Journal articles: 'Decoration and ornament'

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Afrianto, Damar Tri. "Ornaments as a tourist attraction at the King Binamu Tomb Complex in Bontoramba District, Jeneponto Regency." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 3 (September 25, 2020): 366–75. http://dx.doi.org/10.34050/elsjish.v3i3.11012.

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The existence of ornament which adorns almost the entire walls of the tomb functions as decorative or symbolic. Ornamen provided information about the life of Raja Binamu when he was still victorious. The analysis is described in a descriptive qualitative manner with an interpretive approach. The discussion is described based on problems related to how the ornament is able to be an attraction of visitors or tourists. The scavenger began by analyzing the ornament in the tomb with Thomas Murno's ornamental composition theory which was developed in Guntur, according to Murno, organizing the composition in art works in this case there were four models of ornaments, namely: composition based on expediency, composition based on representation, composition based on expository, and thematic based composition. It also uses concepts that are based on tourism science strategies. The results obtained in the form of an understanding that the ornaments there contain two understandings, namely ornamentation as a decorative element, namely the presence of thematic repetition ornaments such as parengreng flower motifs. The symbolic ornaments explain the life and activities of kings during his life and have a moral message. Related to its potential as a tourist attraction, the presence of ornaments needs an understanding and image strategy in the form of 1) bringing up ornaments or ornaments in each of the promotional media, 2) providing information about the types of decoration or ornaments in books (booklets) tourist guides and 3 ) creating merchandise taken from ornamental motifs in the Raja Binamu tomb complex

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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture." Art & Culture Studies, no. 2 (June 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.

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

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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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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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Rinaldi and Azmi Dwi Seffiani. "RAGAM HIAS NISAN KOMPLEKS PEMAKAMAN RAJA KOTALAMA, KABUPATEN INDRAGIRI HULU, PROVINSI RIAU." Berkala Arkeologi Sangkhakala 22, no. 1 (January 25, 2020): 45. http://dx.doi.org/10.24832/bas.v22i1.397.

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The cemetery of the King Kotalama complex is the Indragiri royal burial complex of the islamic-style period of Narasinga II. This study focused on the type of ornament that developed in the burial complex of the king of Kotalama. Decoration can provide information about the development of art culture during the reign of Narasinga II. The method used to answer these problems is through morphological analysis and stylistic analysis, in order to find out the types of decorations. The developing decoration shows that the community acculturates the old culture and the new culture. The ornamental variety consists of flora, geometric and calligraphy.

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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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Ranelis, Ranelis, Rahmad Washinton, and Alipuddin Alipuddin. "PELATIHAN PEMBUATAN ORNAMEN TRADISIONAL BAGI SISWA-SISWI DI SD 066/XI TANJUNG BUNGA KECAMATAN TANAH KAMPUNG KOTA SUNGAI PENUH." SELAPARANG: Jurnal Pengabdian Masyarakat Berkemajuan 6, no. 2 (June 11, 2022): 891. http://dx.doi.org/10.31764/jpmb.v6i2.8086.

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ABSTRAKPengabdian yang dilakukan di SD 066/XI Tanjung Bunga Kecamatan Tanah Kampung Kota Sungai Penuh ini adalah berupa pelatihan pembuatan ornamen tradisional. Tujuan dari kegiatan pengabdian ini adalah untuk memberikan pelatihan kepada siswa dalam membuat motif tradisional, dan mewarnainya dengan teknik gradasi warna. Ornamen berasal dari bahasa latin ornare yang memiliki arti menghiasi. Ornamen adalah komponen dari suatu seni yang ditambahkan atau sengaja dibuat untuk tujuan sebagai hiasan. Ornamen yang fungsinya Sebagai ragam hias murni adalah bentuk-bentuk ragam hias yang dibuat hanya untuk menghias saja demi keindahan suatu bentuk (benda) atau bangunan, dimana ornamen tersebut ditempatkan. Pelatihan ini dilakukan dengan dua metode yaitu metode ceramah dan metode demonstrasi. Metode ceramah dilakukan dengan cara memberikanpenjelasan tentang ornamen dan penempatannya ke benda kriya seperti gerabah, kain, dan lainnya kepada siswa dan siswi. Metode demontrasi dilakukan dengan cara bagaimana proses pembuatan ornamen tradisional dan pemberian warna pada motif dengan teknik gradasi warna yang dimulai dengan warna yang tua ke warna yang muda dan dari warna muda ke warna yang lebih tua. Pelatihan ini dimulai dengan penyedian alat dan bahan yang diperlukan untuk kegiatan pelatihan. Hasil dari kegiatan pengabdian ini adalah para siswa merasa senang dan semangat dilakukan nya pelatihan ini, dan semuanya mampu untuk membuat motif tradisional dan mewarnainya dengan teknik gradasi warna. Kata kunci: ornamen tradisional; tampuk manggis; itik pulang petang. ABSTRACTThe service carried out at SD 066/XI Tanjung Bunga, Tanah Kampung Subdistrict, Sungai Penuh City is in the form of training in making traditional ornaments. The purpose of this service activity is to provide training to students in making traditional motifs, and coloring them with color grading techniques. Ornament comes from the Latin ornare which means to decorate. Ornament is a component of an art that is added or intentionally made for the purpose of decoration. Ornaments whose function is as pure decoration are decorative forms that are made only to decorate for the sake of the beauty of a form (object) or building, where the ornament is placed. This training was conducted using two methods, namely the lecture method and the demonstration method. The lecture method is carried out by providing explanations about ornaments and their placement on craft objects such as pottery, cloth, and others to students. The demonstration method is carried out by using the process of making traditional ornaments and giving color to the motifs with a color gradation technique starting with dark colors to light colors and from light colors to older colors. This training begins with the provision of tools and materials needed for training activities. The result of this service activity is that the students feel happy and enthusiastic about this training, and all of them are able to make traditional motifs and color them with color grading techniques. Keywords: traditional ornaments; mangosteen crown; ducks coming home in the evening.

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., Mirza Prastyo, Dr Drs I. Ketut Supir, M. Hum ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "Omprok Gandrung Banyuwangi." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (March 27, 2018): 27. http://dx.doi.org/10.23887/jjpsp.v7i1.13630.

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Penelitian ini bertujuan untuk mendeskripsikan: (1) Alat dan bahan dalam pembuatan Omprok Gandrung Banyuwangi (2) Proses pembuatan Omprok Gandrung Banyuwangi (3) Ornamen Omprok Gandrung Banyuwangi (4) Makna Ornamen Omprok Gandrung Banyuwangi. penelitian ini merupakan penelitian deskriptif kualitatif. Sasaran adalah Omprok (Mahkota) Penari Gandrung dengan memilih Sutrisno, Suwari, Eko Susanto dan Sayun Sisiyanto sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) Observasi, (2) wawancara, (3) Dokumentasi, dan (4)Triangulasi, serta menggunakan Analisis Taksonomi Domain. Hasil temuan dalam penelitian ini adalah: (1) alat dalam pembuatan Omprok Gandrung Banyuwangi dibagi menjadi dua kelompok, yaitu alat pokok berupa pahat, kuas, jarum, pisau, tindhih dan alat bantu pensil, batu asahan, penggaris. Bahan utama yang digunakan kulit sapi, spon matras. (2) Tahapan proses pembuatan Omprok Gandrung Banyuwangi, yaitu proses pemahatan, proses pewarnaan, proses pembuatan Kuluk, dan proses pembuatan hiasan yang terdiri dari Kembang Goyang, hiasan Gombyok, hiasan Pilis Stenlis, dan hiasan kaca. (3) Ornamen yang ada pada Omprok Gandrung Banyuwangi, yaitu Ornamen pilisan yang terdiri dari bidang pola pilis depan, pilis tengah dan pilis atas, Ornamen wayang Gatutkaca, Ornamen Gajah Uling, Ornamen Tebokan yang terdiri dari pola gunungan dan sabuk gombyok. (4) Makna dari Hiasan dan Ornamen Omprok Gandrung Banyuwangi yaitu bahwa pemimpin dan masyarakat yang mempunyai norma-norma sosial untuk bekerjasama mengatur wilayah Banyuwangi sebagai bentuk puji syukur kepada mahabesar akan anugrah yang diberikan.Kata Kunci : Kata kunci: Omprok, Gandrung, Banyuwangi. The research aimed to describe about, (1) the tools and materials in making Omprok Gandrung Banyuwangi, (2) the process of making Omprok Gandrung Banyuwangi, (3) ornament of Omprok Gandrung Banyuwangi, and (4) the meaning of Omprok Ornament Gandrung Banyuwangi. This study used a qualitative descriptive research. The subject of this study was Suwari, Eko Susanto, and Sayun Sisiyanto as the resource person to know making Omprok (crown) of Gandrung dancer. The collection of data in this study was performed with the techniques of: (1) observation, (2) interview, (3) documentation of (4) triangulation, and use the analysis domain taxonomi. The results of this study were (1) the tool of making Omprok Gandrung Banyuwangi divided into two groups a staple tool in the from of the chisel, brushes, needles, knives, tindhih and pencil tools, grindtones, stones, of a ruler. the main ingredient use cow leather, sponge mattresses. (2) The stages of making Omprok Gandrung Banyuwangi process which were the process of carving, coloring process, Kuluk making process, and decoration process consisting of Kembang Goyang, Gombyok ornament, Pilis Stenlis ornament, and glass decoration. (3) Ornaments in exist of Omprok Gandrung Banyuwangi were the pilisan ornament that was consisting of the pattern of front pilis, middle pilis and upper pilis, Gatut kaca ornaments, Ornament Gajah Uling, Ornament Tebokan consisting of gunungan and belt gombyok. (4) The meaning of embellishment and Omprok Gandrung Banyuwangi ornaments, namely the leaders and communities who had social norms to cooperate regulating the Banyuwangi region as a form of praise to the enormous as the grace given to us.keyword : Omprok, Gandrung, Banyuwangi.

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

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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.

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

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Kuzeeva, Z. Z., A. O. Murtazaev, and K. B. Shaushev. "MAIN RESULTS OF FIELD STUDIES OF THE NOGAI TRADITIONAL ORNAMENT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 143–51. http://dx.doi.org/10.32653/ch134143-151.

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The article presents new data on the Nogai folk ornament, obtained during expeditionary researches in the Dagestan Republic, Chechen Republic, Astrakhan Region, Karachay-Cherkess Republic, Stavropol Territory, and in Moscow and St. Petersburg in 2014 - 2016. These are materials of 83 private collections, expositions and funds of 13 central and regional museums, five archives, and four libraries. Ornamented objects of the Nogai decorative and applied art stored in museums and private collections were examined. These are mainly metal artworks of the 19th - early 20th cc., objects made of soft materials of late 19th - the 1980s, wooden objects of the first half of the 20th century. In some cemeteries of the Nogai District of the Dagestan Republic, carved stone sepulchral stelae (‘syntas’) of the19th - 20th cc. were studied. Two authors albums with traditional Nogai ornaments, unique stencils made of white paper and used as a silhouette base of patterns in felt carpets (‘kiyiz’) and for decoration of clothes, head-dresses, tobacco pouches, shoes, pillows, and blankets were revealed during the field studies and recorded. During the research, all the revealed objects of the Nogai decorative and applied art with traditional ornament were photographed, their detailed inventory and large-scale sketches were made. The stencil patterns and drawings from the albums were copied. As a result of the researches in 2014 - 2016, a database of the Nogai folk ornament has been replenished with 942 objects and 1102 kinds of stencils and drawings.

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MAHARLIKA, FEBRY. "STUDI MULTIKULTURAL PADA ORNAMEN BALI PEPATRAAN: PATRA CINA." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 67. http://dx.doi.org/10.28932/srjd.v2i1.478.

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Ornaments are one of the decorative elements that can not be separated from Balinese culture. In addition to decoration, ornaments also contain philosophical content, especially for Hindus in Bali. One type of Balinese ornament is well known is pepatraan. Pepatraan applied to traditional Balinese building by sangging creativity, also obtained from acculturation result between a local culture with other culture that came to Bali, one of them is patra china. Patra china can be found in traditional Balinese buildings as a decorative element placed among other Balinese ornaments. This study describes one of the local cultural products formed by the influence of other nations. A Form of Patra china is described with qualitative interpretative method then attributed to traditional Indonesian archetype. This study also described the history of Patra China, which allegedly originated from China. From the analysis of the form and history of the Patra china, it is concluded that the Patra china is a patra whose basic pattern refers to the pattern of the traditional form of Indonesia, but takes the form Flower Shoes originating from China. The benefit of this research is to developing knowledge about the values contained from patra china ornament as a traditional artwork which created from the process of acculturation of Balinese and Chinese culture. Keywords: Bali; multicultural; ornament; patra china

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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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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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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.

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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.

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H, M. Hasrul, Hariani Hariani, and Yahya Yahya. "Rancang Bangun Sistem Pemasaran Produk Ornamen Bangunan Di Kabupaten Gowa Berbasis Android." Journal Software, Hardware and Information Technology 3, no. 1 (January 30, 2023): 51–62. http://dx.doi.org/10.24252/shift.v3i1.81.

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

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Zhubanova, Zh. "Kazakh ornament: from traditions to the new combinations of shapes in contemporary art." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 195–203. http://dx.doi.org/10.51889/2021-1.2077-6861.26.

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In the training of specialists in the art education field, it is essential to know the continuity in the evolution of national art. In Kazakh folk art, the semantic content and structuring of ornamental forms and compositions are the result of a long historical development and spiritual experience of the nomadic people. In the decorative and applied art of the people, the mental processes of society are represented. The artist-nomad is a spokesman of the Kazakh nomadic mentality, which is characterized by the originality of spiritual experience and traditions and is formed as a result of the long development of historical eras and periods under the influence of geographical, social, cultural conditions of life. In the Kazakh arts and crafts, a system of expressive means and images has been formed, which reveal the specifics of the nomadic way of life. The ornaments are a historical source that sheds the light on the peculiarities of the beliefs, the way of life of the nomads. The artistic vision of the Kazakh people is manifested both in the forms and in the decorative decoration of the dwelling household items, military equipment, jewelry. In the products of decorative and applied creativity, the artistic picture of the world of their creators is reflected ideas about heavenly bodies, natural phenomena, animal and plant life. Ornament plays a role of a kind of tool for symbolic and sign thinking. A stable system of specific signs and combinations of units is recorded in the Kazakh ornamental language. Craftsmen and contemporary artists, using the language of ornaments as an important visual communication tool, have filled their artworks with non-verbal messages and mental information.

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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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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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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 20th 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.

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Saragih, Dearma A., Yulianto Yulianto, and Raimundus Pakpahan. "KAJIAN ORNAMEN GORGA DI RUMAH ADAT BATAK TOBA (Studi Kasus : Di Kawasan Desa Wisata Tomok, Huta Siallagan dan Huta Bolon Di Kabupaten Samosir)." ALUR : Jurnal Arsitektur 2, no. 1 (May 2, 2019): 1–14. http://dx.doi.org/10.54367/alur.v2i1.368.

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One of the interesting cultural potentials to be studied is traditional houses. This traditional house has its own uniqueness in every area. One of the uniqueness can be seen from the many ornaments in it. Diversity has its own meaning and function. Ornaments is one of the historical heritage of Indonesia where almost all the tribes in Indonesia can be found various kinds of ornaments that reflect the techniques of each region in Indonesia. Ornament Batak Toba is one of the many ornaments that exist in this country Indonesia. Toba Batak ornament can be found in North Sumatera Province precisely in Samosir regency which always apply Toba Batak ornament as decoration or as identity in important building for Batak Toba, for example in traditional house building in Huta Siallagan, Tomok Village and Huta Bolon.This research is classified in research using descriptive-comparative research method, doing the study by comparing the existing ornaments in these three villages with theories about Ornaments Gorga Rumah Adat Batak Toba, then do the analysis of the condition in accordance with the theory used as a reference

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Maura Annisa, Zuindra Zuindra, and M.Kiki Wardana. "THE MEANING ON MAIMUN PALACE ORNAMENTS: SEMIOTIC STUDY." Jurnal Pendidikan dan Sastra Inggris 2, no. 1 (April 26, 2022): 107–19. http://dx.doi.org/10.55606/jupensi.v2i1.587.

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The purpose of this study is how the writer found shape and meaning in the ornament in Maimun palace. The writer applied the theory of Semiotics proposed by Peirce (1978). The method is a qualitative research method, which is directly analyzes the facts found in the field. The writer obtained the data by conducting observations and interviews directly to the field, as well as getting information from several books and websites. The result showed that it was found some types of ornaments at the Maimun Palace. Then the writer compiled and described them based on the shape, namely ornament in the form of plant motifs, ornaments in the form of animal motifs, ornaments in the form of natural motifs, and ornaments in the form of calligraphy motifs. Then the writer explained the ornament based on its meaning contained in the Maimun Palace based on semiotic approach. The average function of the ornaments in the Maimun Palace is as decoration on the walls and the Sultan’s Throne.

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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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Kim, Chan-Soo, Byoung-Ki Choi, and Yeon-Ok Seo. "Shape and Symbolism of Earrings excavated in Gaya’s ancient-tombs." Society for Jeju Studies 58 (August 31, 2022): 129–62. http://dx.doi.org/10.47520/jjs.2022.58.129.

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The hanging earrings, recently excavated from the Gaya’s ancient-tombs, were designated as treasures as they were recognized for their value as important historical materials that showed outstanding metalworking skills at the time. These earrings exhibit the characteristics of Thin Solid Earrings, and in the decoration of the bottom of the main ring, a specific fruit shape and heart-shaped decoration were identified in common. This decoration was defined as a Cape Jasmine-type, and was interpreted as a repetitive sculpture representing the era. This study discussed the origins of ornamental decorations defined as the Cape Jasmine-type (Sanchija-type) by considering the shape of the ornament, whether or not the Cape Jasmine (Gardenia jasminoides J. Ellis; Korean name Sanchija) was native to southern Korea, historical records, and the degree and importance of use in daily life. The authors reported that the Gaya earrings excavated from Gaya’s ancient-tombs recently have an obovate shape, a sharp trigonous shape with a triangular cross section, a spur shape at the tip of a triangular shape, a heart-shaped ornament, nationally cultivated domestication, an important food source, and firewood. In the characteristics of various historical and cultural records including Jacheongbijeon, and the symbolism of vitality and fertility, it was decide as Buckwheat-type rather than Cape Jesmine-type. This is a historical document that shows the importance of buckwheat, which was highly useful and closely related to the survival of the time, as well as the decorative function of earrings. Furthermore, it was inferred that the group that stably managed and maintained it played a role as the ruling class of the state. This type of the earring in Gaya influenced the decorative culture of neighboring countries such as Baekje, Silla, and Japan, and a common form is appearing. Therefore, it is expected that the correct regulation of the Gaya excavations, which has become the center of this type, can provide important meaning to the historical and cultural interpretation of the countries and regions of the relevant sphere of influence. In the future, for a clear interpretation of the shape and symbolism of the golden earrings excavated from the Gaya’s ancient tombs, the development process of royal power including the governance of Gaya, the history of agricultural development, comparison with related relics of Silla and Baekje, and comparative review of linguistic data Research is needed.

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Hoogslag, Nanette. "Decriminalising Ornament: The Pleasures of Pattern: The sympathy of illustration." Journal of Illustration 6, no. 1 (August 1, 2019): 9–32. http://dx.doi.org/10.1386/jill_00002_1.

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This article reflects on the research exhibition Decriminalising Ornament: The Pleasures of Pattern held in the Ruskin Gallery in Cambridge in November 2018 in conjunction with the International Illustration Research Conference of the same name. It considers the role of ornament and decoration in the exhibited works and through this the essential presence of the decorative within illustration.Key is Lars Spuybroek's concept of sympathy, which he develops based on a premodern understanding of ornamentation. In response to Spuybroek's exploration of this concept, this article seeks to extend the notion of sympathy as an essential presence within illustration. Sympathy indicates a human-material relationship not just between the illustrator and the creative materials, but also in the readers connection with this decorative act in the reproduced illustration.

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Goodwin, Amy. "Signwriting: Ornament as visual language ‐ communicative decoration." Journal of Illustration 6, no. 1 (August 1, 2019): 119–36. http://dx.doi.org/10.1386/jill_00007_1.

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

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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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Shmidt, Irina. "Ornamental decoration of a dagger from Aytkulovo: results of graphic analysis." Camera Praehistorica 12, no. 1 (June 15, 2024): 94–115. http://dx.doi.org/10.31250/2658-3828-2024-1-94-115.

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Bone ornamented items of the end of the Paleolithic — Mesolithic periods are very rare in the south of Western Siberia. While some of them have dating context, others are accidental finds. Despite the circumstances of their discovery and limited amount of relevant information, there is a need to consider the issues of dominant subjects, compositional morphology, technical execution of ornaments covering their surfaces and relations with the materials of adjacent territories, mainly the Ural region. The study presents the results of a palaeographic analysis of ornamental patterns (texts) created presumably in the Epipaleolithic and which are rather rare in terms of morphology. The study is focused on the ornament of a dagger from Aytkulovo. The bone artefact was accidentally discovered in July 1976 near the village of Aytkulovo on a shoal at the mouth of River Murlinka (Tara district, Omsk region). Stylistic and compositional analogues of the dagger in the Middle Irtysh region are unknown. The preservation of the artefact is satisfactory, which allows analyzing its ornamental composition. The dagger’s ornamentation consists of two iconic layers, each of them can be attributed to different chronological episodes (phases). Such combination of the non synchronous ornamental texts on a single artefact is a true rarity in paleoornamentology. While objects of the first ornamental layer form the frame of the composition, the overlapping additional elements of the second layer were added in a later chronological episode. The observed differences of the first and the second layers in specific taphonomic, technological, stylistic and graphic features raise the question of a chronological gap in their creation. The graphic and stylistic originality of the iconic design of the dagger suggests that its ornamental pattern can be considered as a “graphic dialect” belonging to a more global ornamental tradition (its preliminary name was “Ural-Chernoozerye”). The obtained results confirm the being-developed thesis about the existence of a single cultural community in the southern Trans-Urals and in the south-west of Western Siberia during the late Palaeolithic — early Mesolithic period. This community is represented by the local mutually contacting groups which used similar graphic principles of information transfer. The process of interpenetration and blending of local traditions led not only to exchange of technological innovation but also to emergence of the composite graphic “dialects” similar to the one in Aytkulovo.

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Lozovskaya, Olga V. "Techniques and Ideas. Zigzag Motif, Barbed Line, and Shaded Band in the Meso-Neolithic Bone Assemblage at Zamostje 2, Volga-Oka Region (Russia)." Open Archaeology 8, no. 1 (January 1, 2022): 175–95. http://dx.doi.org/10.1515/opar-2022-0228.

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Abstract Mesolithic geometric ornamentation is a part of the complex worldview of the latest hunter-gatherer societies. Questions about the functional role of the ornament in utilitarian objects – knives, daggers, arrowheads, etc. – do not have an unambiguous answer. Despite a variability of ornamental motives used, there are some stable connections between certain types of ornaments with some categories of bone tools. On the materials of the Late and Final Mesolithic layers of the wetland site Zamostje 2 (Volga-Oka region), we will consider some examples with the zigzag motif, the most numerous and heterogeneous type of ornament, as well as rarely presented motives of “ladders” and “lines with dots or eyelashes.” The number of samples (120) is sufficient to draw some preliminary conclusions about the context of their application. So, the zigzag is observed on different types of tools, but its connection with sharp-piercing objects is most clearly manifested. The type of relief zigzag is inextricably related to slotted sickle-shaped tools. Zigzag is often the only decorative element on an item and is expressed by a simple or double line; less often it is included in complex compositions. Both types of zigzags and methods of application (fine engraving, scraping, relief carving, etc.) were not regulated and obviously performed different functions depending on the compositional characteristics and the raw material’s type. Compositions of “ladders” located at an angle to each other are also associated with projectile weapons. Lines “with eyelashes” appear to have been a part of the standard dagger decoration.

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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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Lbova, Ludmila. "Technological aspects of artifact’s ornamentation in the Mal’ta’s collection (Upper Paleolithic)." Camera Praehistorica 8, no. 1 (June 2022): 24–33. http://dx.doi.org/10.31250/2658-3828-2022-1-24-33.

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Mal’ta is one of the most important archeological complexes of the Siberian Upper Paleolithic. The appearance of items with serial-rhythmic decorative elements in the Siberian portable art it is associated with the classical stage of the Upper Paleolithic. Important issues in the study of the Malta complex include stratigraphy, chronology, technological characteristics of the site, and the problem of diversity of the ensemble of the “classical” component obtained during the excavations of M.M. Gerasimov in 1928–1958. In the article we discuss the issues of decorating items made from mammoth tusk using various techniques and technologies with external stability of the elements (motifs) of the ornament. The microscopic analysis of the Mal’ta collection revealed usage of several techniques for manufacturing of different decorative items. These include portable anthropomorphic and zoomorphic images, items of personal adornment, and other artifacts. We categorized artifacts based on the fragments of the artifacts, blanks, and finished products with and without decoration. It has been established that in the classical Mal’ta complex, there were various technological methods for decoration anthropomorphic and zoomorphic figures, personal adornments, disks and other objects using a stable set of tools and technological standards. Basing on results of technological and microscopic analysis we argue that chronological or cultural differences likely existed in artifact’s style, ornamentation and manufacturing techniques.

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Chuprina, N. V., T. V. Remenieva, I. V. Frolov, and O. H. Tereshchenko. "DESIGN OF THE CONTEMPORARY GARMENTS ON THE BASIS OF THE TRANSFORMATION OF STYLISTIC AND ARTISTIC-COMPOSITIONAL CHARACTERISTICS OF TRADITIONAL DECORATIVE ART." Art and Design, no. 3 (December 13, 2021): 30–44. http://dx.doi.org/10.30857/2617-0272.2021.3.3.

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The purpose. This research aims to analyze artistic-compositional characteristics of Ukrainian traditional embroidery and decorative-applied art (using the example of M. Prymachenko’s art) used in the decoration of the actual ethno-styled garments. Methodology. A systematic approach was used in this research to project authorial contemporary garments: literary-analytical, morphological, and comparative analysis of the creative primary source, associative means of its adaptation to the actual fashion trends. The methodology of the research is based on the systematic analysis of the design projects using elements of the cultural heritage of Ukraine. Systematic-informational and visual-analytical methods were used in this research. Systematic-structural analysis was used to analyze the transformation of artistic-compositional elements in the process of shaping contemporary costumes based on associative transformations. Results. In the process of design project of the authorial collection of female Ethno-style clothes, it was found that decorative art and national garments have a high level of authentic symbolism if used for the actual projection image in conditions of contemporary design activity. Characterizations were given to some principles of implementation of the national image in contemporary trends of fashion industry development. Symbolic image of the floral ornament adapted from Prymachenko’s works as well as stylization of her works in ornamental motifs of the collection were used. Based on pre-project analysis and customer survey it was defined that there is significant interest in national motifs. A collection of female clothes targeted at a wide group of customers was designed. Scientific novelty. Principles of design-project of the collection of contemporary garments with authorial embroidery were proposed using an adaptation of national traditions of female clothes embroidery and folk-art decoration as a basis. Usage of different floral motifs and geometric ornament in ethno-style and implementation of this image as popular among contemporary women in their everyday life were justified. Practical significance lies in the development of principles of formation of authorial costume collection project-image, in justification of principles of ethnographically oriented prints and embroidery and the choice of decoration methods of contemporary female clothes.

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Rusteikaitė, Ieva. "Kaip medžiaga medžiagą mėgdžiojo: istorinio dekoratyvinio popieriaus tyrinėjimai." Semiotika 18 (December 18, 2023): 82–117. http://dx.doi.org/10.15388/semiotika.2023.3.

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Crossing the boundaries of any one discipline, the article provides an overview of research into historical decorated paper conducted by the author over the last several years. Examples of this seemingly very specific, ephemeral material, considered as an imitation of other materials, applied in bindings of printed books and manuscripts during the 18th and 19th centuries, are presented as anonymous artifacts of the past, strikingly characterised by their own materiality and thus involving also the researcher’s senses. Besides a historical overview of the main techniques of paper decoration in Europe, the place of this applied decorative element in the three-dimensional structure of the handmade book is also explored. The second part of the paper addresses the relevant problem of ornament as a plastic discourse, which has so far received less attention in semiotic research. Through a closer analysis of a several samples of decorated paper, questions about the semantic structure of the ornament and its effects are raised. Finally, when placed in the context of certain habits, needs and interests of eighteenth-century European society, decorated paper and its ornamental language emerge as a multilayered object with a culturally defined meaning.

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Wan, Jinbo. "The influence of Buddhism upon the Chinese traditional lotus pattern." Человек и культура, no. 5 (May 2021): 89–105. http://dx.doi.org/10.25136/2409-8744.2021.5.36541.

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Lotus pattern is one of the traditional Chinese ornaments that dates back to the ancient times. During the rule of Wei and Jin dynasties, as well as Northern and Southern dynasties (222 – 589 AD), Buddhism has largely prevailed across the territory of the Great Plain of China. The forms, methods of expression, and meanings of the Chinese traditional ornaments that used the lotus pattern have changed under the influence of Buddhism. This article analyzes the peculiarities of synthesis of the Buddhist lotus ornament with the Chinese traditional culture, as well as the degree of impact of Buddhism upon the form, means of expression, and symbolic meaning of lotus patterns in the Chinese society. Having studied the scientific literature and research on the topic, the author analyzes he peculiarities of evolution of lotus pattern in China after the spread of Buddhism.  The key stages of the development of lotus ornament in Buddhist decoration are examined. The conclusion is made that Buddhism played a crucial role in transformation of characteristics and means of expression of the lotus ornament, as well as extensively complemented and changed the symbolic meaning of lotus in Chinese culture and people’s perception. Buddhism not only enriched the exterior and shape of the Chinese louts ornament, but made a significant contribution to its inscape.

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Lee, Jae Sung, Mi Hyun Kim, Young Hwan Park, and Hyun Woo Kim. "Manufacturing Techniques of Gilt-copper Crown Ornament with a Bird Wing-shaped Decoration Excavated form Ancient Tomb in Imdang, Gyeongsan." Journal of Conservation Science 39, no. 3 (September 20, 2023): 297–307. http://dx.doi.org/10.12654/jcs.2023.39.3.11.

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

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Michałowski, Andrzej, and Andrzej Sikorski. "Ornament sznurowy na ceramice ludności kultury amfor kulistych z Poznania-Nowego Miasta (stan. 314)." Folia Praehistorica Posnaniensia 13 (November 1, 2018): 175–85. http://dx.doi.org/10.14746/fpp.2005.13.13.

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The article discusses a corded decoration on pottery from the Amphorae Globular Culture seasonal camp. Analysis of impressions on the pot outer surfaces revealed that this characteristic motif was produced by a simple textile template. Fragments of a five-stranded cord (S/3S/2Z) - certainly not a two-stranded one - were sewn on a net 'band' (item of a sprang type). This technique guaranteed a precise layout and space between particular impressions (ca. 2 mm each) on a soft amphorae (?) surface irrespective of an angle of ornament placements and decorative element joints.

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Zahra, Fatima, and Seyedeh Samaneh Fatemi. "Cultural Diversity: Aesthetic Analysis of Persian and Kashmiri Paisley Ornaments." PERENNIAL JOURNAL OF HISTORY 2, no. 2 (December 10, 2021): 81–90. http://dx.doi.org/10.52700/pjh.v2i2.61.

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The article focuses on the origins and evolution of the Indo-Persian decoration "Paisley," as well as the use of this flowery linear pattern on textiles such as shawls, table wraps, and carpets. Paisley has gone through many stages in its evolution, including the Iranian art period and the Indo-Subcontinent phase (Mughal era). The intrinsic nature of the decoration is shown via a comparative research technique that defines Indo-Persian motif features. This article looked at the primary ornamental elements of the paisley pattern, which are floral and geometrical in nature, and how they are used in Iran and Kashmir. Finally, this article discusses how, because of Paisley's growing and blooming character, it is often a prominent ornament in the most important works of enrichment and plays an accentuation role in the decoration of textile surfaces. Paisley, a masterpiece, is especially linked to techniques for conveying the aesthetic brilliance of the pattern used in many cultures.

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Rustanto. "HUBUNGAN HASIL BELAJAR DASAR DESAIN DAN KREATIVITAS TERHADAP HASIL BELAJAR PEMBUATAN HIASAN." Jurnal Pendidikan Teknik dan Vokasional 4, no. 1 (December 9, 2021): 29–34. http://dx.doi.org/10.21009/jptv.4.1.29.

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This study aims to determine the relationship between basic lessons of fashion design and creativity to student learning outcomes in the subject of making decoration. The test site of this research is conducted at SMK Negeri in DKI Jakarta study program of expertise of fashion field of tourism expertise. This research is done by giving test in the form of theory test and practice on Making Ornament subject. The method used in this research is quantitative research method correlational relationship between variables by using questionnaire. Using a sample of 172 students. The data generated by each variable is tested by using the validity, reliability, normality, regression, and correlation test. Test results in this study are as follows: a) There is a positive relationship between the basic subjects of design with the results of learning decoration, b) There is a positive relationship between creativity with the results of decorative learning and c) There is a positive relationship between basic subjects Design and creativity together towards the learning outcome of decoration making Keywords: competency for design basic, creativity, the result of embroidery.

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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (March 27, 2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.

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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.

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Rekhviashvili, Akaki. "Attempts to Establish Foreign Analogies of the Plant Ornament of Racha Iconostases of the X Century." Works of Georgian Technical University, no. 1(531) (March 22, 2024): 9–18. http://dx.doi.org/10.36073/1512-0996-2024-1-9-18.

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Figurative-ornamental relief samples of artistic processing of Racha stone of the 10th century are united in three individual workshops of different chronological stages on the basis of artistic-stylistic similarity. In the decoration of these monuments, including stone iconostases, it is worth noting the diverse ornamental repertoire built on plant-geometric motifs. Of the above mentioned, several characteristic motifs of plant ornament of Racha stone iconostases of the 10th century are presented. They are discussed in the context of comparison with parallel materials of other modern Georgian monuments. On the basis of comparative analysis of the monuments of Italy, Croatia, Iraq, Afghanistan, Syria and Egypt in stone, wood material and stucco of the 8th-9th centuries, the issue of the existence of foreign analogies of decorative motifs used in Georgian examples is confirmed. Which, in a broad historical-cultural context, should indicate the links of Georgian art of the 10th century with modern Eastern and Western civilizations and, accordingly, the mutual influence of artistic trends characteristic of the era.

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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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Nenasheva, Larisa V. "THE ARTISTIC DECORATION OF NORTHERN MANUSCRIPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 163–78. http://dx.doi.org/10.17223/22220836/41/13.

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For a long time Russian manuscript book has been famous for its rich artistic design. Miniatures containing parts of liturgical texts, sermons, saints’ lives, richly decorated miniatures, initials have changed over time, so they help to date a manuscript. The article studies the artistic design of northern manuscripts in order to figure out a more accurate date of the source. The subjects of the study are liturgical and theological books from the collection of the Arkhangelsk Museum Association “Russian North artistic culture”, created in the XV–XIX centuries. All researched manuscripts are written on paper and all of them are not dated, therefore the date of writing a book is first determined by paper signs, which is then confirmed by other facts, namely by drawings written at the same time as the main text. In “Prologue”, created at the end of the 15th century, the scribe uses the Balkan ornament, which was popular in Russian books of the second half of the 15th and 16th centuries. On the sheets with miniatures there are also large initials of the Balkan type. The “Psalter” of the late 18th century was copied from the printed edition of 1651. It contains the unfinished design of King David copied from the printed edition evidenced by the artist’s manner of performing this image. Some of the manuscripts are decorated by scribes with drawings copied or taken from printed editions of the same period as the book. Thus, in the collection of the early XIX century (a “white” date on paper – 1815) there is a miniature that occurs in such printed editions as “The Life of Basil the New”, 1792–1795 and 1801, or “Psalter” 1802–1803, 1812–1814 years. In the collection of the museum there are books consisting of printed and handwritten sheets, restored instead of lost printed ones. For example, in the “Tablet” of Patriarch Nikon, published in 1656, the text was restored by hand on several pages at the beginning of the 18th century that is determined by the paper signs on the pages of the book. On the one of the manuscript sheets there is a miniature taken from a printed source and pasted into the text. Such an ornament is found, for example, in the Minne December 1714. These data show that the handwritten text and design were made at one time. The collection of the museum contains several bright books, richly decorated with Pomor ornament, which was popular in Old Believers' manuscripts written in the Russian North, near the White Sea, in the second half of the 17th and 19th centuries. The Pomor ornament is noted in the books that were created in the eighteenth and early nineteenth centuries, and is no longer found in manuscripts of late writing, which also indicates that a text and a décor of the book were made the same time. Thereby, the studied material helped to confirm the dates of the creation of the manuscripts, and also showed once again that when the source is dated, all the data in the book are taken into account.

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Lungu, A., L. Gurău, S. Georgescu, and C. Coşereanu. "Computer-aided methods for furniture decoration with traditional motifs of textile heritage." IOP Conference Series: Materials Science and Engineering 1235, no. 1 (March 1, 2022): 012041. http://dx.doi.org/10.1088/1757-899x/1235/1/012041.

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Abstract The present paper introduces computer-aided methods for the transposition of ornaments inspired from the textile heritage into the surface furniture decoration. Using digital technology, the furniture industry may bring into modern life the traditional motifs, contributing thus to the preservation of the cultural heritage from the region Ţara Bârsei, located in Transylvania. Two motifs inspired by the traditional costumes from South-Eastern Transylvania were digitized using CorelDraw software. They were imported in AutoCAD and the information was transferred both to CNC router and laser equipment. The CNC routing of ornaments was simulated with two types of tools and two processing methods (engraving and carving) using CAD-CAM-CAE software and the models were afterward processed on wood panels by CNC router and laser equipment and then visually analysed, concluding which method and tool is suitable for each type of ornament, so to transpose better the original motif on furniture wood surface.

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Kim, Hoon-Hui. "The transition and meaning of the ceremonial ornament with bird-shaped thorn(有刺괿器) from Marisan ancient tombs in Haman region." Yeongnam Archaeological Society, no. 82 (September 30, 2018): 33–57. http://dx.doi.org/10.47417/yar.2018.82.33.

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The Malisan ancient tombs in Haman region are the most important sites, as the center of Allakuk(安羅國), in the study of Gaya. In this study, the ceremonial ornament with bird-shaped thorn(有刺利器) excavated from the Malisan tombs were examined. In the analysis of the ceremonial ornament, It attracts attention to the most distinctive part of the bird-shaped decoration. It is largely classified into the old and the new style. It is set to five types of old style and three types of new style. The old and new style differ in appearance and disappearance. The set pattern is observed to change gradually from the early period to the late period. The duration is divided into five stages from the beginning of the 5th century to the beginning of the 6th century. The scale of the wooden chamber tombs and stone chamber tombs and the main artifacts were examined, and the hierarchy was classified. The ceremonial ornament shows the hierarchical feature that is buried only in the middle grave and above. From the time of the emergence until the extinction period, the position as a superior relics was maintained. The position to be buried is changed. Artifacts what was buried near the body, it changes to the form to be placed on the vice chamber or top of the main in the late period. The ceremonial ornament excavated from the Malisan tombs is confirmed a close connection with the Gimhae region in the 4th century. The bird-shaped decoration on back of the armor excavated from the Daeseongdong No. 2 tomb is very similar to that of the earliest period in the old style of the Malisan s ceremonial ornament. From the previous period, the image of the bird-shaped decoration were identified in various artifacts as an important notion of farming rituals, worship of the sky and sun, and ceremonial rituals. It can be seen that the building group of the Malisan tombs placed the ceremonial ornament that has a symbolic meaning on the grave with a high hierarchy continuously.

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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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Laksitarini, Ike Niken, Yan Yan Sunarya, and Chandra Tresnadi. "PARE'S VISUAL ADAPTATION AS KARAWANG’S BATIK DECORATION." VISUALITA 8, no. 1 (August 10, 2019): 25–38. http://dx.doi.org/10.33375/vslt.v8i1.1778.

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Batik is one from of art and has become an acon of Indonesian indigenous culture and Batik Karawang is one of them. Its exixtence is not yet as popular as batik from other regions. However, several efforts have been made by cultural observer Karawang Regency and related agencies in introducing and developing Batik Karawang. Geographically, Karawang Regency is an area that has extensive agricultural land. Even though it is a coastal area, the agricultural land in Karawang Regency is an area that is able to produce good quality rice, this is because Karawang Regency is located adjacent to the Citarum River which functions to irrigate all agricultural land in Karawang Regency. So it is not surprising that the batik ornaments created are dominated by rice plants or bitter melon as the main decorative variety. Pare in Indonesian means rice, while sagendeng means one tie. The use of ornamental names that refer to the natural and cultural elements of the Karawang district has symbolic meaning that refers to the ideas and expectations of the local community for good. From the results of the study obtained a relationship or relationship that the aesthetic elements contained in the Karawang Batik decoration is a form of visual adaptation (culture) of Karawang regency society which is correlated with the discovery of the name kekembangan on Sundanese terms found in Lalakaon ti Karawang script. This study aims to unravel the form of adaptation to the Pare ornament. This research is expected to provide insight for the general public regarding the existence of Batik Karawang so that it can develop the potential and economy of UMKM (Usaha Mikro Kecil dan Menengah) on Karawang regency. The type of research used is qualitative research with a descriptive approach. From the results of the study it was found that most of the basic patterns of Karawang Batik motifs were ridiculous. Ceplokan is one of the batik motifs which consists of repetition of the ceplok pattern unit so that as a whole it forms a single unit.

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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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Liu, Jun, and Yu Guo Zhuo. "Green Theory Research on Indoor Air Pollution by Overall Process Controlling." Advanced Materials Research 356-360 (October 2011): 1719–22. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1719.

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New green theory is put forward that indoor air pollution is controlled by overall process based on the residential interior decoration and air pollution status in China, as indoor air quality becomes important more and more. According to the concept of healthy house to control indoor air pollution through four steps that are green interior design, selecting environmental materials, green decoration and green ornament safe, healthy and environmental green home could be realized.

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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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Journal articles on the topic 'Decoration and ornament'

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