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Artículos de revistas sobre el tema "Colonial Interior decoration"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Tatarkiewicz, Władysław. "Architektura barokowa Brazylii." Sztuka Ameryki Łacińskiej 1 (2011): 17–43. http://dx.doi.org/10.15804/sal201101.

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The author of the article describes the most important phenomena in Brazilian architecture from 16th to 18th century with the special focus on baroque style. The location of monuments is presented on the beginning of the text and two the most important areas are pointed: Atlantic coast and Minas Gerais state in hinterland. The chronology of the colonial Brazilian architecture is described with emphasis on 18th century architecture importance. The division between secular and sacred architecture shows the great importance of the second one. The sacred architecture is analyzed with regard to fun

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2

Tuite, Clara. "Maria Edgeworth's Déjà-Voodoo: Interior Decoration, Retroactivity, and Colonial Allegory inThe Absentee." Eighteenth-Century Fiction 20, no. 3 (2008): 385–413. http://dx.doi.org/10.3138/ecf.20.3.385.

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3

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 (2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.

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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, gravey

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4

Tuite, Clara. "Maria Edgeworth’s Déjà-Voodoo: Interior Decoration, Retroactivity, and Colonial Allegory in The Absentee." Eighteenth Century Fiction 20, no. 3 (2008): 385–413. http://dx.doi.org/10.1353/ecf.0.0003.

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5

Kubiak, Ewa. "Colegios Jesuitas en Cusco: San Bernardo y San Francisco Borja. Arte y arquitectura a la luz de los inventarios de 1768." Sztuka Ameryki Łacińskiej 11, no. 1 (2021): 43–78. http://dx.doi.org/10.15804/sal202102.

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The most famous architectural complex associated with the Jesuit order in colonial Cusco, was the college and church of the Transfiguration, located in the main square of the city. Monks of the Society of Jesus focused on evangelisation and teaching, which led to creation of subsequent monastic foundations. There were two schools in Cusco: one of them was intended for descendants of conquistadors (Colegio de San Bernardo), and the other one for sons of Andean caciques (Colegio de San Francisco Borja). Each of them was located in its own architectural complex, and one of the necessary conceptua

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6

Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part I)." Ethnologia Actualis 16, no. 1 (2016): 8–29. http://dx.doi.org/10.1515/eas-2016-0001.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. The scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as Assumption of Virgin Mary up to celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that the ornaments of th

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7

Lee, Jiyoung. "Background and Stylistic Characteristics of The Joseon-Western Eclectic Interior Decoration: Wallpaper of Changdeokgung Palace during the Japanese Colonial Period." Archives of Design Research 37, no. 2 (2024): 433–47. http://dx.doi.org/10.15187/adr.2024.05.37.2.433.

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8

Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part II)." Ethnologia Actualis 16, no. 2 (2016): 14–32. http://dx.doi.org/10.1515/eas-2017-0002.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the

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9

Cerqueira, Fábio Vergara. "Erotic mirrors. Eroticism in the mirror. An iconography of love in ancient Greece (fifth to fourth century B.C.)." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (2018): 153–87. http://dx.doi.org/10.31669/herodoto.v3i1.344.

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This text consists of an interpretive essay about the meaning(s) of the “mirror” as an object in Mainland and Aegean Greece (in contrast to Western/Colonial Greece), based on iconography. I take into consideration two distinct repertoires of images: the paintings of Attic vases (late sixth – early fourth century B.C.) and the figurative decoration on the mirrors themselves, in relief or engraved (late fifth – early third century B.C.). The central focus of the analysis is the iconography registered on mirrors produced in the four main manufacturing centers of Greece (Athens, Corinth, Chalcis,

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10

Oleas-Mogollón, Isabel. "The Divine and the Self." Latin American and Latinx Visual Culture 1, no. 4 (2019): 33–54. http://dx.doi.org/10.1525/lavc.2019.140004.

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This essay analyzes the decorative program of Quito's Jesuit church—better known as the church of La Compañía—and the meanings of the different reflective materials that adorned it in the eighteenth century, in particular, gilded surfaces and mirrors. Paying special attention to these elements, this essay demonstrates that reflective surfaces helped shape colonial religious experience. Based on colonial sources, this essay reconstructs the wealth of La Compañía's interior, which changed significantly after the expulsion of the Society of Jesus from the Americas in 1767. It also analyzes the ro

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11

Galán, Ignacio G. "Furnishing Italian Colonialism: “Nomad” Interiors and the Habitations of the Empire." Modernism/modernity 30, no. 4 (2023): 681–716. http://dx.doi.org/10.1353/mod.2023.a925904.

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abstract: This article explores the display and circulation of furniture and decorative arts between Italy and its African colonies, and discusses the relationship between pieces conceived in the occupied territories, those defined for Italian households, and those envisioned to accompany Italians in their colonial endeavors. The circulation of these different pieces was thought to embody the “expansion of life horizons” characteristic of modernity. However, modernist designers worked alongside ethnographers through the delineation of distinct identities for the inhabitants of the Italian nati

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12

Stanfield-Mazzi, Maya. "Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru." Americas 72, no. 1 (2015): 77–102. http://dx.doi.org/10.1017/tam.2014.6.

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The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agency in creating works to be displayed in church interiors, many of which expressed Andean as well as Christian beliefs. This scholarship has focused pr

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13

Wijetunge, M. N. R., and D. W. K. Gayantha. "Associations with Traditional Elite Architecture and Periodic Changes Adapted in Geoffrey Bawa’s Domestic Projects for the Post-Colonial Elites in Ceylon: A Phenomenological Perspective." ISVS e-journal 11, no. 10 (2024): 53–81. https://doi.org/10.61275/isvsej-2024-11-10-04.

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Geoffrey Bawa’s (GB’s) architecture has contemporary ramifications, even two decades after his passing. It is well established that GB catered largely to an elite clientele in Ceylon (Sri Lanka). He burrowed his architectural style from the vernacular everyday traditions, yet built for the elite. It is hypothesized that, his architecture was impregnated with traditional elite architectural/interior design (TEA/ID) associations, and has also adapted periodic changes (PC), which many have studied in the past. Despite several attempts however, valid scientific inquiry into this issue remains inad

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14

Barros, Geovana Mendes, and Jackson Araujo de Sousa. "Geografia e pensamento decolonial: Notas breves." Revista Verde Grande: Geografia e Interdisciplinaridade 7, no. 01 (2025): 619–35. https://doi.org/10.46551/rvg2675239520251619635.

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A construção de um modelo de sociedade colonial, além de organizar o mundo a partir de países colonizadores e colônias, produziu a desvalorização e invisibilização de outros saberes não originados no continente europeu. É nesse cenário que a Geografia, enquanto parte das ciências modernas, surge baseada em saberes que sustentam essa crença da superioridade. Na América Latina, a produção de conhecimentos tem se constituído a partir de referenciais advindos do interior mesmo deste espaço e a Geografia tem se apropriado desse debate, buscando assimilar outros saberes não hegemônicos. O presente e

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15

Smith, Daniel C. P. "A Neglected Design Style: Colonial Era Hybrid Architecture, Furniture and Interior Decoration in Aotearoa New Zealand." Journal of New Zealand Studies, NS38 (September 10, 2024). http://dx.doi.org/10.26686/jnzs.ins38.9580.

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Colonial hybrid design has been a neglected style in Aotearoa New Zealand’s and design history. However, an overview of the corpus, its quantity and plurality, with both Māori and Pākehā makers working into the early twentieth century, indicates that a reappraisal is required. The case study of one Pākehā maker, J.H. Menzies, shows a combination of respect and ignorance of toi Māori (Māori art).[i] Despite the negative connotations of cultural appropriation, a kernel of genuine creative exchange is at the heart of this colonial phenomenon, as exemplified in his work. [i] I use this term generi

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