Relevant bibliographies by topics / Rococo Decoration and ornament

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rococo Decoration and ornament'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Rococo Decoration and ornament"

1

Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.

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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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Magnusson, Carl. "Le rococo est-il décoratif?" Zeitschrift für Kunstgeschichte 80, no. 4 (December 30, 2017): 528–43. http://dx.doi.org/10.1515/zkg-2017-0028.

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Abstract In Rococo historiography, the first half of the eighteenth century is generally described as the golden age par excellence of decoration. The so-called major arts are often considered to have played a lesser role in its artistic development. The period is thus systematically associated with artefacts produced by artisans, hence belonging to a less dignified category in the artistic hierarchy. In order to investigate the ideological background of this assumption, the article focuses on the debates on art which emerged, mainly in France, in the 1740s. These highly biased discourses, targeting the so-called bad taste of contemporary French painting and interior decoration, shaped a vision of the first half of the eighteenth century of which many aspects were later inherited by Rococo historiography, especially in its relation to decoration.
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Гарин, V. Garin, Разиньков, Egor Razinkov, Чернышев, and Aleksandr Chernyshev. "History of furniture in the rococo style." Forestry Engineering Journal 4, no. 3 (December 8, 2014): 192–98. http://dx.doi.org/10.12737/6287.

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History of furniture in the rococo style The architecture in this period finally loses all signs of monumentality and tectonics of form: there is no longer division by carrying and carried. Walls and ceilings are made into decorative planes dissected by various panels with a frame. Ornamental forms are asymmetric and always curvilinear; without being subject to any rules, they cover almost entirely the surface of walls and ceilings. The very walls, wood-paneled, are crumbled in choicest light blue, light green, pink and white colors, set off by a gilded ornamentation and hanged on with lots of mirrors in the lush frames.
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Magnusson, Carl. "Le rococo, une construction historiographique : introduction." Zeitschrift für Kunstgeschichte 80, no. 4 (December 30, 2017): 467–73. http://dx.doi.org/10.1515/zkg-2017-0023.

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Abstract In Rococo historiography, the first half of the eighteenth century is generally described as the golden age par excellence of decoration. The so-called major arts are often considered to have played a lesser role in its artistic development. The period is thus systematically associated with artefacts produced by artisans, hence belonging to a less dignified category in the artistic hierarchy. In order to investigate the ideological background of this assumption, the article focuses on the debates on art which emerged, mainly in France, in the 1740s. These highly biased discourses, targeting the so-called bad taste of contemporary French painting and interior decoration, shaped a vision of the first half of the eighteenth century of which many aspects were later inherited by Rococo historiography, especially in its relation to decoration.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.

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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.

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Nurul Fajri, Sri Ayu, Aznan Nazzer Nur Syarif, and Andi Hildayanti. "Filosofi Ornamen dan Dekorasi Interior pada Klenteng Xian Madi Kota Makassar." TIMPALAJA : Architecture student Journals 1, no. 1 (January 9, 2020): 57–69. http://dx.doi.org/10.24252/timpalaja.v1i1a7.

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Abstrak_Tujuan penelitian ini adalah untuk mengidentifikasi dan mengkajifilosofi ornamen dan dekorasi interior yang terdapat pada Klenteng Xian Madi Kota Makassar. Pada dasarnya kebudayaan Tionghoa mewariskan heterogenitas ragam hias Arsitektural Klenteng yang unik dan filosofis, mulai dari pemilihan warna dan penerapan atribut pada dekorasi ruang Klenteng. Penelitian ini digunakan metode penelitian deskriptif kualitatif yang bertujuan untuk mendeskripsikan dan mengemukakan makna filosofi dari ornamen dan dekorasi interior Klenteng Xian Madi. Berdasarkan hasil penelitian bahwa interior Klenteng Xian Madi didominasi dengan warna merah dan gold. Bagi umat Tionghoa warna emas melambangkan keberuntungan, dan keceriaan. Warna gold melambangkan kebahagiaan dan kemakmuran. Disamping itu, terdapat beberapa patung yang terletak di segala sisi ruang Klenteng sebagai tempat sembahyang umat Tionghoa. Sehingga filosofi ornament dan dekorasi interior Klenteng Xian Madi dapat diketahui secara empiris, karena masing-masing ornament dan dekorasi interior mengandung makna sebagai bentuk komunikasi bagi pengamat yang datang.Kata kunci: Arsitektur Klenteng; Filosofi Ornament; Dekorasi Ruang,Metode Deskriptif Kualitatif. Abstract_ The purpose of this study is to identify and clarify the ornament and interior decoration philosophy found in the Xian Madi Temple, Makassar City. Chinese culture inherits the heterogeneity of the unique and philosophical architectural decoration of the pagoda, starting from the selection of colors and the application of attributes to the pagoda's room decoration. This study used a descriptive qualitative research method that aims to describe and express the philosophical meaning of the ornamentation and interior decoration of the Xian Madi Temple. Based on research results that the interior of the Xian Madi Temple is dominated by red and gold. For Chinese people, the golden color symbolizes luck and cheerfulness. The gold color symbolizes happiness and prosperity. Also, there are several statues located on all sides of the temple room as a place of prayer for Chinese people. So that the philosophy of ornament and interior decoration of Xian Madi Temple can be known empirically because each ornament and interior decoration contains meaning as a form of communication for observers who come.Keywords: Temple Architecture; Ornament Philosophy; Room Decoration; Qualitative Descriptive Method.
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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.

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<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Jing, Xiao. "Exploring “Galant Style” in 18th-Century German, French, and Italian Composers’ Pieces." SHS Web of Conferences 183 (2024): 03021. http://dx.doi.org/10.1051/shsconf/202418303021.

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This paper explores the Galant style of music, which emerged in the mid-18th century as a bridge between the Baroque and Classical periods. The characteristics of this style are simplicity and elegance, and it focuses on melody and harmony over complex counterpoint. Most people would classify the Galant style as Rococo, and this paper proves this opinion is wrong. Compared to the Galant style, the Rococo style is associated with visual arts. Comprehensive research of the Galant style illustrates that this style prioritizes clarity and musical structure rather than ornamental and decorative features. In order to demonstrate the Galant style, this paper chose pieces from three renowned composers, Domenico Scarlatti, Francois Couperin, and Georg Philipp Telemann, representing different nationalities; those composers come from Italy, France, and Germany. These pieces, including Scarlatti's piano sonatas (K.29 and K.145), “Le Bavolet Flottant” by Francois Couperin, and Telemann's Fantasia TWV33 no.8 in G minor, above of these pieces illustrate the distinct characteristics and nuances of the Galant style.
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.

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The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Dissertations / Theses on the topic "Rococo Decoration and ornament"

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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /." Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.

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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.

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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.

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Prickett, Douglas B. "Ornamentalism /." Online version of thesis, 1990. http://hdl.handle.net/1850/10938.

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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.

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Alves, Francine D. A. C. C. O. "A arquitectura e o mosaico romano de pavimento-relações-interacções." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/30055.

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Vieira, Eduarda Maria Martins Moreira da Silva. "Técnicas tradicionais de fingidos e de estuques no norte de Portugal-contributo para o seu estudo e conservação." Master's thesis, Instituições portuguesas -- -Universidade de Évora, 2002. http://dited.bn.pt:80/30074.

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Odom, Jason Scott. "An investigation of the ornamental joint." Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23120.

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Boram-Hays, Carol Sue. "A history of Zulu beadwork 1890-1997 : its types, forms and functions /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195154357662.

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Reid, Bronwyn. "Cast architectural ornament : plaster and compo." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.

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Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.
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Books on the topic "Rococo Decoration and ornament"

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Victoria and Albert museum. Rococo silks. Exeter: Webb & Bower, 1985.

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Museum, Victoria and Albert, ed. Rococo silks. New York: H.N. Abrams, 1986.

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Colle, Enrico. Il mobile rococò in Italia: Arredi e decorazioni d'interni dal 1738 al 1775. Milano: Electa, 2003.

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González-Palacios, Alvar. Il tempio del gusto: Le arti decorative in Italia fra classicismo e barocco. 2nd ed. Vicenza: Neri Pozza, 2000.

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Iannoni, Giovanni. Cupids, angels and fantastic creatures: A treasury of rococo designs. Mineola, N.Y: Dover Publications, 2006.

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Pouget, Jean Henri Prosper. 550 authentic rococo designs and motifs for artists and craftspeople. New York: Dover Publications, 1994.

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Alvar, González-Palacios, and Valeriani Roberto, eds. Pietro Piffetti: E gli ebanisti a Torino 1670-1838. Torino [Italy]: Umberto Allemandi, 1992.

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Verdier, Roger. Le style Régence: Ses ornemanistes, ses menuisiers, ses sculpteurs, ses sièges, ses tapissiers, ses lexiques. Saint Martin de la Lieue, Lisieux: R. Verdier, 1989.

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author, Ribeiro Emanuela Sousa, and Instituto do Patrimônio Histórico e Artístico Nacional, eds. Barroco e rococó nas igrejas de Recife e Olinda: Baroque and rococo in the churches of Recife and Olinda. Brasília, DF]: IPHAN, 2015.

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Roig, José Miguel. Arquitectura ornamental: Arquitectura churrigueresca y los mausoleos de Nikko : una interpretación del papel del ornamento en la arquitectura. Caracas, Venezuela: Equinoccio, 1996.

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Book chapters on the topic "Rococo Decoration and ornament"

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Mallinson, Jonathan. "1. 1897–1900: The Making of a Potter." In William Moorcroft, Potter, 7–30. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.01.

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This chapter looks at Moorcroft’s training as a potter at the firm of E.J.D. Bodley where his father had worked as Artistic Director, and his education both at the innovative Burslem School of Art and at the National Art Training School (soon to be renamed the Royal College of Art). His appointment as a designer at James Macintyre & Co., Ltd. put him in a firm at the very centre of enlightened art education in the Potteries, its Directors including the forward-looking M.P. Wm Woodall (who had served on the Royal Commission on Technical Instruction), the philanthropist Th. Hulme, and the gifted ceramic chemist, H. Watkin. It was a firm developing its production of electrical porcelain, but keen also to invest in the manufacture of high-quality art pottery. The firm’s Minutes reveal the great benefit it soon derived from Moorcroft’s appointment. After just four years, Moorcroft had acquired an international reputation as a ceramic artist, and his Florian ware was stocked by exclusive retailers the world over, bringing widespread commercial success. It was the ideal collaboration of manufacturer and designer, of commerce and art, very much in the spirit of the Arts and Crafts. The chapter also considers Moorcroft’s distinctive integration of ornament and form, a quality often singled out in early reviews and quite different from the ‘applied’ decoration of much contemporary pottery. No less distinctive was his technique of slip decoration, his unusually rich colours achieved by staining the unfired clay with metallic oxides, and his unique practice of signing every pot by hand.
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Massey, Jonathan. "Ornament and Decoration." In The Handbook of Interior Architecture and Design. BLOOMSBURY VISUAL ARTS, 2013. http://dx.doi.org/10.5040/9781474294096.ch-035.

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"Ornament and Decoration." In Advice on Establishing a Library, 70–73. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306083.13.

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"Epilogue: “Superfluous Stucco and Laughable Decoration”: Rococo, Religion, and the Global Enlightenment." In The Spiritual Rococo, 297–314. Routledge, 2017. http://dx.doi.org/10.4324/9781315085197-7.

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"“Irregular Ornament in the Finest French Taste”: 1 Spiritual Rococo in Portugal and Brazil." In The Spiritual Rococo, 177–235. Routledge, 2017. http://dx.doi.org/10.4324/9781315085197-5.

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Gameson, Richard. "Decoration." In The Role of Art in the Late Anglo-Saxon Church, 192–234. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198205418.003.0008.

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Abstract We have alluded several times in the aforegoing chapters to the importance of decoration and ornamental criteria in late Anglo-Saxon art and aesthetics. We shall now examine the subject of decoration itself-in particular, as it was applied to frames and initials. This concentration is not to imply that frame and initial decoration was more important than that in other media-the reverse was probably true-rather it is that these are the two contexts in which non-figural ornament survives in a significant quantity while preserving its original form and colour, enabling us to assess it with some confidence. Moreover, consideration of this material will usefully complement our discussion of other forms of book decoration in previous chapters.
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Aristova, Maria-Anna. "Decoration in the Desert:." In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvxkn5n8.9.

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"The City Floor." In Urban Design: Ornament and Decoration, 99–114. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-10.

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"Landmarks, Sculpture and Furniture." In Urban Design: Ornament and Decoration, 115–44. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-11.

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"Colour in the City." In Urban Design: Ornament and Decoration, 145–56. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-12.

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Conference papers on the topic "Rococo Decoration and ornament"

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Oliveira, Domingos Sávio de Castro. "Vocabulário Landi: um álbum de ornamentos para Belém." In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3812.

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A arquitetura da Belém do Grão Pará da segunda metade do século XVIII é pontuada pela obra do arquiteto italiano Antônio José Landi responsável pelo projeto e construção ou reforma de edificações que marcam a paisagem da cidade até os dias atuais. A formação de Landi na Academia Clementina de Bolonha, da qual também foi professor, propiciou-lhe o contato com um grupo de artistas, os Galli da Bibiena, famosos arquitetos e cenógrafos, cuja linguagem e repertório ornamentais influenciaram sua produção, o que pode ser visto nos desenhos que produziu para edificações em Belém. A linguagem bibienesca, considerada uma variação mais flexível do rococó, ou barrochetto, recusou a rigidez das ordens da arquitetura clássica e privilegiou a imaginação decorativa.
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Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian, and Yi Li. "Flexible Ornament Selection System for VR Decoration Exhibition." In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00039.

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Мишуровская, О. Е., and Е. А. Боровская. "CHINOISERIE IN ROCOCO INTERIOR: HARMONY AND CONTRAST IN THE CONTEXT OF EUROPEAN TYPOLOGY." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.43.

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Увлечение восточными декоративно- прикладными предметами способствовало зарождению в европейской культуре нового художественного направления под названием шинуазри. В резул ьтате синтеза китайской декоративной иконографии с европейскими сюжетами и мотивами в убранстве интерьеров появились самые разнообразные интерпретации шинуазри. Учитывая их широкую вариативность, автор рассматривает наиболее распространенные художественные жанры шинуазри в архитектурно- декоративном оформлении интерьеров со ссылкой на русские и французские образцы. The fascination with oriental decorative and applied objects contributed to the emergence of a new artistic trend in European culture called chinoiserie. As a result of the synthesis of Chinese decorative iconography with European themes and motifs, the most diverse interpretations of Chinoiserie appeared in the interior decoration. Taking into account their wide variability, the author examines the most common artistic genres of chinoiserie in the architectural and decorative design of interiors with reference to Russian and French examples.
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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Жамилова, М. Ж., and Ю. В. Гусарова. "TRADITIONS OF GIJDUVAN CERAMICS IN THE WORKSHOP OF THE NARZULLAEV DYNASTY." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.53.

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Небольшой город Гиждуван неподалеку от Бухары является колыбелью одной из древнейших школ искусства керамики в Узбекистане, где ремесленники бережно хранят лучшие традиции многовекового гончарного промысла, передавая свое мастерство и неповторимый почерк орнамента из поколения в поколение. Алишер Нарзуллаев, керамист в шестом поколении, делится секретами аутентичной технологии изготовления уникальных изделий, которые становятся гордостью музеев и украшением многочисленных выставок. The small town Gijduvan, not far from Bukhara, is the cradle of one of the oldest schools of ceramic art in Uzbekistan, where artisans carefully preserve the best traditions of centuries-old pottery, passing on their skills and unique style of ornament from generation to generation. Alisher Narzullaev, a sixth- generation ceramist, shares the secrets of the authentic technology for making unique products that become the pride of museums and the decoration of numerous exhibitions.
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Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.

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Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and the development of ornament and architectural decoration. Th e issue addressed refers to the plastic language of universal motifs, which are deeply rooted in Romanian culture and which contain messages encoded in a string of symbolic connotations. It involves deciphering the message and interpreting the symbolic meaning of the Tree of Life, some aspects of the solar cult, symbols as images of the world and of the universe, and the multiple representations that are part of the animal iconography repertoire.
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Голофаст, Л. А., and С. В. Ольховский. "Glass Assemblage from the Underwater Quay in the Harbour of Phanagoria." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-307-7.43-72.

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В статье представлен комплекс стекла 56 вв.н.э., выявленный в ходе подводных раскопок фундамента причального сооружения в акватории Фанагории. Благодаря довольно длительному периоду формирования комплекса находок в нем отразились изменения в ассортименте бытовавшей стеклянной посуды: от весьма разнообразного в 5 в. до скудного набора 6 в., в котором безраздельно доминировали рюмки . Набор сосудов в полной мере отражает сложившуюся в рассматриваемое время ситуацию, характеризующуюся открытостью торговых маршрутов, которые связывали различные регионы Европы: одинаковые стеклянные изделия, производившиеся в одних и тех же центрах Восточного Средиземноморья, находят как в довольно удаленных друг от друга, так и от центров производства регионах. Благодаря активной торговле быстро распространялась мода на одни и те же сосуды и приемы их орнаментации, что служило стимулом для появления производства популярных сосудов в разных точках средиземноморско-причерноморского региона. Таким образом, представленная коллекция стекла, как и комплекс керамики этого времени, продемонстрировала включенность Фанагории рассматриваемого периода в обширный средиземноморско-причерноморский рынок. The article presents the glass assemblage of the 5th6th centuries found in the course of underwater excavations of the quay in the harbour of Phanagoria. The collection presents a great variety of forms and reflects changes in the assortment of glass vessels in the course of time. The 5th century is characterized by the extensive assortment of forms and various types of decoration (relief mold-blown, blue blobs and polished ornament). In the 6th century most kinds of ornamentation disappeared, the range of vessel types were reduced to 2-3 main forms with considerable predominance of stemmed goblets. All these changes occurred in terms of process common for the entire MediterraneanPontic region in the Late Antiquity. This period is characterized by the well-developed network of trade routes that connected sometimes very remote regions with production centers of the Eastern Mediterranean and Europe. The intensive trade promoted the spread of fashion for various forms of vessels and ornamentation that in its turn stimulated the appearance of new manufacturing centers that produced popular glass vessels in different points of the Mediterranean-Pontic region.
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PORTABLE ART OBJECTS DISCOVERED IN THE UPPER PALEOLITHIC OF ROMANIA." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.22-23.

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In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PERSONAL ORNAMENTS DISCOVERED IN THE EARLY UPPER PALEOLITHIC OF POIANA CIREȘULUI-PIATRA NEAMȚ (ROMANIA)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.20-21.

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In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932
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