Journal articles on the topic 'Decoration and ornament, Architectural'
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1
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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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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Kursīte, Janīna. "Puithoonete ornament / Ornament of wooden buildings." Studia Vernacula 12 (November 5, 2020): 124–36. http://dx.doi.org/10.12697/sv.2020.12.124-136.
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In this translation of a chapter from monograph “Latvian’s Home” (“Latvieša māja”, 2014), the author provides an insight into the decorations of wooden houses in Latvia, including incisions and ornamental wall decorations and she also differentiates architectural details like the so-called ‘sun posts’ and decorated boards on sides of a triangular opening in the hip under the roof. At the beginning of the paper the author refers to the fact that the ancient geometrical ornament has been more typical of Latvians, which has been preserved also during the time when East-European nations gradually took over the ornaments depicting plants and animals. The author approaches ornamentation as one complete entity and draws attention to the perceived visual rhythm in ornamentation. The individual signs of the ornament are combined either in pairs (statically) or in odd numbers (dynamically). The more modern ornamentation is made up of geometrical ornament with plant ornaments. The author gives an overview of more widely-used signs – slanting crosses, triangles, octagons, and the chalk marking 20+K+B+m+14 widespread in Catholic regions, etc.
Kursīte discusses one peculiar decorative element of the houses – the so-called ‘sun posts’, which in big rooms are just very practical (e.g. in houses of prayer), but which might have also carried some cosmic symbolism.
In buildings (mainly dwelling houses and storehouses), the doors and window jambs, wider battens/boards, and the wooden window shutters were decorated. Ornamental decorations were also used on the top of the boards decorating the triangular opening in the hip under the roof, which were carved like a bird’s or a horse’s head, or shaped like a horn, sometimes even under the collar beams. The decorations were directed outwards so they would be visible. The other kind of ornament (mostly single signs) was cut on house tenons/mitre (i.e. inside). This was not visible, but the ornament had to protect the foundation of the house and the building from hazards coming from the outside (evil ghosts, evil people, natural elements, etc.).
In conclusion it may be said that from a magical and a decorative point of view, ornamentation played an important role in the wooden architecture of Latvia.
In the short preface the themes highlighted by Kursīte are compared with the wooden architecture of Estonia; it is stated that there are similarities but one has to work hard to find them.
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Kursīte, Janīna. "Puithoonete ornament / Ornament of wooden buildings." Studia Vernacula 12 (November 5, 2020): 124–36. http://dx.doi.org/10.12697/sv.2020.12.124-136.
Full textAbstract:
In this translation of a chapter from monograph “Latvian’s Home” (“Latvieša māja”, 2014), the author provides an insight into the decorations of wooden houses in Latvia, including incisions and ornamental wall decorations and she also differentiates architectural details like the so-called ‘sun posts’ and decorated boards on sides of a triangular opening in the hip under the roof. At the beginning of the paper the author refers to the fact that the ancient geometrical ornament has been more typical of Latvians, which has been preserved also during the time when East-European nations gradually took over the ornaments depicting plants and animals. The author approaches ornamentation as one complete entity and draws attention to the perceived visual rhythm in ornamentation. The individual signs of the ornament are combined either in pairs (statically) or in odd numbers (dynamically). The more modern ornamentation is made up of geometrical ornament with plant ornaments. The author gives an overview of more widely-used signs – slanting crosses, triangles, octagons, and the chalk marking 20+K+B+m+14 widespread in Catholic regions, etc.
Kursīte discusses one peculiar decorative element of the houses – the so-called ‘sun posts’, which in big rooms are just very practical (e.g. in houses of prayer), but which might have also carried some cosmic symbolism.
In buildings (mainly dwelling houses and storehouses), the doors and window jambs, wider battens/boards, and the wooden window shutters were decorated. Ornamental decorations were also used on the top of the boards decorating the triangular opening in the hip under the roof, which were carved like a bird’s or a horse’s head, or shaped like a horn, sometimes even under the collar beams. The decorations were directed outwards so they would be visible. The other kind of ornament (mostly single signs) was cut on house tenons/mitre (i.e. inside). This was not visible, but the ornament had to protect the foundation of the house and the building from hazards coming from the outside (evil ghosts, evil people, natural elements, etc.).
In conclusion it may be said that from a magical and a decorative point of view, ornamentation played an important role in the wooden architecture of Latvia.
In the short preface the themes highlighted by Kursīte are compared with the wooden architecture of Estonia; it is stated that there are similarities but one has to work hard to find them.
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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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Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (March 1, 2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.
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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corporeal conceits from contemporary anatomical publications, Dietterlin inspired buildings, architectural prints, and objects that challenged tectonic conventions, upset the traditional split between exterior and interior, and emulated the figural arts’ involvement in representing interior human forms. In assessing how Dietterlin's Architectura turned the proverbial body of architecture inside out, Petcu demonstrates that Renaissance comparisons between body and building did not always project ideals of architectural beauty and reveals overlooked origins of baroque-era fusions of architecture and the figural arts.
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Agustin, Dyan, Nur Rahmatul Lailiyah, Mu'ammar Fadhil, and M. Ferdiyan Arya. "Kajian Ornamen pada Rumah Tradisional Madura." NALARs 19, no. 2 (June 29, 2020): 97. http://dx.doi.org/10.24853/nalars.19.2.97-104.
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ABSTRAK. Ornamen merupakan suatu hiasan yang dibentuk dengan mengembangkan dari bentuk-bentuk yang ada di alam. Ornamen pada bangunan tradisional berbentuk ragam hias dimana teknik maupun pengungkapannya dibuat menurut aturan-aturan, norma serta pola yang telah digariskan dan menjadi kesepakatan bersama dan diwariskan secara turun temurun. Pada rumah tinggal Madura, terdapat ornamen dalam elemen arsitekturalnya dimana keberadaan ornamen tersebut tidak lepas dari adanya akulturasi kebudayaan antar suku yang menetap di Madura. Penelitian ini membahas akulturasi kebudayaan mana saja yang mempengaruhi bentuk, warna ornamen di rumah tradisional Madura serta makna dari masing-masing motif ornamen yang digunakan. Metode yang digunakan adalah metode kualitatif dengan analisis deduktif untuk mengetahui rupa visual dari ornamen pada rumah tradisional di Madura. Hasil analisis menunjukkan beberapa motif yang digunakan pada rumah tradisional Madura antara lain motif flora, fauna antara lain motif ekor ular, naga, burung phoenix dan motif swastika. Pada motif flora-swastika merupakan akulturasi kebudayaan dari Cina, Jawa hindu, dan Madura. Motif flora fauna didominasi dengan hasil akulturasi budaya antara Madura dengan Cina. Untuk area penempatan ornamen bagian atap, dinding, pintu, kolom. Sedangkan penempatan ormanen pada komplek hunian Tanean Lanjhang adalah roma tongghuh (rumah induk) dan Roma na’poto (Rumah Anak). Sedangkan pada kobhung (langgar), tanean (halaman), dapor (dapur), kandhang (kandang) tidak terdapat ornamen karena tempat tersebut lebih diutamakan segi fungsinya. Kata kunci: Ornamen, Rumah, Madura ABSTRACT. Ornament is a decoration that is formed by developing from the forms that exist in nature. Ornaments in traditional buildings are in the form of decoration. The techniques and disclosures are made according to the rules, norms, and patterns that have been outlined and become collective agreements and passed down from generation to generation. In Madura's house, there is an ornament in its architectural element where the decoration's existence is inseparable from the acculturation of cultures between tribes who settled in Madura. This study discusses which cultural acculturation influences the shape, the colour of ornaments in traditional Madurese homes, and the meaning of each ornamental motif used. The method used is a qualitative method with a deductive research method to determine the visual appearance of ornaments in traditional houses in Madura. The analysis results showed several motifs used in traditional Madurese homes, including flora and fauna motifs, including snake-tailed motifs, dragons, phoenixes, and swastika motifs. The flora-swastika motif is an acculturation of culture from China, Hinduism, Java, and Madura. The motif of flora and fauna is dominated by the results of cultural acculturation between Madura and China. For the ornamental placement area of the roof, walls, doors, columns. The placement of people in Tanean Lanjhang residential complex is Rome Tongghuh (main house) and Roma na'poto (Children's House). While in kobhung (langgar), tanean (page), dapor (kitchen), kandhang (cage), there are no ornaments because the place is preferred in terms of function.Keywords: Ornament, House, Madura
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Zahra, Fatima, and Safrizal Shahir. "Development and Evolution of Palmette Ornament: An Influence on Islamic Architecture." Landscape architecture and art 21, no. 21 (December 30, 2022): 124–30. http://dx.doi.org/10.22616/j.landarchart.2022.21.13.
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Decorative architectural ornaments are the mainstay of several art forms. Islamic architecture had several properties and characteristics, including the non-depiction of living beings and emulating God's creation of wrongdoing. Therefore, floral, geometrical, and vegetal motifs became the main component of Islamic architectural ornaments. Similarly, Palmette is included and practiced on a large scale in Islamic architecture due to its vegetal or floral forms. This article focuses on the historical aspects of palmette ornament. Additionally, it explores the development and evolution of the ornament from west to east. Moreover, how palmette ornaments are practiced in Islamic Architecture. For this purpose, historical approach of description is used to explore and analyze the palmette ornament in depth.
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Bzhahov, M., and 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, no. 4 (June 27, 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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Mammaev, M. M. "SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 54–73. http://dx.doi.org/10.32653/ch13454-73.
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This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.
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Saha, Riska, and Zulkarnain AS. "Ragam Hias Rumah Soraja di Desa Binaga Karaeng Kecamatan Lembang Kabupaten Pinrang." TIMPALAJA : Architecture student Journals 2, no. 1 (July 17, 2020): 51–57. http://dx.doi.org/10.24252/timpalaja.v2i1a6.
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Abstrak_Rumah orang Bugis dapat dibedakan berdasarkan status sosial orang yang menempatinya. Daerah Pinrang dikenal istilah saoraja (istana) dan bola (rumah). Berbagai macam motif rumah adat soraja yaitu symbol-simbol ragam dan makna tertentu yang bersifat simbolik sebagai representasi perasaan, pikiran, atau juga paradigma hidup masyarakat Bugis, seperti motif tumbuh-tumbuhan (flora), yaitu motif hias bunga parenreng (sulur suluran), motif hias bunga daun, motif belo-belo tellongeng (jendela), motif hias belo-belo renring (dinding), motif hias belo-belo cappa pattolo (ujung balok), motif hias belo-belo sudu’ (hiasan sudut), motif hias rapang daung kolu (sawi). Motif binatang (fauna) seperti motif hias kepala kerbau, ayam (manuk), dan ular naga. Penelitian ini menggunakan metode kuantitatif untuk mengenali dan memahami bentuk bentk arsitektural dan makna yang terdapat pada Rumah Adat Saoraja di Desa Binanga Karaeng Kecamatan Lembang Kabupaten Pinrang. Kata kunci: Bugis; Pinrang; Soraja; Ragam Hias; Simbol Ragam; Motif. Abstract_ Bugis houses can be distinguished based on the social status of the people who occupy them. Pinrang area known as Saoraja (palace) and bola (home). Various kinds of traditional Soraja house motifs are symbolic variants and specific symbolic meanings as a representation of feelings, thoughts, or also the paradigms of the Bugis community life, such as plant motifs (flora), namely decorating themes of parenting flowers (sulursuluran), decorative motifs of flowers leaves, tellongeng belo-belo motif (window), renring being (wall) ornamental motif, cappa pattolo belo-ornament motif (beam end), belo-belo sudu 'decorative motif (corner decoration), ornamental motifs of rapang daung kolu (mustard greens). Animal motif (fauna) such as buffalo head ornamental motifs, chickens (manuk), and nag snakes. This study uses quantitative methods to recognize and understand the architectural forms and meanings found in the Saoraja Traditional House in Binanga Karaeng Village, Lembang District, Pinrang Regency.Keywords : Bugis; Pinrang; Soraja; Ornamental Variety; Symbol Variety; Motifs.Bugis houses can be distinguished based on the social status of the people who occupy them. Pinrang area known as Saoraja (palace) and bola (home). Various kinds of traditional Soraja house motifs are symbolic variants and specific symbolic meanings as a representation of feelings, thoughts, or also the paradigms of the Bugis community life, such as plant motifs (flora), namely decorating themes of parenting flowers (sulursuluran), decorative motifs of flowers leaves, tellongeng belo-belo motif (window), renring being (wall) ornamental motif, cappa pattolo belo-ornament motif (beam end), belo-belo sudu 'decorative motif (corner decoration), ornamental motifs of rapang daung kolu (mustard greens). Animal motif (fauna) such as buffalo head ornamental motifs, chickens (manuk), and nag snakes. This study uses quantitative methods to recognize and understand the architectural forms and meanings found in the Saoraja Traditional House in Binanga Karaeng Village, Lembang District, Pinrang Regency. Keywords : Bugis; Pinrang; Soraja; Ornamental Variety; Symbol Variety; Motifs.
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Shyntyapina, Ye S. "FAIRY-TALE AND MYTHOLOGICAL MOTIFS IN THE DECORATION OF ARCHITECTURAL COMPLEXES BY N. P. KRASNOV IN YALTA DISTRICT." Arts education and science 1, no. 3 (2021): 101–9. http://dx.doi.org/10.36871/hon.202103013.
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The article deals with fairy-tale and mythological motifs in the work of the architect N. P. Krasnov, represented in the decoration of the palace and manor complexes of the Romanov family Dulber and Livadia, as well as the estates of the princes Yusupov in Koreiz and Kokkoz, erected on the territory of Yalta district in 1880–1913. The stylistic continuity of architectural complexes was expressed in the ornament and decorative plastics created by the architect under the influence of Italian Renaissance, Classicist canons and Neo-Moorish elegance. The paper analyzes characteristic features of stylistic interrelations in the considered constructions by N. P. Krasnov, identifying fairy-tale, mythological artistic and figurative motifs in exterior decoration and sculpture. A full-scale study of architectural decoration and sculpture of the palace and manor complexes allows to identify the main fabulous and mythological motifs, borrowed and interpreted by N. P. Krasnov during his work as chief architect of Yalta. The study reveals that, referring to the traditions and historical architectural heritage of the Southern Coast of Crimea and artistic culture of the Mediterranean, the architect interpreted mythological subjects in plastic exterior relief, bas-reliefs and sculpture.
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Berdeli, Leman. "The Ocular Harpsichord ‘La Toilet’." Diciottesimo Secolo 7 (November 18, 2022): 157–62. http://dx.doi.org/10.36253/ds-13359.
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The color organ with its modern interpretation is an electronic device representing sound in a visual configuration. The origins of the color organ inventions can be traced back to the hand-operated models based on harpsichord design promising the splash of colors upon pressing a key. In this perusal, the harpsichord appears as a tool of fashion with its unique interpretation taking place in a setting where the author got into the habit of calling the ocular harpsichord ‘la toilet’. The acquisition of a certain tendency made the author develop a habit of calling ornaments in general as ‘visible music’. Throughout the narrative incorporating romantic features, the concept of ornament in music manifests itself visibly on clothing and architectural decoration adhering to the philosophical fulcrum between the 18th-century decorative aesthetics and the inventiveness of the Lumières. As a logical consequence, a mathematical structure applied in architecture could turn into keyboard compostition.
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Sokhanpardaz, Kamran. "Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey." Journal of The Near East University Faculty of Theology 7, no. 1 (June 22, 2021): 87–118. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.03.
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The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.
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Pane, Imam Faisal, and Ribka A. Sianipar. "THE INFLUENCE OF NIEUWE BOUWEN ARCHITECTURE ON DUTCH COLONIAL BUILDING IN MEDAN CITY." DIMENSI (Journal of Architecture and Built Environment) 45, no. 1 (July 31, 2018): 37. http://dx.doi.org/10.9744/dimensi.45.1.37-44.
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Nieuwe Bouwen Architecture came and involved in Indonesia is carried by the young Dutch architects, also influenced Dutch colonial building in Indonesia to include Medan city. This study aims to determine what kind of Nieuwe Bouwen that control Dutch colonial buildings in Medan and find the form of the authority. This study used the qualitative method. There are 6 (six) aspects studied in this research that is the dynamic form; expressive ornaments; the building has a tower; nonstructural elements; glass, steel, and concrete materials; elements of air, light, and space. Analysis results show that PD Pasar Office Medan, Paradiso Swimming Pool, and Mandiri KC Medan City Hall Bank are influenced by Nieuwe Bouwen expressionism. Besides that, the form of expressionism on PD Pasar office Medan are of the curved shape of the building, unique, the expressive ventilation has the ornament and decorative element on its facade. As well as Paradiso swimming pool has curved shape, decoration and decorative element on its façade and tower. While at Mandiri KC Medan Cityhall bank, there is the geometric decoration, decorative element, and balcony also tower have expressive shape.
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Riisberg, Vibeke, and Anders Munch. "Decoration and Durability: Ornaments and their ‘appropriateness’ from fashion and design to architecture." Artifact 3, no. 3 (December 16, 2015): 5. http://dx.doi.org/10.14434/artifact.v3i3.3918.
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<p>Throughout the scales of design there has been an exploding interest in the ornament that seems to be fuelled by different kinds of digital technology and media from CAD to digital printing in both 2D and 3D. In architecture and industrial design it is discussed as a Return of ornament, because the aesthetics of Modernism banned ornamentation as ‘inappropriate’ to materiality, construction and function. In this article we wish to renegotiate this highly normative notion of appropriateness with special regard to sustainable design, where the ‘right’ kind of ornaments can mediate attention to more aesthetic and cultural dimensions and open for stronger individual attachments to consumer goods that might prolong their lifespan. Adolf Loos, who lead the fight against ornament in early 20<sup>th</sup> century, based his critique on an assumption of relation between ornamentation and durability that makes ornaments appropriate or not. This leads us to suggest an array of parameters that points out different situations and meanings of ornamentation: Product categories, Durability of materials, Styles, Aesthetic experience, Emotional attachment and Historical references. We discuss these parameters in cases from fashion and tableware to architecture and links ornamentation to the aesthetics of durability.</p>
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Mitrache, Anca. "Ornamental Art and Architectural Decoration." Procedia - Social and Behavioral Sciences 51 (2012): 567–72. http://dx.doi.org/10.1016/j.sbspro.2012.08.207.
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Loshkareva, Ekaterina A. "Friezes with a Polygonal Ornament in the Decoration of the Drums of Armenian Churches of the Late 12th —First Third of the 13th Centuries." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 1 (2024): 121–38. http://dx.doi.org/10.15826/izv2.2024.26.1.008.
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This article studies the use of relief ornamental frieze of intertwining polyhedrons in the decoration of dome drums of Armenian churches of the initial period of the Zakarid era. Following the liberation of the country from the Muslim yoke, in the Eastern Armenia regions and Ani, construction activity grew rapidly, especially in church building. New monuments were erected in the spirit of the national tradition, which is especially evident in the plastic decoration of the exterior of drums. The author tries to build a chronological sequence of the use of the ornament in the friezes of the domes of Armenian churches, which leads to the conclusion that ornamental friezes of hexagons and octagons were primarily used in Ani monuments. The author notes the simultaneous popularity of these patterns in the architecture of the neighbouring state of the Anatolian Seljuks, whose cultural activity in its formation is closely connected with the Armenian one. The author sees the possible origins of the ornamental frieze with a polygonal structure in the drums of Armenian churches in the brickwork architecture of the minarets of Iran and Central Asia from the eleventh and twelfth centuries. In summary, the author emphasizes the existence of the tradition of decorating drums with a blind arcade topped with a decorative frieze in Armenian architecture long before the era in question, referring to the Cathedral of Ani which played an important role in the formation of the image of domes of the Armenian churches of the Zakarid era.
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Ratko, Marina Valerievna. "Decorative Features of the Temple Complex Pura Beji (Sangsit, the Island of Bali)." Человек и культура, no. 4 (April 2023): 1–25. http://dx.doi.org/10.25136/2409-8744.2023.4.40853.
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The author examines the sculptural decoration of the Pura Beji temple – a vivid representative of the style of sacred architecture and decorative plasticity of northern Bali. This temple complex is the sanctuary of the subak irrigation association. It is unique with a peculiar vocabulary of decor, rich texture of stone carvings, masterfully executed in a “pink” paras. The purpose of the article is to use the example of analysis of the decorations of temple buildings (Candi Bentar gates, Candi Kurung, Candi Laras altars, Apit Lawang) and samples of round sculpture to identify the characteristic features of the decorative desing of Pura Beji, to reveal the features of the iconographic reading of individual motifs and images, their spatial configuration. The work is based on empirical material from field studies conducted in April 2019 (Desa Sangsit, kabupaten Buleleng). The study of the temple decor was carried out using the methods of full-scale research, non-standardized interviews; comparative analysis; iconographic, compositional, artistic analysis of images. For the first time, the diverse repertoire of Pura Beji's plastics was analyzed through the prism of the leading iconographic program related to the cult of fertility and the specifics of Balinese Hinduism (with its rich mythopoetics, metamorphoses of the divine and demonic worlds). This predetermined the abundance of floral ornaments and chimerical, fantastic images in the decoration of the temple, their organic fusion. The role of active contacts of the northern coast of Bali with the cultures of Eastern civilizations and Western Europe in the formation of the original style of carving by Sangsit masters is also taken into account. The author comes to the conclusion that the decorative design of Pura Beji is characterized by: rethinking the codified patterns of decor, the use of original motifs and borrowed replicas; compositional freedom of ornamental constructions; continuous filling of the wall surface with sculptural decoration in relief, the applicative manner of applying the ornament. Also noteworthy is the hyperbolized way of articulating decorative elements, manifested in the reception of emphasized grotesque in the interpretation of zoomorphic images and the dominance of a large pattern of leaves and flowers.
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Al'-Tamimi, Sakher Mukhammed, and Marina Vladimirovna Pankina. "Ornament in the architecture of mosques in Jordan: traditions and innovations." Культура и искусство, no. 4 (April 2024): 74–88. http://dx.doi.org/10.7256/2454-0625.2024.4.69044.
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The object of the study is ornaments in the architecture of ancient and modern mosques. Using the example of mosques in Amman (Jordan), traditional ornaments are considered from the point of view of their purpose, content and symbolism, location and plastic organization. The compositional techniques, stylization methods, images used in ornaments are analyzed. In the modern architecture of mosques, continuity in approaches to decoration is combined with the active use of modern technologies in the construction and interpretation of ornaments, their embodiment in the material. Since there are strong changes in the space-planning solutions of mosques in connection with modern functional tasks, it is ornaments that are the most important means of identifying religious buildings. New interpretations of the visual language and the purpose of the decoration of mosques are due to the processes of globalization and the use of computer technologies for the design of structures. The authors conclude that it is necessary to follow the canons of Islamic ornamental motifs when using them in modern architecture, especially in religious buildings. By offering engineering and artistic innovations, architects must preserve the structure, plasticity and symbolism of ornaments in which the philosophy of Islam accumulates.
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Szumigała, Paweł Piotr, and Karolina Olenia Szumigała. "Plans Ornaments in The Architectural Details of Art Nouveau Townhouses And Villas in Sopot." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 18, no. 2 (December 27, 2022): 55–69. http://dx.doi.org/10.35784/teka.3117.
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The article presents the issues related to the use of plant ornaments in decorations and details of Art Nouveau tenement houses in Sopot. Elements of decoration and detail of selected examples of Art Nouveau buildings were discussed in terms of the most frequently used plant prototypes.
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Harriyadi, Harriyadi. "MAKNA RAGAM HIAS ŚAṄKHA BERSAYAP PADA CANDI HINDU DAN BUDDHA." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, no. 2 (December 10, 2020): 113–30. http://dx.doi.org/10.24164/pw.v9i2.377.
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A temple is a religious building that used by Hindu and Buddhist devotees to do religious practices. The architectural form of temple is made to resemble a mountain as symbol of the gods’ house. Each decorative ornament carved in a temple represents the natural environment of heaven and it has meaning which was related with religious aspect. One of the most interesting decorative ornament carved in temple is the winged śaṅkha which usually was used as an attribute of deity. The goal of this research is to explain the meaning of winged śaṅkha ornament in temple. This research was conducted by collecting winged śaṅkha ornaments in Hindu and Buddhist temples. Data will be described and analysis will be conducted by comparing the winged śaṅkha ornaments with its mythology in Indian culture. The results showed that the winged śaṅkha have correlation with water element which could bring fertility. Therefore, the winged śaṅkha, as a symbol of water, can bring fertility and welfare to communities of surrounding temple.
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Mammaev, Misrihan M. "CARVED STONES of the XV Century FROM the VILLAGES. KUBACHI WITH NAMES MADE THEM MASTERS." History, Archeology and Ethnography of the Caucasus 14, no. 4 (December 27, 2018): 117–31. http://dx.doi.org/10.32653/ch144117-131.
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The article describes the monuments of stone-cutting art of the XV century-six architectural details and one gravestone monument of highly artistic decoration of villages. Kubachi, on which are carved the names of the craftsmen who made them. Discusses the features of the decorative trim of carved stones. It is noted that not all master stone – cutters, who worked in the middle ages, tried to immortalize themselves, putting on their works inscriptions with their names. Only a few of them left their names on the work they performed. Therefore, a great number of carved stones, architectural details and tombstones from the village of Kubachi, as well as tombstones from neighbouring settlements – Calamarata, Ashty, Damage and other remain nameless.
The tomb of the XV century described in the article, decorated at a high artistic level with calligraphically executed decorative Arabic inscription in the style of "blooming kufi" on the background of elegant floral ornament, is considered as an outstanding work of stone-cutting art, created in the middle ages in the villages. Kubachi. It is the only one among the gravestones studied by researchers to the present time, which presents the name of the master of stone – Carver, calligrapher and ornamentalist Jarak – a talented artist of decorative and applied art.
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Szumigała, Paweł Piotr, Przemysław Tomczak, and Karolina Szumigała. "Plant ornaments in the architectural detail of Art Nouveau tenement houses and villas of Jeżyce and Łazarz in Poznań." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 17, no. 3 (September 30, 2021): 91–107. http://dx.doi.org/10.35784/teka.2860.
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The article presents the issues related to the use of plant ornaments in decorations and details of Art Nouveau tenement houses in Poznań. Elements of decoration and detail of selected examples of Art Nouveau buildings were discussed in terms of the most frequently used plant prototypes.
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Rachmayanti, Sri, Christianto Rusli, and Anak Agung Ayu Wulandari. "Cultural Acculturation in Interior and Architecture of Old Straits-Born Chinese Lasem House." Humaniora 8, no. 3 (October 19, 2017): 279. http://dx.doi.org/10.21512/humaniora.v8i3.3718.
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The long-term goal of this research was to make variety ornament documentation on architecture and the interior of Indonesian historical buildings, especially for buildings having the combination between western and eastern. The original plan of this research was to achieve some cultural preservation efforts, they were (1) to find various styles of design art, including the variety of native straits-born Chinese ornaments, Art Deco, and Neoclassical, or found that there are any acculturations among the ornaments in an interior. (2) To understand characteristics of each style and applied it appropriately in the interior space. (3) To find on how the building functioned and how to preserve as cultural heritage. The method began with a survey, interviews, and observations by documenting the application of Indonesia art and culture for cultural conservation, especially on interior design. The case study was straits-born Chinese buildings in Lasem, Central Java. The observation and research concerned with design styles applied in architecture, interior, and home decoration. The observation and research were followed by summarizing and analyzing the material obtained from field surveys result by comparing two samples of Chinese houses in Lasem that also supported with literature research. Researchers find several differences of art styles which had been applied. The styles are original Chinese decorations, Art Deco, and Neoclassical decorations.
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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, no. 3 (May 31, 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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Nadyrshine, Neil, Lilia Nadyrshine, Rafik Khafizov, Nailia Ibragimova, and Karine Mkhitarian. "Parametric methods for constructing the Islamic ornament." E3S Web of Conferences 274 (2021): 09009. http://dx.doi.org/10.1051/e3sconf/202127409009.
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The article discusses the method of algorithmic construction of Islamic ornaments, which can be used as a decorative element in architectural design. Two necessary stages are highlighted in the generation of an ornamental motif by means of algorithmic design – the first includes operations on a base mesh consisting of a combination of regular or semiregular cells, for example, drawing rays from the centers of the edges of the original lattice or rotating figures relative to its nodes; the second stage involves the creation of a basic pattern of the ornamental design that fits into a regular or semi-regular polygon, and the decorative motif in the figure is made up of a primitive that is symmetrically reflected relative to any lines, usually rays, emanating from opposite corners of the polygon. The paper analyses the traditional patterns of Islamic ornaments, on the basis of which new designs were built, using visual programming tools (Rhino and Grasshopper).
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Zahro', Fatimatuz, Afiful Aziz, Fatimatil Imroatil Karimah, Zulfi Mubarok, and Syuhadak Syuhadak. "Art of Architecture in the Fatimiyyah Dynasty (697 -1171 AD)." JUSPI (Jurnal Sejarah Peradaban Islam) 6, no. 2 (January 24, 2023): 105. http://dx.doi.org/10.30829/juspi.v6i2.14029.
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<p><em>The Fatimiyyah Dynasty was a vast and advanced country in several fields, especially in the field of architectural art. Founded by the Ismaili Shia sect. The writings of the research are first, wanting to understand concrete forms in the field of architectural art during the Fatimiyyah dynasty. second. want to understand the internal and external factors in the field of architectural arts during the Fatimiyyah dynasty. third, they want to understand the implementation of architectural art during the Fatimiyyah dynasty. The research methodology includes library research from primary data and secondary data relevant to the topics discussed. The results of this study are: first, concrete manifestations of the history of the Islamic civilization of the Fatimiyyah dynasty, namely the buildings of mosques, hotels, luxurious palaces, and forms of ornament and decoration. second, internal factors such as Islamic values contained in art, architectural art is knowledge from the Qur'an, and art cannot be separated from the local culture. External factors, namely the art of architecture, are influenced by the economy, international trade, and advances in science and technology. Third, this architectural art implies that the buildings at the Great Mahdiya Mosque, Al Azhar Mosque, Qarafa Mosque, Al-Hakim Mosque, and Other Cairo Mosques, Cairo Fort, Bab Al Futuh, Bab Al Nasr, and Bab Zuweil then form buildings like many passageways, a central courtyard surrounded by arcades, curly arches, portals, domes, ornate façades and architectural features of East and West.</em></p><p> </p>
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Sabina González, José Antonio. "Los remates de cubierta o de composición en los edificios canarios 1896-1931: tratamiento y utilización por los técnicos." Vegueta. Anuario de la Facultad de Geografía e Historia 22, no. 1 (February 7, 2022): 289–323. http://dx.doi.org/10.51349/veg.2022.1.15.
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Gran parte de nuestro patrimonio arquitectónico cuenta con ciertos elementos decorativos característicos del estilo ecléctico y modernista que caracterizaron a una época pasada de gran esplendor. Uno de ellos es el remate que estudiamos en el presente artículo, un ornato que culmina un edificio perfectamente ornamentado y del que los técnicos disponen en algunos de sus inmuebles; un elemento que se expondrá con ejemplos de su procedencia externa. Este trabajo contará con estos técnicos para profundizar en este elemento decorativo, mediante la consulta de los planos de sus edificios que cuentan con este ornato en Tenerife, entre los años 1896 y 1931, examinando la documentación de los archivos municipales para poder complementar la información existente sobre estos profesionales, y de esta manera llegar a obtener revelaciones sobre el estilo, las particularidades y las preferencias de ellos, con respecto a este componente decorativo. Much Canarian architectural heritage reflects certain decorative elements characteristic of the eclectic and modernist style that signals a bygone era of great splendour. One of them is the capstone covered in this article, the culmination of a perfectly ornamented building as employed by some architects, an element that will be detailed here with examples. This article explores this decorative element by consulting architects’ plans for buildings that made use of the ornament in Tenerife between 1896 and 1931, examining the documentation of the municipal archives as a complement to extant information on these professionals. By doing so, the article analyses such architects’ styles, particularities and preferences with respect to this decorative component.
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Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (March 2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Setiawan, Trianita Anugerah. "Interior Ornaments in the "Pendopo Agung" Joglo Building, Ponorogo, East Java." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 2 (December 1, 2021): 545–56. http://dx.doi.org/10.34010/icobest.v2i.319.
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Pendopo Agung is a Javanese architectural building that is often known as the Joglo Building. Generally, the Pendopo Agung is in the form of a building that does not have walls with some poles or pillars that function as a momot or a buffer. Pendopo Agung is one of the typical Javanese architectures whose existence needs to be preserved as a rich diversity of Indonesian cultural architecture. Inside the interior, Pendopo Agung has several ancient ornaments that have an aesthetic function and symbolic meaning. This study aims to analyze the aesthetic form and function of the Pendopo Agung ornament. The method used in this research is descriptive. Data collection was obtained from observation and literature. The results of the study contained ornaments including; Flora Ornaments, Fauna Ornaments, and Nature Ornaments. Flora ornaments consisting of Saton, Lung-Lungan, Tlacapan, and Wajikan. As for the Fauna and Nature Ornaments, they consist of Peksi Garuda, Ular Naga, Mirong, Makutha, Praba, and Gugunungan. These ornaments function as aesthetic elements in various places in the interior of Pendopo Agung, such as the roof beams, door beams, upper and lower building pillars, windows, doors, and the main pillar (middle part). The conclusions obtained in this study indicate that the various forms of decorative ornaments at the Pendopo Agung can be accessed by the wider community to know each of its aesthetic functions
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Попова, В. Л. "BOOKS ABOUT ORDERS AND THEIR ROLE IN THE GERMAN ARCHITECTURAL THEORY." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 183–203. http://dx.doi.org/10.25995/niitiag.2019.12.1.009.
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Статья посвящена специфике освоения ордерной формы мастерами заальпийской Европы, показанной на примере немецкоязычных ордерных книг XVI-XVII вв. Ордерные руководства систематизированы в хронологическом порядке, показано влияние на их авторов итальянских и нидерландских трактатов, а также роль архитектурного орнамента и его взаимосвязь с ордером в единой системе оформления фасадов зданий. Акцент при этом сделан на приоритет семантики ордера и, в частности, опоры над архитектоникой как главной особенности архитектурного менталитета немецкоязычных архитектурных теоретиков. The article is about the specific reception of the architectural orders by the masters of transalpine Europe on the example of German books about orders in the period of the 16th-17th centuries. The material is chronologically systemized in the light of the influence of Italian and Netherlandish theoretical sources and of the cross-influence of order and ornament in the frames of the holistic system of façade decoration, stressing the semantics of the order and its priority over architectonic as the main trait of the German architectural mentality.
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Saba, Matthew D. "A Restricted Gaze: The Ornament of the Main Caliphal Palace of Samarra." Muqarnas Online 32, no. 1 (August 27, 2015): 155–95. http://dx.doi.org/10.1163/22118993-00321p09.
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This essay examines the architectural ornament of Samarra’s Main Caliphal Palace, also known as the Dar al-Khilafa, in light of the context in which it was seen. First, it offers a partial reconstruction of the architectural ornament in one section of the palace, its Audience Hall Complex, based on unpublished documentation from the archive of Ernst Herzfeld, who excavated the site in 1912–13. In the second part, Herzfeld’s findings are interpreted in light of the function of the space as the locus of official audiences at the Abbasid Court. The analysis suggests that in certain portions of Samarra’s Main Caliphal Palace ornament was carefully planned in conjunction with its architectural frame and can even be seen to further the ideological aims of the palace’s patrons. By encouraging the viewer to glance but remaining partly to completely hidden from sight from most palace guests, the decorations of the Audience Hall Complex reinforce the sense of hierarchy and restricted access that informed the way Abbasid caliphs were presented to the public.
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Stec, Barbara. "Refleksja o kiczu architektonicznym. Iluzja czy namiastka szczęścia?" Załącznik Kulturoznawczy, no. 3 (2016): 194–205. http://dx.doi.org/10.21697/zk.2016.3.11.
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The reflection in this article is focused on the kitsch in architecture. The term ‘kitsch’ itself, originally referred to the images, is nowadays also used for the evaluation of architecture, especially in terms of its authenticity. This requires taking into account the physical scale associated with the function important in architecture, that is, the one of satisfying the needs of its user. What served as a starting point for reflection was the thought of Kurt W. Forster, in which he identified kitsch, including the architectural one, with the illusion of a better life, inherent in the dream and desire of a man, and constituting the cause of architectural borrowings. It was noted that in architecture, because of its scale and utility, the illusion cannot replace the real fulfillment of the user’s life needs, so it may exist for a relatively short period of time so as to lead to the emergence of its form, or, in the long run, it may subsist next to reality as a useless dummy, excluded from the function of satisfying the needs of the user. Such a kitsch can be seen in architecture, in which a man lives for such a short time that he or she does not need to meet one’s needs based on kitsch. The prolonged use of architectural kitsch deepens in a man a feeling of sadness and irritation resulting from a sense of inability to fulfill dreams or real needs. And if the illusion is only a cause of the architecture – since it disappears into its realized form, borrowed, but useful (as theatre decoration, by meeting the needs of beauty or a multi-sensory experience of architecture) – then you cannot talk about the architectural kitsch, understood as an illusion. Accordingly, the ornament also need not be kitsch if it converts the illusion into a bit of happiness.
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Stec, Barbara. "Notes on Kitsch in Architecture. An Illusion or an Ersatz of Happiness?" Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 161–72. http://dx.doi.org/10.21697/zk.2019ee.01.10.
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The article deals with kitsch in architecture. The term ‘kitsch’, which originally referred to images, is nowadays also used in the evaluation of architecture, especially in terms of its authenticity. This entails the consideration of the physical scale associated with an important function of architecture, to wit fulfilling the users’ needs. As a starting point for the reflection serves the thought of Kurt W. Forster, identifying kitsch, including its architectural iteration, as an illusion of a better life inherent in people’s dreams and desires, which may at the same time be the cause of various architectural borrowings. It is claimed that in architecture, due to its scale and utility, an illusion cannot supplant genuine fulfillment of the user’s basic needs, therefore, it can only exist for a relatively short time either leading to the emergence of its form, or it may be solidified against reality as a useless replica, serving no function meeting the needs of its users. Such sort of kitsch can be discovered in those works of architecture in which people spend too short a time for them to require kitsch to answer their basic needs. A prolonged experience of architectural kitsch deepens a person’s feeling of sadness and irritation resulting from a sense of failure to fulfill one’s dreams or even real needs. Whereas, if an illusion only serves as a cause for the creation of a work of architecture – later disappearing when its form is executed, though based upon borrowings it remains useful (for instance regarded as a theatre decoration, meeting the need for beauty and/ or a multi-sensory experience of architecture) – it can no longer be classified as architectural kitsch, i.e. as an illusion. Accordingly, ornament may also escape being seen as kitsch, if it helps convert an illusion into an ersatz of happiness.
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Hedges, Susan. "Interior Decoration to Exterior Surface: The Beleaguered Relief." Interiority 2, no. 1 (January 30, 2019): 79–93. http://dx.doi.org/10.7454/in.v2i1.45.
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Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge.
This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior.
Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.
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Andreeva, Olga P., Evelina V. Mikhailova, and Svetlana P. Akhmetova. "ART NOUVEAU ARCHITECTURE IN THE MODERN URBAN IMAGE OF CHUVASHIA." Arts education and science 2, no. 35 (2023): 128–35. http://dx.doi.org/10.36871/hon.202302128.
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Art Nouveau architecture attracts the interest of contemporary researchers with its formative natural elements, plastic ornament, decorative lines, and unique options complementing and organically fitting into the modern urban environment. The few buildings in medium and small towns with Art Nouveau features and links to the local architectural traditions, with their unique decorative elements, deserve special attention. This interest is primarily due to the aesthetic perception of architectural space, the study and preservation of modern monuments. Today, many buildings have lost their Art Nouveau decorative elements, and their original appearance has been changed as a result of alterations. The reason for such transformations were historical events that significantly influenced the architectural image of the towns. The analysis of Art Nouveau architecture in the towns of the Chuvash Republic, such as Cheboksary, Alatyr, and Yadrin, reveals the distinctive features of compositional solutions and decorative finishing of buildings, as well as changes in their image. The study relies on the architecture of the mansions of the merchants Yefremov in Cheboksary, the houses of the timber dealer Burashnikov and the merchant Talantsev in Yadrin, and the consumer culture buildings in Alatyr. Based on the study of Art Nouveau architecture, the authors try to show the irreversible changes made to the original appearance of the buildings by some reconstructions, and identify the problem of preserving the architectural heritage of the Art Nouveau style in the cities of the Chuvash Republic.
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Basoeki, Olivia De H., and Wu Mingchang. "INTERNALIZATION OF ISLAMIC VALUES IN THE 21st CENTURY CONSTRUCTION ORNAMENTS." Religio Education 1, no. 2 (December 24, 2021): 97–105. http://dx.doi.org/10.17509/re.v1i2.41345.
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This article aims to determine the concepts as well as some Islamic construction ornaments that contain Islamic values. Art and spirituality will not be complete if they do not touch on architecture, so Islamic architecture has an important meaning from the perspective of spirituality. In the 21st century, there are architectural issues in how buildings respond to the environment. Therefore, buildings including ornaments must be environmentally friendly and apply the concept of simplicity design and apply appropriate technology. The research used is library research with descriptive methods. The result of this research is that the art of decoration is one of the most important character building elements in Islamic architecture. Types of typical Middle Eastern ornaments include calligraphy, geometric ornaments, and arabesk.
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An, Xinyu, Qi Zhou, Qianyun Xiong, and Jiaqi Wang. "Further Reflection on the Protection of Cultural Heritage: The AOH Project." Digital Presentation and Preservation of Cultural and Scientific Heritage 9 (September 13, 2019): 345–52. http://dx.doi.org/10.55630/dipp.2019.9.37.
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AOH (Animal Ornaments on House-ridges), as an important part of Chinese Traditional Architectural Decoration, have gradually formed a cultural system. Through the exploration of the cultural connotation behind them and the design of a serious game closely related, we hope to cultivate people's interest in AOH and achieve the sustainable preservation of animal ornaments.
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Liu, Linyu, Raziah Ahmad, Suriati Ahmad, and Xuejie Jiang. "Examining the nuances of Huizhou architecture and building decoration elements within the framework of rural development and urban aesthetics through the application of object detection and explicative analysis." Journal of Autonomous Intelligence 7, no. 5 (May 27, 2024): 1577. http://dx.doi.org/10.32629/jai.v7i5.1577.
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<p>This scholarly investigation immerses itself in the intricate domain of Huizhou architecture and building decoration elements, which represent a distinct traditional Chinese architectural style. The study explores the evolution of Huizhou-style architecture and its ornamental techniques while delving into the visual aspects of contemporary urban architecture influenced by this unique style. Employing advanced technologies such as computer vision and explainable artificial intelligence (AI), the research aims to contribute to the preservation and documentation of China’s cultural heritage, specifically focusing on the intricate designs and distinctive building decorations inherent in Huizhou-style architecture. To methodically curate a diverse image dataset, a combination of automated annotation tools and manual labeling was utilized, establishing a robust benchmark for the exploration and comprehension of Huizhou architectural elements. The YOLOv7 model underwent retraining on this dataset, exhibiting noteworthy enhancements in precision, recall, and Mean Average Precision (mAP), surpassing the performance of the pre-trained model. In addition, the study introduces SHAPE, an explainable AI tool designed for interpretability, providing detailed insights into the decision-making process. This not only bolsters the reliability of our results but also enriches our comprehension of Huizhou-style architecture. This multidimensional approach not only propels the field of computer vision but also makes significant strides in the preservation of China’s cultural legacy. By integrating cutting-edge technologies with a meticulous exploration of architectural elements, this research fosters a deeper understanding of Huizhou architecture and its role in shaping the visual landscape of both rural and urban environments.</p>
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Сим, Надежда Михайловна. "AYUNTAMIENTO IN SEVILLE. ALLEGORIES AND SYMBOLS OF ARCHITECTURAL DECORATION." Академический вестник УралНИИпроект РААСН, no. 1(48) (March 30, 2021): 70–75. http://dx.doi.org/10.25628/uniip.2021.48.1.012.
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В статье рассмотрены художественные приемы архитектурного декора в стиле «платереско» на фасадах Айюнтамьенто (ратуши), одного из первых гражданских сооружений в классических традициях испанского Ренессанса в Севилье. Используемые методы визуализации идеологических программ, художественных задач и их выразительных свойств отражены в иконографической программе аллегорий и символов исторической эпохи The article analizes the Artistic composition of the Architectural Décor on the Facades of the Ayuntamiento Townhall of the of the fitst state constructions built in the classical tradition of the Spanish Renaissance in the Sevill when the new artistic movement (Plateresco), rooted in the Late Middle Ages, arrived on the scene. And that are visualized on the facades of the building in its sculptural plasticity, ornamental décor and the symbols of the historical epoch.
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Pradana, Rizal Wahyu Bagas. "Bentuk dan Makna Simbolik Ragam Hias pada Masjid Sunan Giri." RUANG-SPACE, Jurnal Lingkungan Binaan (Space : Journal of the Built Environment) 7, no. 1 (April 30, 2020): 71. http://dx.doi.org/10.24843/jrs.2020.v07.i01.p07.
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Sunan Giri Mosque is one of the ancient Javanese mosques which was built in the time of Walisongo. Sunan Giri Mosque building has its own uniqueness in its ornament. This uniqueness is rarely found in other mosques in general. This study aims to describe the various ornaments and symbolic meanings found in the Sunan Giri Mosque. This research uses descriptive qualitative research methods. Research data obtained through observation, interviews, documentation, and literature study. Data analysis with data reduction, data presentation, and concluding. Meanwhile, to obtain data validity, using data triangulation and review informants. The results showed the ornament at the Sunan Giri Mosque was influenced by Javanese, Hindu, and Islamic culture. The decoration in the Sunan Giri Mosque takes pre-Islamic elements and is processed, adjusted to the rules contained in the Islamic religion. The ornament in the Sunan Giri Mosque can be grouped into several motives: lung-lungan, patran, padma, tlacapan, saton, kebenan, garuda, praba and surya majapahit motifs. Aside from its role as building decoration, ornament in the Sunan Giri Mosque has symbolic meaning in it. The symbolic meaning is addressed to the Muslims who worship in the mosque. This symbolic meaning contains symbols about noble teachings in Islam, and hopes to Allah SWT.
Keywords: architecture; ornament; symbolic meaning; Sunan Giri Mosque
Abstrak
Masjid Sunan Giri merupakan salah satu masjid kuno Jawa yang dibangun pada zaman walisongo. Bangunan Masjid Sunan Giri memiliki keunikan tersendiri pada ragam hiasnya. Keunikan tersebut jarang ditemui pada masjid-masjid lain pada umumnya. Penelitian ini bertujuan untuk mendeskripsikan ragam hias dan makna simboliknya yang terdapat di Masjid Sunan Giri. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Data penelitian diperoleh melalui observasi, wawancara, dokumentasi, dan studi pustaka. Analisis data dengan reduksi data, penyajian data, dan penarikan kesimpulan. Sedangkan untuk mendapatkan kevalidan data, menggunakan triangulasi data dan informan review. Hasil penelitian menunjukkan ragam hias di Masjid Sunan Giri dipengaruhi oleh budaya Jawa, Hindu, dan Islam. Ragam hias di Masjid Sunan Giri menggambil unsur-unsur pra Islam dan diolah, disesuaikan dengan aturan-aturan yang terdapat dalam agama Islam. Ragam hias di Masjid Sunan Giri dapat dikelompokkan menjadi beberapa motif: motif lung-lungan, patran, padma, tlacapan, saton, kebenan, garuda, praba dan surya majapahit. Selain berperan sebagai penghias bangunan, ragam hias di Masjid Sunan Giri memiliki makna simbolik di dalamnya. Makna simbolik tersebut ditujukkan kepada kaum muslimin yang beribadah di dalam masjid. Makna simbolik ini berisi simbol tentang ajaran-ajaran luhur dalam agama Islam, dan harapan-harapan kepada Allah SWT.
Kata kunci: arsitektur; ragam hias; makna simbolik; Masjid Sunan Giri
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Mammaev, Misrikhan M. "NEW STONE RELIEFS-ARCHITECTURAL DETAILS OF THE 14th – 18th CENTURIES FROM KUBACHI WITH ORNAMENT AND ARABIC INSCRIPTIONS." History, Archeology and Ethnography of the Caucasus 17, no. 2 (July 1, 2021): 304–29. http://dx.doi.org/10.32653/ch172304-329.
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The paper describes stone reliefs of the architectural decor of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, discovered by the author in different years of the 20th – 21st centuries in the villages of Kubachi and Shiri, which are currently stored in museum collections. This paper is a continuation of a previous study of the stone reliefs from the village of Kubachi. The author provides the description of 20 reliefs, of which one (№ 12) is stored in the State Hermitage, seven others (№ 13–18, 20) – in the National Museum of the Republic of Dagestan (NMRD); eleven reliefs (№ 1–11) were revealed by us in Kubachi, and one relief (№19) – in the village of Shiri. The Kubachi reliefs are inserted in the structure of various residential or cult buildings (mosques) of the upper, middle and lower livings districts of the village. The reliefs had been obtained from the ruins of old buildings and installed into walls of new ones during their construction for decorative purpose. The integrity of the reliefs varies: some remained in a satisfactory condition, some have defects (break-offs, splits, etc.), others are incomplete, i.e. in fragments. Most of the reliefs considered in the article were drawn with estampage prints, which were then transferred to A1 paper sheets with the use of ink.
The restoration of the broken-off details of the decoration of the reliefs № 7 and 16 was carried out by us. The Arabic inscriptions of some reliefs (№ 13–14), which are kept in the National Museum of the Republic of Dagestan, have not been translated into Russian due to the difficulty of reading or poor integrity. Many reliefs of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, found in the masonry of the walls of some residential and religious buildings, especially the quarter mosque in the lowest part of Kubachi, are still not included in the article. The location of the reliefs in the upper parts (third floor) of buildings erected on a very steep slope makes it impossible to photograph them properly.
The dating of some reliefs (№ 1–4, etc.) is preliminary. It can be further clarified on the basis of analogies after the publication of unpublished reliefs preserved in the village of Kubachi and those stored in museums – the State Hermitage and NMRD.
Accurate dating of medieval art monuments in Kubachi without dates is one of the challenges in studying them.
Description of the reliefs revealed in Kubachi is given in the order of recording them at different times and in different districts of the old part of the village.
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Fortino, Edbert Theo, and Tessa Eka Darmayanti. "STUDY OF NARRATION ON SATYA BUDHI TEMPLE’S GATE IN BANDUNG." Idealog: Ide dan Dialog Desain Indonesia 8, no. 1 (April 27, 2023): 103. http://dx.doi.org/10.25124/idealog.v8i1.5600.
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This article examines narratives in architectural forms to details of the ornaments and reliefs onthe gate as one of the important components in a temple building because as it starts from the architectural form of the temple gate until the details of its ornaments and reliefs that engraved on its surface tells a story, meaning, and deep philosophy to its people. Satya Budhi Temple as one of the oldest temples in Bandungthat has been established for more than 15 decades, which is around 157 years until it is designated as a heritagebuilding type A becomes the object of research in this article as the temple building has a very high historical value. This study aims to narrate the meaning, story, and philosophy behind the architectural formof thegate to the details of its ornaments and reliefs that are engraved or drawn along the surface of the gate. Thisresearch method was carried out qualitatively using a case study approach with cultural and historical theory to study the components of architectural elements, to the meaning and story that is rooted throughthereliefs and decorative ornaments at the gate. There is also a research instrument which is observation, andinterview guidelines as the key instruments. The data source of this research is the result of interviews fromthe management of Satya Budhi Temple, Architects or researchers with specialization or expertiseinheritage buildings or building with cultural elements, as well as the surrounding community. So that thisresearch has an impact to find out the story and philosophical meaning that is implied through the formof Satya Budhi's temple gate components form.
Keywords : Gate; Narration; Temple; Ornament; Philosophy
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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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Senhaji, Mohammed, and Rachid Benslimane. "3D Reconstruction of Moroccan-Andalusian Muqarnas Domes." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–27. http://dx.doi.org/10.1145/3479712.
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Muqarnas is a three-dimensional Islamic architecture decoration conceived as a spatial arrangement of 3D shapes according to precise geometric rules. Muqarnas work can be performed on several types of materials such as stone, wood, plaster or brick. This paper aims to propose an algorithmic method to construct the circular Moroccan-Andalusian Muqarnas Ornaments from their 2D representation models. The principle is to extract from a 2D design geometric information and underlying rules useful for the construction of its corresponding 3D model. To do so, the first stage consists to determine for each 2D shape of the 2D design model its corresponding 3D Muqarnas element. The second stage consists to perform the spatial composition of these identified 3D elements by using their neighborhood properties. The performance of the proposed method is evaluated by its capacity to reconstruct historical circular Muqarnas ornaments appeared during the Almoravids (1040-1147) and Almohads periods (1147-1269). This performance is further evaluated by the ability of the proposed method to construct all possible variants of a historical 3D Muqarnas ornament by considering the different 3D shapes which can be associated to the same 2D shape.
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Hening Yanuarsari, Dzuha, and Agus Setiawan. "Development of "Sam Contemporary Font" Typeface Based on Sam Poo Kong Temple Ornament." Gelar : Jurnal Seni Budaya 20, no. 2 (December 2, 2022): 85–91. http://dx.doi.org/10.33153/glr.v20i2.4452.
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The ornamental design found in the architectural building of the Sam Poo Kong Temple gives an oriental unique characteristic. As a cultural heritage tourism destination, Sam Poo Kong Temple is required to develop the concept of information as part of good public service for visitors. Typeface design is a form of visual message design that can represent the image of the designed visual object. The purpose of this research is to design and develop an ornament-based typeface design from the Sam Po Kong Temple. The method used in this research is a descriptive-qualitative method with the ATUMICS theory approach for designing the typeface. In this context, the researcher wishes to bring back the decorative relief motifs that exist in the Sam Poo Kong Temple as a building element for new media with the mission of strengthening the image of the Sam Poo Kong Temple.
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Rahman, Fadli, and Harry Kurniawan. "Penerapan Ciri Khas Arsitektur Melayu Pada Fasad Bangunan Kontemporer Di Kota Pekanbaru (Kasus Perkantoran Pemerintahan Di Tenayan Raya)." Journal of Architectural Design and Development 2, no. 2 (December 14, 2021): 103. http://dx.doi.org/10.37253/jad.v2i2.4967.
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Pekanbaru City is the capital of Riau Province which has a majority of the population of Malay ethnicity. In maintaining its cultural characteristics, in the city of Pekanbaru there are many contemporary buildings that have the implementation of Malay characteristics on the facades of the buildings, which one is the object of this research, government offices in Tenayan Raya and Balai Payung Sekaki buildings, because the culture in an area is not only can be seen on thel Traditional House building, but other buildings must also be able to reflect regional characteristics such as a regional government office building which is one of the markers of an area. However, the application of Malay architecture must be done as well as possible so that there is no mistake because it can change the meaning contained in each characteristic feature of Malay architecture, meybe on roof components, ornaments or others. Misunderstanding or ignorance of a role in building also has a fatal impact on these formations. Although in plain view, these forms seem beautiful to feel, but philosophically and the meaning can be wrong. This research will be conducted with a descriptive approach to interpret an existing condition with a related theoretical basis to see the implementation of Malay architecture on the facades of contemporary buildings in Pekanbaru City. The entire implementation of Malay in buildings in the Tenayan Office area can be categorized as quite good in terms of authenticity because all the roofs and ornamental designs have the same motifs as the original motifs in traditional Malay buildings. The technique of applying ornament to the object of this research also varies, some are done by means of Stilation, Distortion or Repetition. However, he could not find any ornamental motifs that were applied using Decoration techniques.
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Endoltseva, E. Yu. "The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying." Observatory of Culture 15, no. 3 (August 19, 2018): 298–308. http://dx.doi.org/10.25281/2072-3156-2018-15-3-298-308.
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The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.