Thematische Bibliographien / Rwandan Decoration and ornament

Auswahl der wissenschaftlichen Literatur zum Thema „Rwandan Decoration and ornament“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Rwandan Decoration and ornament"

Cross, Christopher. „Urban Design: Ornament and Decoration“. URBAN DESIGN International 1, Nr. 2 (Juni 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.

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Delafons, John. „Urban design: Ornament and decoration“. Cities 13, Nr. 3 (Juni 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 und Andi Hildayanti. „Filosofi Ornamen dan Dekorasi Interior pada Klenteng Xian Madi Kota Makassar“. TIMPALAJA : Architecture student Journals 1, Nr. 1 (09.01.2020): 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 und Seyed Gholamreza Islami. „The Distinction of Ornament and Decoration in Architecture“. Journal of Arts and Humanities 6, Nr. 6 (06.06.2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.

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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.

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Sharapov, I. A. „Discourse of Ornament in Twentieth-Century Architecture“. Art & Culture Studies, Nr. 2 (Juni 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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Goodwin, Amy. „Signwriting: Ornament as visual language ‐ communicative decoration“. Journal of Illustration 6, Nr. 1 (01.08.2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.

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This article argues for the use of decorative signwriting as both ornamental and communicative. This examination will be twofold: first, a series of images of twentieth century signwriting in the fairground industry will be offered to this argument: all signwriting is purposefully applied, as decoration, in order to communicate, but unpicking the visual styles will unveil the hidden meanings, expanding the communicative intentions. Secondly, works of signwriting produced and installed as an archive as illustrated space will be dissected to expand on the argument being made. The archive as illustrated space is a framework being theoretically structured and then applied in practice within my Ph.D. enquiry. It advances the theories and workings of both the archive and artistic archive: the space facilitates the collation of dubious and disputed narratives, alongside archival fragments: told through communicative signwriting, it demands the participation of the viewer in its installation. Using the methodology of this practice-led research will contribute to confirming how the application of a visual language to signwriting enables the production of works that are both ornamental and communicative.This argument has been formed, primarily, due to my informed fairground position: embedded within fairground heritage my upbringing has established an appreciation for its rich history, which is reflected in my practice, which blends traditional signwriting and illustrative storytelling. This informed fairground position, combined with my Ph.D. enquiry, enriches the analysis and understanding of the practice-led research within the realm of this article: offering a valuable opportunity to not only comment on the historical works presented, but also to showcase an exploration of how to apply this visual production to contemporary, installation situations.

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Bzhahov, M., und A. Sultanova. „THE USE OF THE NATIONAL ORNAMENT OF THE KABARDINS AND BALKARS AS ARCHITECTURAL DECORATION OF FACADES OF BUILDINGS“. Construction Materials and Products 2, Nr. 4 (27.06.2020): 79–83. http://dx.doi.org/10.34031/2618-7183-2019-2-4-79-83.

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the article presents the results of research on the use of the national ornament of the Kabardins and Balkars as an architectural decoration of facades of buildings, contributing to the increase of architectural and artistic expression of facades of buildings. Classification of the national ornament of the Kabardins and Balkars is given, stylized schemes of the national ornament are considered and variants of their placement on facades of buildings as an architectural decor are offered.

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Lee, Jae Sung, Mi Hyun Kim, Young Hwan Park und Hyun Woo Kim. „Manufacturing Techniques of Gilt-copper Crown Ornament with a Bird Wing-shaped Decoration Excavated form Ancient Tomb in Imdang, Gyeongsan“. Journal of Conservation Science 39, Nr. 3 (20.09.2023): 297–307. http://dx.doi.org/10.12654/jcs.2023.39.3.11.

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The ancient tombs in Imdang of Gyeongsan, a representative historic site of Silla culture, are a group of ancient tombs built by local powers of Silla during the Three Kingdoms Period which existed fragmentarily in written records as the tomb of the ruling class in Apdokguk(押督國). In the ancient tomb Imdang 1A, where the appearance at the time of the burial was confirmed, the gilt-copper crown ornament with a bird wing-shaped decoration was excavated showing the relationship between the central Silla and the ruling powers in the local provinces. This the gilt-copper crown ornament with a bird wing-shaped decoration was produced in the order of ① cutting and making of each component, ② carving circular patterns, ③ gilding, ④ joining the front and wing ornament, ⑤ punching for wire connection, ⑥ attaching the spangles. The front, wing ornament and circular spangles(Dalgae) were made with a thin copper plate, and the front and wing ornament overlapped each other with a size of about 5 mm. And it was jointed with three metal rivets with a square cross section. The circular patterns, carved on the border between the front and wing ornament, was carved in the shape of a circular dot by chiseling in the vertical direction with a round-tip carving tool. The gilt-copper wire used to connect the spangles(Dalgae) was first thinned by hammering. After that, thinner and more uniform wires in thickness was drawn using the drawing technique. The gilt-copper wires were inserted into the spangles(Dalgae) and twisted three times so that they were of similar length. The wing ornament and circular spangles were gilded with a thickness of 3 to 5 µm, and the gilded layer of the wire was the thinnest at 1 to 4 µm. To manufacture the gilt-copper crown ornament with a bird wing-shaped decoration, the form was made with copper as the basic material and the surface was gilded with the amalgam gilding technique that mixes gold and mercury.

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H, M. Hasrul, Hariani Hariani und Yahya Yahya. „Rancang Bangun Sistem Pemasaran Produk Ornamen Bangunan Di Kabupaten Gowa Berbasis Android“. Journal Software, Hardware and Information Technology 3, Nr. 1 (30.01.2023): 51–62. http://dx.doi.org/10.24252/shift.v3i1.81.

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The industrial era is forcing almost all sectors and business players to replace their service and product marketing systems with conventional to digital technology, likewise in building ornament artisans. An ornament is a decoration made to beautify a house or building both outside and inside the room; the function of the ornament is also to provide air circulation in the room to get fresh air. This research aims to make it easier for building ornament artisans to market their products more broadly. The approach used in developing this software is a prototype that allows interaction between system developers and system users to overcome incompatibilities between developers and users. The results of the development of an Android-based building ornament marketing application can display information related to building ornaments, making it easier for potential customers to see the type and specifications of the desired ornament.

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Cai, Rui. „A Preliminary Study on the Main Ridge Decoration of Buildings in Yuan, Ming, and Qing Dynasties in Guanzhong Area“. Journal of Architectural Research and Development 6, Nr. 3 (31.05.2022): 1–8. http://dx.doi.org/10.26689/jard.v6i3.3815.

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The function of roof ridge ornament is irreplaceable in the facade modeling of traditional Chinese architecture. Taking the ornament in the Ming and Qing Dynasties in Guanzhong area as an example, this paper summarizes and analyzes the appearance characteristics, and internal cultural connotation of the ornament that is currently present in the Guanzhong area from the aspects of its decorative content, color, and grade indication. Further, make relevant discussions, hoping to supplement the research of ancient ornament.

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Dissertationen zum Thema "Rwandan Decoration and ornament"

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.
Department of Architecture

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Bücher zum Thema "Rwandan Decoration and ornament"

Baer, Eva. Islamic ornament. New York: New York University Press, 1998.

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Islamic ornament. Edinburgh: Edinburgh University Press, 1998.

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Heideloff, Carl Alexander von. Medieval ornament. New York: Dover Publications, 1995.

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Colling, James Kellaway. Medieval decorative ornament. New York: Dover Publications, 1995.

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Belanger, Grafton Carol, Hrsg. Floral ornament. Mineola, N.Y: Dover Publications, 1997.

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Schmidt, Clara. Egyptian ornament =: Ornement égyptien = Ägyptische Ornamente = Ornamentacion egipcia = Egipetskiĭ ornament. Lyon: Aventurine, 2005.

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Moughtin, Cliff. Urban design: Ornament and decoration. Oxford: Butterworth Architecture, 1995.

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Moughtin, Cliff. Urban design: Ornament and decoration. 2. Aufl. Oxford: Architectural Press, 1999.

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Gere, Charlotte. Nineteenth-century decoration. New York: H.N. Abrams, 1989.

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Domeisen, Oliver. Ornament neu aufgelegt = Re-sampling ornament. Basel: Merian, 2008.

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Buchteile zum Thema "Rwandan Decoration and ornament"

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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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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„Conclusion – The City of Today and Tomorrow: Ornament and Decoration“. In Urban Design: Ornament and Decoration, 157–68. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-13.

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„Epilogue“. In Urban Design: Ornament and Decoration, 169–86. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-14.

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Konferenzberichte zum Thema "Rwandan Decoration and ornament"

Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian und 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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Жамилова, М. Ж., und 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., und 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 und 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 und 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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