Journal articles on the topic 'Decorative art'
To see the other types of publications on this topic, follow the link: Decorative art.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Decorative art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Gurzhii, I. "DECORATIVE CERAMICS AS A BRANCH OF MODERN ART." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 100–111. http://dx.doi.org/10.33989/2226-4051.2024.29.306146.
Full textAbstract:
The article examines decorative arts as a type of visual arts that focuses on works of art creation, with the aim of decorating and giving them aesthetic appeal, as well as objects of a purely exhibition nature. Decorative ceramics are divided into the following types: exterior, interior, and exhibition, and have two directions of development: traditional and academic. Modern Ukrainian decorative ceramics is characterized as an essential branch of decorative arts that developed based on millennial traditions and has its territorial features. It has been found that the technique of making modern decorative ceramics can be divided into forming and decorating. Traditional decorative ceramics are formed by the method of sculpting by hand and on the potter’s wheel. Academic ceramics have broader possibilities of formation, such as sculpting, pottery, pressing or casting in plaster molds, layer formation, and 3D printing. The decoration of modern decorative ceramics is quite diverse, but the traditional techniques remain unchanged. They are engobe, ceremony, pasting, smearing with water. For academic decorative ceramics, a variety of decoration methods, both traditional and experimental, are used. The methods are the following: engobing, etching, pasting, coating with water, painting with metal oxides, painting with metal salts, painting under watercolor paints, painting over watercolor paints, painting with precious metal products and chandeliers It has been found that the artists do not limit their possibilities in academic ceramics. They are not bound by traditional decoration methods. Artists can do whatever they fantasize about, while in traditional ceramics, they must stick to regional features in the methods of decoration and formation.
2
Shen, Kangning, Rongrong Tu, Rongju Yao, Sifeng Wang, and Ashish K. Luhach. "Decorative Art Pattern Mining and Discovery Based on Group User Intelligence." Journal of Organizational and End User Computing 33, no. 6 (November 2021): 1–12. http://dx.doi.org/10.4018/joeuc.20211101.oa20.
Full textAbstract:
With the continuous developments of real estates and the increasing personalization of people, more and more house owners are willing to search for and discover their preferred decorative art patterns via various house decoration cases sharing websites or platforms. Through browsing and analyzing existing house decoration cases on the Web, a new house owner can find out his or her interested decorative art patterns; however, the above decorative art pattern mining and discovery process is often time-consuming and boring due to the big volume of existing house decoration cases on the Web. Therefore, it is becoming a challenging task to develop a time-efficient decorative art pattern mining and discovery method based on the available house decoration cases provided by historical users. Considering this challenge, a novel LSH-based similar house owners clustering approach is proposed. A set of experiments are designed to validate the effectiveness and efficiency of our proposal.
3
Tang, Xi Ya. "Decorative Arts of Gates Detail Components in Chinese Traditional Architecture." Advanced Materials Research 860-863 (December 2013): 1237–43. http://dx.doi.org/10.4028/www.scientific.net/amr.860-863.1237.
Full textAbstract:
Gate decoration art is one of Chinese traditional architecture decoration. It not only has own structure form and material form of building passageway against with that of other nations in the world, but so is a cultural background miniature of Chinese nation, and it is a material carrier of folk culture and decorative pattern. Decorative arts of gates detail components in Chinese traditional architecture have contained abundant aesthetic value and cultural connotation, all of this endowed gate decoration art with secret oriental color.
4
Zhu, Yun Ming, and In Sik Shin. "A study on the Application of Hanwha Sangseok Border Decorative Patterns Based on the Rules of Shape Grammar." Korea Institute of Design Research Society 7, no. 2 (June 30, 2022): 333–44. http://dx.doi.org/10.46248/kidrs.2022.2.333.
Full textAbstract:
The border decorative patterns of Hanwha Sangseok is usually engraved on the edge of the painting in the form of a band, and it can be said to be the same as the frame of the picture screen. The existence of the border decorative patterns meets the decorative demand of Hanwha Sangseok and at the same time harmonizes with the main designs of Hanwha Sangseok to give artistry to the picture screen. The decorative patterns of Hanwha Sangseok forms an art element with very distinct ethnic characteristics through its own unique expression method and implements excellent innovation and value in use. With the application of Hanwha Sangseok border decoration patterns as the research topic, this paper organizes border decoration patterns by pattern type and explores the aesthetic significance of Hanwha Sangseok border decoration patterns from an aesthetic and humanistic perspective. In addition, by extracting the elements of the border decoration pattern, a new pattern is created and applied to the design of daily necessities through combination with the shape grammar system.
The decorative pattern created using the rules of shape grammar is not too bound by the typical frame of the original decorative pattern while making use of the art elements of the Hanwha Sangseok border decorative pattern. This study more effectively implements the ethnicity and redesign potential of decorative patterns by seeking a contact point between decorative patterns with ethnic characteristics and modern design through the combination of shape grammar systems and Hanwha Sangseok border decorative patterns.
5
Zhu, Jin, and Yi Fan Chen. "The Application of Folkloric Textile Decorative Art to the Regional Character of the Hotel." Advanced Materials Research 331 (September 2011): 3–8. http://dx.doi.org/10.4028/www.scientific.net/amr.331.3.
Full textAbstract:
The construction of the regionalism is not only affected the architecture space pattern, but also is closely related to the soft decoration art. This paper has analyzed the elements of the folkloric textile decorative art from the level of decoration pattern, color, material and technology. Taking decorative arts with regional characteristics as an example, the paper discusses how folkloric textile decorative art express the theme of the hotel and implicate the regional characteristics in symbolic elements and stylized language combined with the cultural history and folk custom in different areas. Meanwhile this paper summarizes approaches of creating regional character of modern hotel space. The adornment style should be determined according to the hotel orientation. The folkloric features should be strengthened in serialized designs to create the non-material artistic conception combined with other soft adornment.
6
Biemond, Dirk Jan, Menno Fitski, Jan Van Campen, Elsje Janssen, Eveline Sint Nicolaas, and Femke D. "Acquisitions: Decorative Art." Rijksmuseum Bulletin 62, no. 2 (June 15, 2014): 188–213. http://dx.doi.org/10.52476/trb.9846.
Full text
7
Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.
Full textAbstract:
The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.
8
Kerimova, Nurangiz Ali. "On Some Peculiarities of Talysh Decorative-Applied Art." Studia Orientalne 24, no. 4 (2022): 116–25. http://dx.doi.org/10.15804/so2022407.
Full textAbstract:
The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people’s history and the Talysh language’s peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.
9
Dudnik, M., L. Zhukova, and Y. Gordin. "Coloristic properties of decorative copper coatings applied by cold gas dynamic spraying." E3S Web of Conferences 389 (2023): 06019. http://dx.doi.org/10.1051/e3sconf/202338906019.
Full textAbstract:
The results of the coloristic properties research of art items with copper coatings applied by cold gas-dynamic spraying (CGDS), as well as the color determination technique, allowing to improve the approach to the decoration and restoration of art items, are presented. This allows us to study the quantitative properties of the color of decorative surfaces, which largely determines the quality and aesthetic properties of coatings and their subsequent decorative treatment.
10
Zadorozhny, Bogdan. "THE ROLE OF STAINED WINDOWS IN MODERN RESIDENTIAL INTERIOR DECORATION." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (May 17, 2024): 67–72. http://dx.doi.org/10.23939/sa2024.01.067.
Full textAbstract:
Stained glass has attracted the attention of art critics and scientists for centuries. Stained glass art plays a special artistic role in decorating windows, doors, and ceilings. In addition to the traditional use of stained glass windows, they are used in the design of modern interiors. Although stained-glass windows are not a common design solution in interior design, they are increasingly used for their individualization in modern decoration. In the process of researching decorative decoration of modern interiors with the use of stained glass, new techniques and technologies of their implementation, compositional solutions, their color range were considered, and the main features of artistic expression were revealed. In modern interiors of residential premises, you can find stylized decorative and ornamental stylized stained-glass compositions, which are characterized by a linear division of the glass canvas with the use of faceted glass elements. With the help of stained glass windows, the space of the living room is filled with warm or cold, monochrome or polychrome colors, which enhances the visual perception of certain interior elements. Stained glass compositions using traditional and modern production technologies were analyzed and their role in modern interior design was determined.
11
Zhang, Chao, Xiao Jun Zhu, Lin Guo, and Ren Ping Xu. "The Raw Material Development and Application for Shui Nationality Traditional Costumes." Advanced Materials Research 952 (May 2014): 145–48. http://dx.doi.org/10.4028/www.scientific.net/amr.952.145.
Full textAbstract:
According to the traditional decorative materials of Guizhou Shui Nationality traditional costumes as the starting point, this paper explores the effect of traditional dress decoration materials faced by the current situation as well as new decorative materials development and application of the traditional culture, the conflict and decorations visual effect. Therefore, proposed in the new environment of market economy, it is necessary to make the development and application of dress traditional materials in order to meet the ever-changing market demand, and also to the protection and inheritance of traditional techniques and characteristics of the Shui Nationality decoration visual aesthetic of art and decoration materials contained in the folk culture. The purpose is to express its application value for the diversified development of world culture and art.
12
Bincsik, Monika, Shinya Maezaki, and Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.
Full textAbstract:
In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actually difficult to gain access to the objects scattered in numerous collections or to achieve high-quality images, not to mention that there are only a few specialists capable of documenting the objects. Generally, that is why there are only very few online databases dedicated to decorative arts. The Art Research Centre, Ritsumeikan University (Kyoto, Japan), has developed databases of various Japanese cultural assets, tangible as well as intangible art forms and, based on the expertise in developing scholarly databases, has launched online image databases of three-dimensional art objects. The purpose of the project is to advance searchable, academic databases and to foster international cooperation between researchers and students of Japanese art by sharing high-quality images on the Web.
13
Liu, Shan, Yun Bo, and Lingling Huang. "Application of Image Style Transfer Technology in Interior Decoration Design Based on Ecological Environment." Journal of Sensors 2021 (November 25, 2021): 1–7. http://dx.doi.org/10.1155/2021/9699110.
Full textAbstract:
With the further development of the social economy, people pay more attention to spiritual and cultural needs. As the main place of people’s daily life, the family is very important to the creation of its cultural atmosphere. In fact, China has fully entered the era of interior decoration, and people are paying more and more attention to decorative effects and the comfort and individual characteristics of decoration. Therefore, it is of practical significance to develop the application of decorative art in interior space design. However, the transfer effect of current interior decoration art design tends to be artistic, which leads to image distortion, and image content transfer errors are easy to occur in the process of transfer. The application of image style transfer in interior decoration art can effectively solve such problems. This paper analyzes the basic theory of image style transfer through image style transfer technology, Gram matrix, and Poisson image editing technology and designs images from several aspects such as image segmentation, content loss, enhanced style loss, and Poisson image editing constrained image spatial gradient. The application process of style transfer in interior decoration art realizes the application of image style transfer in interior decoration art. The experimental results show that the application of image style transmission in interior decoration art design can effectively avoid the contents of the interior decoration errors and distortions and has a good style transfer effect.
14
Sabir, Shwan Bahram, and Naeema Muhammad Abdulla. "Aesthetic values of decorative inscriptions and epigraphic texts in contemporary ceramics in Kurdistan region." Halabja University Journal 7, no. 2 (June 30, 2022): 126–49. http://dx.doi.org/10.32410/huj-10414.
Full textAbstract:
Historically, ceramic art is one of the most important arts that has emerged in all civilizations as an artistic value and a philosophical concept of the movement between material and tangible objects or between the ambiguity and clarity of the structure of the elements of works of art that were carried out as a human activity through its artistic output, in showing the same aesthetics of ceramic works of art in terms of form and decoration The Kurdish artist also benefited from the works surrounding him historically, philosophically and artistically, so the culture and history of Kurdish art has an important value in identifying the implicit concepts that the artist enriches aesthetically in his works, and this contributes to the neighborhoods of Kurdish culture and the development of cultural values intellectually and aesthetically, to achieve modern and contemporary art, so the student will research on "the aesthetic values of decorative inscriptions and texts in contemporary ceramic Kurdistan region", Here, the researcher highlights the problem of research embodied in the following question: Has the value of aesthetics become a cause for the transfer of artistic ideas in the presentation of ceramic artwork or just decorating and filling spaces with decorative inscriptions and drawings without aesthetic value? This research is a description and analysis of the works of Kurdish artists. The first chapter consists of the general framework of research that includes (problem, importance, objectives, boundaries) and then the definition of terminology, while the second chapter consists of three investigations. The first topic deals with: the definition of the philosophy of the values of beauty in art, and the second topic dealt with the realization of aesthetic values in the work of art, but the third research is about showing decorative inscriptions and biblical texts in Kurdish fine art, and the third chapter dealt with a research society, while the fourth chapter consists of the results of the research.
15
Maistruk, Nazar, and Liubov Kravchenko. "ІСТОРИЧНІ АСПЕКТИ ПІДГОТОВКИ ФАХІВЦІВ ДЕКОРАТИВНО-УЖИТКОВОГО МИСТЕЦТВА В НАВЧАЛЬНИХ ЗАКЛАДАХ УКРАЇНИ." B U L L E T I N OF OLEKSANDR DOVZHENKO HLUKHIV NATIONAL PEDAGOGICAL UNIVERSITY 54, no. 1 (April 16, 2024): 245–50. http://dx.doi.org/10.31376/2410-0897-2024-1-54-245-250.
Full textAbstract:
The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century – today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). The high-quality training of pottery and porcelain and faience specialists, teachers of graphic arts and drawing, masters of artistic decoration of products ready to perform significant amounts of physical work - making tiles, bulky dishes, decorating the facades of churches, houses, fireplaces, creating sculptures, interior and exterior decorations - was facilitated by the activities of famous artists and teachers S. Maslenikov, O. Slastion, and V. Krychevskyi, who also supervised the production of outstanding works and participation in industrial exhibitions. Key words: decorative and applied arts, ethnological training of specialists, porcelain production, domestic and foreign experience, ethnography.
16
Kara-Vasylieva, Tetyana, Olha Lukovska, and Valentyna Kostiukova. "The Avant-Garde Phenomenon in the Ukrainian Textile Art of the XX Century." Arta 32, no. 1 (September 2023): 50–57. http://dx.doi.org/10.52603/arta.2023.32-1.07.
Full textAbstract:
The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.
17
Lebedeva, Tatiana V., and Victoria S. Romanovskaya. "INVESTIGATION OF DECORATIVE POSSIBILITIES OF ENAMEL PRODUCTION WASTE." Technologies & Quality 57, no. 3 (February 28, 2023): 48–55. http://dx.doi.org/10.34216/2587-6147-2022-3-57-48-55.
Full textAbstract:
The paper presents the results of a study of the possibility of using enamel production waste for decorating jewellery and art products. The possibilities of obtaining a variety of decorative effects on the surface of enamel coatings (sgraffito, scrolling, enamelling using stencils, creating a variety of images, etc.) are shown. The reuse of enamel production waste is currently a topical eco-friendly trend. In addition, this approach has great potential for decorating a variety of jewellery and art products and significantly expands the design possibilities of products with enamel coatings
18
Paic, Sebastian. "Contribuție la studiul oualor împistrite în Țara Lăpușului." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 81–91. http://dx.doi.org/10.47802/amet.2021.35.04.
Full textAbstract:
Lăpuș ethnographic region is still a place where reach and fascinating traditional heritage is organically preserved. Aside throat singing, brotherhood rituals, archaic old ways. The motifs are part of a larger set of traditional decorative spectra and costumes and other ethnographical facts, Easter egg painting is conducted under also the technique and the chromatic choice are very old. Nevertheless, the most surprising aspect regarding egg painting in Lăpuș area is the way the performers understand to compose the decoration, suggesting an archaic artistic expression related to a traditional view of the world and art creation mechanisms. This paper aims to fill a lesser known chapter of Romanian folk art, the style and motifs of Easter egg from Țara Lăpușului, Transylvania. Keywords: painted eggs, Tara Lăpușului, decoration of the eggs with wax, decorative motifs, stylistics
19
Kuleeva, Lyailya, Tatyana Burova, Ludmila Listovskaya, Ilseyar Saifullina, and Ainaz Ibragimova. "The art of craft in the interior." E3S Web of Conferences 274 (2021): 01029. http://dx.doi.org/10.1051/e3sconf/202127401029.
Full textAbstract:
In relation to the most characteristic architectural styles and movements, this paper discusses the issues of creation and development of artistic crafts that influence the formation and decoration of interior space. The evolution of crafts from a purely utilitarian activity to a form of decorative and applied art used to transform the interior environment by holistic and functional means is being considered through the lens of subjectspatial and functional-artistic organization.
20
Jiang, Jing, and Jia Xu. "Research on Design and Innovation of Milk Fiber in the Building Space Decoration." Applied Mechanics and Materials 361-363 (August 2013): 468–71. http://dx.doi.org/10.4028/www.scientific.net/amm.361-363.468.
Full textAbstract:
Milk fiber is not only practical art, but also a kind of art beyond utility in Building space decoration. It has gradually stepped into the stage of decorative materials, the paper focuses on milk fiber and carries out discussion on development of milk fibers innovative area by analysis of its application in Building space decoration. Comparisons are made between design of traditional field and innovation of new field to achieve a new breakthrough for values of materials. By exploration of unique language of Building space decoration, bold development and experiments, milk fiber can create new art forms and styles.
21
Troy, Nancy, Le Corbusier, and James I. Dunnett. "The Decorative Art of Today." Design Issues 6, no. 2 (1990): 87. http://dx.doi.org/10.2307/1511443.
Full text
22
Li, Liying, and Wan Jamarul Imran Wan Abdullah Thani. "THE DECORATION FORM OF CERAMIC REVOLVING CORE BOTTLES IN THE QING DYNASTY." International Journal of Applied and Creative Arts 5, no. 1 (July 1, 2022): 23–36. http://dx.doi.org/10.33736/ijaca.4689.2022.
Full textAbstract:
Chinese ceramic art in the Qing Dynasty, it has won a lot of praise for its unique shape and exquisite, wonderful decoration form. The ceramic revolving core bottle（CRCB） has an obvious unique decorative form. From the perspective of formal analysis, through the concrete analysis of the decoration form of the CRCB, this paper puts forward three characteristics of the CRCB in the Qing Dynasty: rich color expression, three-dimensional space expression, flow and continuous picture structure. It is believed that the CRCB is a unique decorative form based on the ceramic decoration form of the past dynasties in China, which integrates the formal elements in Chinese classical gardens and Chinese paintings. The author holds that the performance of this form reflects the authority of the ruler, the popularity of Chinese classical gardens in the Qing Dynasty, and the revival and re-creation of Chinese classical painting forms in the Qing Dynasty, which is the witness of the exchange between Chinese ceramic art and Chinese traditional culture.
23
Xia, Zhongyuan. "Historical examples and modern application of the "Chinese style" in the art of British interior design." Культура и искусство, no. 5 (May 2024): 15–24. http://dx.doi.org/10.7256/2454-0625.2024.5.70575.
Full textAbstract:
"Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII—XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.
24
Zhang, Quan, Gang Chen, and Xiao Rui Zhang. "Study on the Decorative Art of Huizhou Ancient Folk Houses." Applied Mechanics and Materials 71-78 (July 2011): 531–36. http://dx.doi.org/10.4028/www.scientific.net/amm.71-78.531.
Full textAbstract:
Architecture is a carrier of culture, as well as a product of one certain historical period. Influenced by the traditional culture over a long period of time, Huizhou folk houses have formed their own decorative design style with unique regional features. The article explores the design ideas on the decorative art of Huizhou ancient folk houses through formation and development of the decorative style, decorative characteristics, adornment subjects and decorative crafts. Based on it, the article excavates modern significance and value of the decorative art of Huizhou ancient folk houses, trying to get some references and enlightenments on modern architectural decorative design.
25
Li, Yingzhi, and Shanfu Xiong. "Space Building Power of Line Language in Abstract Decorative Design." International Journal of Education and Humanities 10, no. 2 (September 4, 2023): 207–9. http://dx.doi.org/10.54097/ijeh.v10i2.11643.
Full textAbstract:
In the field of decorative design, the beauty of abstract art is reflected by points, lines, surfaces, shapes, colors, textures and other elements. Line is an art form to create images and express emotions, and as a pure abstract language form, line plays an inseparable role in the construction of picture space in various abstract art styles. Especially in the picture dominated by line language, it plays a crucial role in the creation of space atmosphere. This paper analyzes the artistry of line language in abstract decoration design from four aspects, such as abstract, decorative, order and emotionality, and expounds the creation of space atmosphere by line language from five perspectives, such as line language and space structure, space hierarchy, space order, space interest and space image. And through the line language symbolization, personal style and aesthetic taste and other aspects of the elaboration of line language personalized line language to create the picture space atmosphere of the artistic tension. From theory to practice, it provides theoretical support and practical guidance for abstract decoration design.
26
Zaitsev, O. "THEATRICAL AND DECORATIVE ART OF TRANSCARPATHIA IN THE SOCIO-CULTURAL SPACE OF UKRAINE IN THE 20TH CENTURY (45-90s)." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 26–34. http://dx.doi.org/10.34079/2226-2849-2022-12-24-26-34.
Full textAbstract:
The article considers theatrical and decorative art of Transcarpathia in the socio-cultural space of Ukraine of the 20th century (45-90s). The trends of the development and research of theatrical and decorative art of Transcarpathia are determined. The paper describes the cultural processes that influenced the development of theatrical and decorative art of Transcarpathia in the context of the socio-cultural space of Ukraine of the specified period. Research of the theatrical and decorative art of Transcarpathia is an attempt to generalize and introduce this concept into scientific circulation, revealing its genesis and connection with artistic and cultural processes and new concepts of modern visual art in Transcarpathia. To solve the tasks set in the article, the author used cultural, systematic, comparative, analytical and other research methods. The scientific novelty of the research lies in the fact that for the first time in cultural studies an attempt has been made to analyze the theatrical and decorative art of Transcarpathia in the socio-cultural space of Ukraine of the 20th century (45-90s). Keywords: theatrical and decorative art, socio-cultural space of Transcarpathia, performance, stage, costume, artist, theater.
27
Kolupaev, Kirill N. "DECORATIVE COATINGS AND METALS IN JEWELLERY AND ART PRODUCTS." Technologies & Quality 62, no. 4 (March 11, 2024): 31–35. http://dx.doi.org/10.34216/2587-6147-2023-4-62-31-35.
Full textAbstract:
The article considers the classification of precious and non-precious alloys used in the manufacture of jewellery and art articles. Alloys are considered from the point of view of necessity of using protective and decorative coatings both for protection from environmental impact during operation of articles and colour surface decoration. A diverse nomenclature of various metallic, non-metallic and conversion coatings formed by different technological methods is shown. It is shown that the use of a certain coating is largely determined by the designer at the stage of creating a rendering of the product. Necessity to take into account the colouristic characteristics of alloys and coatings at the design stage and the existence of an inseparable connection between the product design, materials used, technologies of their shaping and decoration is pointed.
28
Li, Jian Wen. "The Study on the Application of Material Media in the Modern Decorative Art." Advanced Materials Research 535-537 (June 2012): 1673–77. http://dx.doi.org/10.4028/www.scientific.net/amr.535-537.1673.
Full textAbstract:
This paper interprets the function and effect of material media in decorative art. It explores the extension and development of material media in decorative art, from the historical viewpoint. It advances that modern decorative art must be investigated from the new perspective, that is, the view of integrated material is used to explore and study modern decorative art. This is based on the fact that art tends to be generally integrated. Under such circumstances, its artistic expression and avant-garde ideas tend to have a direct correlation with material media, analyzing from its artistic value and aesthetic experience. More importantly, its artistic essence is supposed to be interpreted from its abstractness and self-expression of space.
29
Meliksetyan, Gor. "MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/." JOURNAL FOR ARMENIAN STUDIES 2, no. 61 (April 28, 2023): 98–107. http://dx.doi.org/10.24234/journalforarmenianstudies.v2i61.51.
Full textAbstract:
Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.
30
Hassas, Ghulam Hazrat. "Assessment of Engraving on Plaster and its Designs in Herat." Shanlax International Journal of Arts, Science and Humanities 11, no. 4 (April 1, 2024): 86–92. http://dx.doi.org/10.34293/sijash.v11i4.7063.
Full textAbstract:
The craft and art of plastering has played an important role in internal and external spaces of historical and modern constructive components. This elegant industry is always flaunted on walls and ceilings to take part in decoration of the monument. Plastering is another field of decorative, which is used along with other kinds of decorative arts such as tile, sculpture and woodcarving, that are often over seen in modern and classic buildings nowadays. Goal: The assessment is on cornice engraving methods and its designs in Herat Buildings and complexes. This article stated various methods of engraving on gypsum, as well as designs applied by this art and craft in Herat buildings in a clear and comprehensive way. The research method is based on library and field studies. In library methods the focus is on using of authentic scientific reference books and field studies methods is an emphasis on observation and taking photos of gypsum decorations by the researcher, applied on modern and classic buildings of Herat. And finally the results of the study show that art and craft of plastering in Herat buildings and complexes has been applied in various positions by different methods while containing variable decorative elements.
31
Chung, Phan Le, and Nguyen Thi Hien Le. "Typical Values of the Nguyen Dynasty’s Decorative Art on Bronze Objects in Hue." Journal La Sociale 3, no. 6 (December 7, 2022): 225–33. http://dx.doi.org/10.37899/journal-la-sociale.v3i6.732.
Full textAbstract:
In the general relationship of culture and art, the Nguyen lords and kings made many contributions to the shaping and development of Cochinchina, enhanced the country's position and influence with other countries in the region. The decorative art on bronze objects in the Nguyen Dynasty contains many cultural, historical and aesthetic values with multi-dimensional and multi-layered symbol. This has shown the synthesis of values, in which aesthetic value is one of the outstanding points. The decorative art on bronze objects in the Nguyen Dynasty take an important role in preserving and conserving national artistic and cultural values. Besides this, the expressive value on bronze and the emotiveness from the surface of the material also enhance the values of the decorative art. The Nguyen Dynasty’s decorative art on bronze objects in Hue has shown the richness of art and culture. Through the study we can see and feel the great ingenuity and creative spirit of the artisan classes. This is one of the factors affirming the position of the Nguyen dynasty's decorative art on bronze objects in the general of Vietnamese bronze art.
32
Khalifa Eblao, Amira Mohamed, and Ahmad Faisal Faisal Abdul Hamid. "Decorations in Islam: In the Perspective of The Holy Quran And the Prophet of Hadith." Al-Muqaddimah: Online journal of Islamic History and Civilization 5, no. 1 (June 27, 2017): 11–19. http://dx.doi.org/10.22452/muqaddimah.vol5no1.11.
Full textAbstract:
A lot of works was interested in about the Islamic art and most of them were dealt with two aspects. The first one concerns the types and fields that this art includes and the second one concerns the eras in which it established according to a specific historical sequence. Therefore, this study attempts to explore the extent of the relationship between the plant decorations and the geometrical Islamic decorations, firstly from the perspective of the Holy Quran and secondly from the Hadith of the Prophet. Thus, we will address the following points, the foundations the Islamic decorative art in the Holy Quran and in the Prophetic Hadith, the origins of the Islamic decoration and some properties that Islamic religion called that have relation to the art. Through the historical and the descriptive approach, we conduct the third aspect of this study. The finding was that the Islamic decorative art was closely related to what was mentioned in the Holy Quran and Hadith of the Prophet. It has a characteristic that distinguishes it from the rest of the other arts.
33
Maistruk, N. "EDUCATIONAL AND PROFESSIONAL POTENTIAL OF POTTERY CENTERS AND SCHOOLS IN UKRAINE." Ukrainian professional education, no. 9-10 (September 7, 2021): 122–29. http://dx.doi.org/10.33989/2519-8254.2021.9-10.263617.
Full textAbstract:
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School - Opishne Factory «Artistic Ceramics,» Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
34
Maistruk, N. "POTTERY CENTERSAND SCHOOLS IN UKRAINE: EDUCATIONAL AND PROFESSIONAL POTENTIAL." Ukrainian professional education, no. 14 (December 29, 2023): 65–72. http://dx.doi.org/10.33989/2519-8254.2023.14.300218.
Full textAbstract:
Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
35
Wang, Chen Guan, Yu Mei Cui, and Ting Ting Xu. "Rationalize the Usage of Fabric Art for Interior Design." Applied Mechanics and Materials 193-194 (August 2012): 1380–83. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.1380.
Full textAbstract:
Fabric art plays a vital role in the interior design. It is the most widely used elements in the interior ornament, including yarn, mantle, bedding, sofa, carpets, wall hangings and the cover of furniture …, almost everything. In general, in addition to a decorative role, the fabric art also has the following functions: Dividing the interior space; strengthen the privacy protection; integration of the relationship between human and space, materialized occupant‘s personality. But a professional design project is systematic. It is not to decorate a space simply. So, depending on fabric art excessively to decorate a space is not right and it is worth discussing how to use fabric art reasonably.
36
Bogdan, Zadorozhny. "THE ART OF MODERN STAINED GLASS IN THE ARCHITECTURE OF CHURCHES OF UKRAINE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (March 30, 2022): 47–53. http://dx.doi.org/10.23939/sa2022.01.047.
Full textAbstract:
An important place in modern art culture is occupied by the stained glass art of modern temples. Particular attention is drawn to the stained glass compositions of sacred buildings, which impress with their aesthetics, composition, colors, and artistic expression. Ukraine has formed its own special traditions of stained glass work in the decoration of temples. The use of stained glass, made by modern various technologies by artistic processing of glass in combination with other types of decorative finishes create a special emotional worldview in a modern church. In the process of studying modern stained glass windows in the decoration of temples, their manufacturing technology, compositional solution, color scheme were analyzed and the main features of the artistic image were identified. The study of modern stained glass windows of sacred buildings makes it possible to determine the features of Ukrainian stained glass art and its national decoration Analyzing the stained glass windows of modern church buildings as a form of monumental and decorative art, it can be argued that the process of formation of church art was influenced by both Ukrainian traditional manufacturing technologies and European cultural factors, including artistic language, composition, colors and performance technologies. It is worth noting that the modern art of monumental stained glass has its own artistic, constructive and technical, and technological features. It is safe to say that modern stained glass compositions of temple buildings, made by advanced modern technologies and techniques, the latest methods of processing sheet glass using new materials and improving the artistic image, impress with their aesthetics, composition, colors, and artistic expression.
37
Tang, Xi Ya, Chen Zhong, and Lin Wu. "The Research of Column Base Culture in Chinese Traditional Architectures." Advanced Materials Research 1065-1069 (December 2014): 2661–68. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2661.
Full textAbstract:
As the traditional construction of stress components, column bases became a typical representative of the perfect unity of Chinese traditional architectural structure component and art component with its rich shapes and vivid carving. For thousands of years, column bases bearing the essence of Chinese traditional culture and religion in the form of objects, and it also showing the exquisite building techniques of Chinese architects in visual form of art. The evolution of pillar bases is not only the epitome of the development of Chinese traditional architectural decorative art, but also the indispensable bright spots of Chinese traditional architectural art. The column base, commonly known as “Sang Pan” or “column base stock”, which is the foundation under the column. It is a significant component under the column in wooden structure which could increase the stressed area, prevent moisture, keep smoothing as well as prevent the column from moving or sinking and strengthen the pressure. The column base was come into being for demand of enginery in ancient architechtures and had experienced the progress from hiding underground to cropping out. The changes of the column base’s position had made visual changes to the single straight column, with the function of load-bearing and decoration at the same time. For thousands of years, column bases bearing the essence of Chinese traditional culture and religion in the form of objects, and it also showing the exquisite building techniques of Chinese architects in visual form of art. The evolution of pillar bases is not only the epitome of the development of Chinese traditional architectural decorative art, but also the indispensable bright spots of Chinese traditional architectural art. The column base gradually become a perfect field where artists could display their skills and it gave artisans much possibility in its shape and decoration. 【１】Therefore, the column base has become the focal point of traditional architechture culture scholars because its decorative function is more than structural demand.
38
Schaefer, Helma. "Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 41–46. http://dx.doi.org/10.1515/amnpsc-2017-0005.
Full textAbstract:
In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.
39
Mammaev, Misrihan M. "CARVED STONES of the XV Century FROM the VILLAGES. KUBACHI WITH NAMES MADE THEM MASTERS." History, Archeology and Ethnography of the Caucasus 14, no. 4 (December 27, 2018): 117–31. http://dx.doi.org/10.32653/ch144117-131.
Full textAbstract:
The article describes the monuments of stone-cutting art of the XV century-six architectural details and one gravestone monument of highly artistic decoration of villages. Kubachi, on which are carved the names of the craftsmen who made them. Discusses the features of the decorative trim of carved stones. It is noted that not all master stone – cutters, who worked in the middle ages, tried to immortalize themselves, putting on their works inscriptions with their names. Only a few of them left their names on the work they performed. Therefore, a great number of carved stones, architectural details and tombstones from the village of Kubachi, as well as tombstones from neighbouring settlements – Calamarata, Ashty, Damage and other remain nameless.
The tomb of the XV century described in the article, decorated at a high artistic level with calligraphically executed decorative Arabic inscription in the style of "blooming kufi" on the background of elegant floral ornament, is considered as an outstanding work of stone-cutting art, created in the middle ages in the villages. Kubachi. It is the only one among the gravestones studied by researchers to the present time, which presents the name of the master of stone – Carver, calligrapher and ornamentalist Jarak – a talented artist of decorative and applied art.
40
Jung, Youngjoo. "The Stroganovs and Russian Decorative Art." Korean Journal of Russian Language and Literature 33, no. 3 (September 30, 2021): 201–36. http://dx.doi.org/10.38077/kjrll.2021.9.33.3.201.
Full text
41
Brett, David, and Jill McKeown. "Decorative Art: Windows on a World." Circa, no. 68 (1994): 28. http://dx.doi.org/10.2307/25562660.
Full text
42
ODOM, ANNE. "AMERICAN COLLECTORS OF RUSSIAN DECORATIVE ART." Canadian-American Slavic Studies 43, no. 1-4 (2009): 305–39. http://dx.doi.org/10.1163/221023909x00147.
Full text
43
Gilbert, Christopher. "New perspectives in collecting decorative art." Museum Management and Curatorship 10, no. 2 (June 1991): 172–76. http://dx.doi.org/10.1080/09647779109515264.
Full text
44
Marshall, Louise. "Medieval decorative art (review)." Parergon 12, no. 1 (1994): 129–31. http://dx.doi.org/10.1353/pgn.1994.0038.
Full text
45
Марущак, Оксана, Олександр Шинін, and Наталія Вусик. "Розвиток творчих здібностей у майбутніх фахівців художньо-декоративного мистецтва під час вивчення народних ремесел і промислів." Мистецтво в культурі сучасності: теорія та практика навчання, no. 2 (December 18, 2023): 25–33. http://dx.doi.org/10.31652/3041-1017-2023(2)-03.
Full textAbstract:
In the context of the revival of national culture, the problem of forming an artistic and aesthetic culture in future specialists of decorative arts, which causes radical changes in the direction of development of their artistic and creative abilities, becomes particularly relevant. The foundation for the development of artistic and creative abilities of higher education students is created by the activity of decorative and applied art. The main problem of our research is the development of a theoretical, methodological base and a methodological system for the development of artistic and creative abilities in future specialists of decorative arts during the study of folk crafts and crafts. The purpose of the research involves the substantiation of the scientific and methodological foundations of the development of artistic and creative abilities in future specialists of decorative arts during the study of folk crafts and crafts. To achieve it, theoretical methods were used: study, analysis and generalization of psychological-pedagogical, methodical, historical literature, monographic works, systematization of theoretical provisions, comparative analysis of dissertation works, study of curricula of disciplines of the professional training cycle of the artistic direction, study of reference literature, methodological manuals on decorative and applied art and folk crafts; empirical: study of the pedagogical experience of teaching students of pedagogical institutions of higher education the basics of decorative and applied art, observation of classroom and independent educational and creative work, scientific research and artistic and creative activities of students of education, conversations, questionnaires of teachers and students, study of products of artistic and creative activities of students of higher education in decorative and applied arts. The article theoretically substantiates the peculiarities and methods of development of artistic and creative abilities of students of higher education in decorative and applied arts. The main components of their artistic and creative abilities are determined: mental (productive and reproductive), practical and personal qualities. The main groups of artistic and creative abilities of students of higher education in decorative and applied art are defined: figurative and associative thinking, figurative and associative imagination, abilities in decorative and applied art. A comprehensive methodical system and organizational and pedagogical conditions for the development of artistic and creative abilities in decorative and applied art among students of higher education are proposed.
46
Revenok, Natalia. "SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 92–106. http://dx.doi.org/10.33838/naoma.30.2021.92-106.
Full textAbstract:
Abstract. The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical knowledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.
47
Chen, Chen. "Research on the Application of Chinese Traditional Elements in Contemporary Interior Design." Lifelong Education 9, no. 6 (September 28, 2020): 103. http://dx.doi.org/10.18282/le.v9i6.1312.
Full textAbstract:
China has a long history of history and culture, and it has gathered a variety of cultural elements and symbols in the long history. The cultural connotation and spiritual heritage presented by traditional Chinese decorative elements provide a source and motivation for the innovative development of the modern decoration industry. Therefore, drawing on traditional elements to carry out innovative exploration of the art design has become an important outlet for the development of the industry. This article aims at exploring a sustainable development path for China’s art design field by analyzing the current application of traditional Chinese elements in contemporary interior decoration design.
48
Білий, В. Д. "АКАДЕМІЧНІ ДИСЦИПЛІНИ У ПІДГОТОВЦІ ФАХІВЦІВ ДЕКОРАТИВНО-ПРИКЛАДНОГО МИСТЕЦТВА: РИСУНОК." Art and Design, no. 2 (August 11, 2021): 75–84. http://dx.doi.org/10.30857/2617-0272.2021.2.7.
Full textAbstract:
Purpose: to analyze the value of theoretical and practical knowledge and skills obtained in the study of Academic Drawing by students of the Decorative and Appling Art`s Department of the Kosiv Institute of Applying and Decorative Art LNAA. Methodology. Analytical and comprehensive approaches to the subject of research, structural analysis, observation and modeling methods, as well as comparative analysis were used, which made it possible to identify the features of drawing techniques` using in the realization of decorative and applied art projects. Results. The importance of the Drawing in the process of creating and making of decorative and applied art`s projects has been determined. It was revealed that for the realization, analysis of the form, its design (architectonics) and material is of particular importance, while the graphic means characteristic of a drawing is most often used to apply an ornament to the surface of the item. It is also important to sketching, aimed at theoretical comprehension of existing forms; search for new forms and designs in accordance with the previous idea. Special attention to the importance of the drawing in the education of students' aesthetic ideas and the creation of artistic and expressive works of art is paid. Scientific novelty of the paper lies in identifying the theoretical and practical skills and abilities that students of decorative and applied art`s specialties receive in the study of Academic Drawing and how they use them in the creating projects and art works based on the Kosiv Institute of Applying and Decorative Art LNAA. Practical significance. The obtained results into account in the process of teaching special disciplines can be taken, developing guidelines for them, in further scientific research.
49
Mikhailenko, Anastasiia. "An object in the interior design as a concept of integrating decorative and applied art into the design of premises." Человек и культура, no. 1 (January 2024): 34–47. http://dx.doi.org/10.25136/2409-8744.2024.1.69671.
Full textAbstract:
The subject of the research is the types of decorative and applied art, the connection of decorative and applied art with the interior design of residential and public spaces. Special attention is paid to the fact that in modern interior design, the tendency to transform interior space using decorative and applied art objects is widespread, which determine the overall style of the room, despite the particular academic design style used in the project. The author examines in detail such aspects of the topic as the influence of the author's thing on the exclusivity of the project, giving a typical interior individuality by including an object of decorative and applied art made specifically for this room, or competently selected by a specialist taking into account the specifics and purpose of the room, the transformation of the project from a typical to an individual one. The author analyzed and systematized modern methods and techniques of introducing the author's art into the interior design of premises for various purposes. Based on the results of the study, a general methodology was formed and proposed for integrating things into the interior of the proposed spaces, the concept of transforming rooms using objects and techniques of decorative and applied art. The main conclusion of the research is that the author's art object of decorative and applied art, created in a certain way and integrated into the interior design, allows to form a certain concept of a thing in the interior, a philosophy or even your own unique and recognizable author's style. The novelty of the research lies in determining the current trend of integrating handmade objects into the interiors and spaces of residential and commercial premises for various purposes in order to give uniqueness, which contributes to the development of the design industry and art in general.
50
Gurzhii, I., and D. Korshunov. "MODERN MONUMENTAL CERAMIC SCULPTURE IN A RECREATION ENVIRONMENT." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 130–36. http://dx.doi.org/10.33989/2226-4051.2022.26.273162.
Full textAbstract:
The article examines the problems of combining an architectural recreational space and a work of monumental ceramic art. The interrelationship of monumental and decorative forms of decorative art namely, ceramics and architecture, as well as plastic and colorful enrichment of the architectural space for recreational purposes, is highlighted.
The principles of the interaction of the recreational environment and the monumental-decorative ceramic work are given, such as the creation of the necessary conditions for the separation or interconnection of processes that take place inside or outside buildings, in places of rest, or in other environments. There are three principles of interaction between the recreational environment and the monumental-decorative ceramic work: based on three-dimensional dominants, on spatial dominants, or on the dominance of linear-axial connection. It is noted that a decorative element as a work of art evokes a certain number of ideas, experiences, and thoughts in the viewer. The concept of a work of art has a material expression, but it cannot be reduced to a physical object.