misreading, printer, date, prints, ornament, tie, lettering and binding. Key words: art criticism, early printed book (old print), cyrillic printing.