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Letteratura scientifica selezionata sul tema "Art deco Decoration and ornament"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 4 marzo 2023

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Articoli di riviste sul tema "Art deco Decoration and ornament"

1

Rachmayanti, Sri, Christianto Rusli e Anak Agung Ayu Wulandari. "Cultural Acculturation in Interior and Architecture of Old Straits-Born Chinese Lasem House". Humaniora 8, n. 3 (19 ottobre 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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2

Маммаев, М. М. "STELE OF THE 16th с. FROM KUMUKH VILLAGE — A HIGHLY ARTISTIC WORK OF ISLAMIC ART". Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, n. 13 (15 febbraio 2022): 973–82. http://dx.doi.org/10.53737/2713-2021.2021.25.61.037.

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В статье рассматриваются особенности декоративной отделки надмогильного памятника начала XVI в. из селения Кумух Лакского района Республики Дагестан. Этот памятник привлекал в прошлом внимание искусствоведов, историков, эпиграфистов, но как памятник камнерезного искусства и высокохудожественное произведение исламского искусства оставался подробно не изученным. Исходя из искусной резьбы стелы, четкой, ясной, хорошо продуманной композиции декора, каллиграфически выполненных рельефных арабских надписей в гармоничном сочетании с растительным орнаментом, автор рассматривает ее как высокохудожественное произведение средневекового камнерезного искусства Дагестана. Автор допускает возможность датировки стелы несколько более ранним временем, чем предшествующие исследователи, а именно началом XVI в. с учетом особенностей ее декоративного убранства. Судя по размерам, отделке надмогильного памятника и эпитафии, можно полагать, что погребенный имел высокий прижизненный социальный статус и погиб мучеником (араб. шахид ас-са’ид) в сражении в период военного противостояния Гази-кумухских шамхалов и Кабардинских князей. The article examines the features of decorative decoration of the tombstone of the beginning of the 16th century from the village of Kumukh (Lak district, Republic of Dagestan). Earlier this stele drew attention of art critics, historians, epigraphists, but as the monument of stone-cutting art and highly artistic work of Islamic art not studied in detail. Proceeding from a skillful carving of the stele, the accurate, clear, well thought decor composition, calligraphic Arab inscriptions in a harmonious combination with a vegetable ornament, the author considers it as highly artistic work of medieval stone-cutting art of Dagestan. The author admits the possibility of dating the stele a little earlier than previous researchers, namely the beginning of the 16th c. taking into account the features of its artistic. Judging by the size, decoration of the stele and epitaph, it can be believed that the buried man had a high lifetime social status and died as a martyr (Arab. shahid al-sa'id) in the battle during the military confrontation between the Ghazi-Kumukh shamkhals and Kabarda princes.

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3

Musaev, Makhach A., Shamil Sh Shihaliev e Magomed G. Shehmagomedov. "EPIGRAPHIC DISKS AND HORSEMEN RELIEFS ON THE STELAS FROM THE FAMILY CEMETERY OF KAITAG RULERS". History, Archeology and Ethnography of the Caucasus 15, n. 2 (25 giugno 2019): 259–81. http://dx.doi.org/10.32653/ch152259-281.

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The paper presents some of the study results of the family cemetery of hereditary rulers of Kaitag, located in Qala-Quraysh. During several expeditions in 2017–2018, more than 40 stelas, dating XIV c. – 1803/04, were studied. Names of the deceased, dates of their death, and other historical information, as well as poems, religious sayings, prayers and Quran Ayat in Arabic are inscribed on them. The stelas are made with high craftsmanship, distinguished by the refinement of the ornament and the elegance of epigraphic ribbons. Each stela of the necropolis can be described as a work of art. Among other interesting finds there are ten epigraphic disks on the stelas of the XVI–XVIII c. They are carved on the backsides of the monuments, have common composition, ornament, and similar contents: prayers to Allah for mercy on Judgment day. The article also describes horsemen relief images on two stelas of the early XVIII c., as well as a false horseman, carved on the tombstone of the late XVI c. Compositional decision of the relief is such that the weapons and armor are located above the horse, creating an effect of the rider’s presence, although the rider himself is not there. If the image weren’t stained, it would be impossible to reveal that it is not a horseman. The effect of presence is achieved by different artistic techniques. Among them is the image of a moving horse.The introduction of stated elements of tombstone decoration into scientific circulation contributes to dating of monuments with identical decor, and revealing interregional connections in stone carving craft.

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4

Liu, Shi Ming, Zhu Lin Yang, Hui Zhao e Xiao Ke Li. "Structural Design and Artistic Expression of Landscape Multi-Span Arch Footbridge". Applied Mechanics and Materials 438-439 (ottobre 2013): 1160–64. http://dx.doi.org/10.4028/www.scientific.net/amm.438-439.1160.

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In order to perfectly make the bridge function, structural style, architectural art modeling with the surrounding environment, this paper, based on the design of landscape five-span arch footbridge, studies the span arrangement, structural style, building materials, railing shape, ornament style and color, and lamplight illumination of the bridge considering the factors such as hydrology, geology, surrounding environment (e.g. buildings and park), traffic flow and entire urban planning. To reduce the stress of main arch and the horizontal thrust of substructure, the new structure of T-frame with sloped plate was put forward to bear the deck loads with the assistance of main plate arch. The thin concrete walls were cast on the top sides of the main plate arch, which were decorated by fine stone with the modern decoration construction technology. The white marble railings present lively morphology with carved lotus and pomegranate on the column cap, and many kinds of flowers on the panels. The spotlights make dramatic night sense for the bridge. Therefore, the landscape footbridge in the classical arch graceful shape was constructed by the modern building material and the optimized reinforced concrete structure, which presents the unity and coordination of structural design and artistic expression.

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5

Mammaev, Misrikhan M. "NEW STONE RELIEFS-ARCHITECTURAL DETAILS OF THE 14th – 18th CENTURIES FROM KUBACHI WITH ORNAMENT AND ARABIC INSCRIPTIONS". History, Archeology and Ethnography of the Caucasus 17, n. 2 (1 luglio 2021): 304–29. http://dx.doi.org/10.32653/ch172304-329.

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The paper describes stone reliefs of the architectural decor of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, discovered by the author in different years of the 20th – 21st centuries in the villages of Kubachi and Shiri, which are currently stored in museum collections. This paper is a continuation of a previous study of the stone reliefs from the village of Kubachi. The author provides the description of 20 reliefs, of which one (№ 12) is stored in the State Hermitage, seven others (№ 13–18, 20) – in the National Museum of the Republic of Dagestan (NMRD); eleven reliefs (№ 1–11) were revealed by us in Kubachi, and one relief (№19) – in the village of Shiri. The Kubachi reliefs are inserted in the structure of various residential or cult buildings (mosques) of the upper, middle and lower livings districts of the village. The reliefs had been obtained from the ruins of old buildings and installed into walls of new ones during their construction for decorative purpose. The integrity of the reliefs varies: some remained in a satisfactory condition, some have defects (break-offs, splits, etc.), others are incomplete, i.e. in fragments. Most of the reliefs considered in the article were drawn with estampage prints, which were then transferred to A1 paper sheets with the use of ink. The restoration of the broken-off details of the decoration of the reliefs № 7 and 16 was carried out by us. The Arabic inscriptions of some reliefs (№ 13–14), which are kept in the National Museum of the Republic of Dagestan, have not been translated into Russian due to the difficulty of reading or poor integrity. Many reliefs of the 14th – 18th centuries with floral ornaments and Arabic inscriptions, found in the masonry of the walls of some residential and religious buildings, especially the quarter mosque in the lowest part of Kubachi, are still not included in the article. The location of the reliefs in the upper parts (third floor) of buildings erected on a very steep slope makes it impossible to photograph them properly. The dating of some reliefs (№ 1–4, etc.) is preliminary. It can be further clarified on the basis of analogies after the publication of unpublished reliefs preserved in the village of Kubachi and those stored in museums – the State Hermitage and NMRD. Accurate dating of medieval art monuments in Kubachi without dates is one of the challenges in studying them. Description of the reliefs revealed in Kubachi is given in the order of recording them at different times and in different districts of the old part of the village.

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Shigurova, Tat'yana Alekseevna. "Shoulder Ornaments in the local version of the Moksha Women's Costume." Человек и культура, n. 4 (aprile 2022): 21–35. http://dx.doi.org/10.25136/2409-8744.2022.4.38641.

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The article fills in the missing knowledge in science about the shoulder element of the kavlalks (armpits) of the traditional women's costume of the mid-nineteenth century of the villages of Levzha, Perkhlyai, Suzgarye of the Insarsky district of the Penza province, presents a complete description of its constructive and decorative specifics and the names of the details of the decoration in comparison with similar elements in the Mordovian costume and in comparison with the correspondences in the costumes of the peoples of the Middle Volga region. The materials of the archive of the Russian Geographical Society (hereinafter referred to as the SBI "RGO") are investigated as the main sources. Along with general scientific methods, systematic, comparative-historical and art criticism approaches were also used. The novelty of the work is due to the study of the original decoration of the local version of Moksha clothing, previously not mentioned by researchers. It is established that the existence of the shoulder decoration until the middle of the nineteenth century reflects the complex ethnogenetic processes in the Oka-Sur interfluve of the XVI – XVIII centuries. The technical, technological, artistic and stylistic features of the element of the Moksha women's costume reveal an affinity with the decoration of the ozhanuchka, preserved until the twentieth century in the Erzya women's costume of the Temnikovsky district of the Tambov province. The scientific contribution is determined by enriching the classification of Mordovian costume jewelry with a unique variant of the strap-type decor, known only to the Mordovian people.

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Travin, Ilia Aleksandrovich. "To the question of place and time of the beginning of the process of development of culture of Sami people on the example of cultural succession of applied art". Культура и искусство, n. 10 (ottobre 2020): 17–28. http://dx.doi.org/10.7256/2454-0625.2020.10.34092.

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The subject of this research is the cultural succession of decorative elements of the ethnic ornament of Sami people. In light of the migration past, the question is raised on the possibility of simultaneous assimilation and introduction into their culture of ornaments and words by the Ancient Sami population. Special attention is given to the examples of explicit concurrence of the elements. The author sets a scientific task to find the evidence of residence of the Ancient Sami people in the territory of northwest of Kostroma Region in Russia from the perspective of cultural succession. The main research method consists in the synthesis of various sciences. Archaeological research alongside the data from historical records and toponymic studies allow comparing the data in the field culture and applied art. Leaning on the analysis of literature and images, the author structures the chain of logical reasoning . The acquired data give understanding of the visual expression of the regional cultural heritage and possible assimilation of the elements of decor by the people who abandoned the territory centuries ago. The result of this research consists in providing the evidence of cultural succession, determination of timeframe and geographical area with regards to assimilation of the elements applied art of other ethnoses by the Ancient Sami population. The novelty of this work lies in comparison of decorative patterns of different generations and ethnoses, and the fact of formation of the general basic culture of Sami people. The conclusion consists in detecting the presence of decorative elements of the Mari ornament in the Sami ornament based on the analysis of various sciences. This proves the succession of cultural heritage of this region throughout multiple generations.

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8

Orelli-Messerli, Barbara von. "The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries". Palíndromo 12, n. 27 (1 maggio 2020): 011–33. http://dx.doi.org/10.5965/2175234612272020011.

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From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.

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Mammaev, Misrikhan M. "TWO ARTISTICALLY FINISHED MUSLIM STELES OF THE 14th CENTURY FROM KUBACHI (DAGESTAN, RUSSIA)". History, Archeology and Ethnography of the Caucasus 18, n. 3 (10 ottobre 2022): 793–804. http://dx.doi.org/10.32653/ch183793-804.

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The article describes two tombstones of the XIV century. in the form of high trapezoidal stone slabs (the lower end is narrower than the upper part) from the largest artistic center of Dagestan - the village of Kubachi. They are located in the medieval Muslim cemetery "Bidakh Khuppe" (in the lane with Kubach - "Cemeteries on the other side"), 1.5-2 km south of the old part of Kubacha, in the lower half of the northern slope of Mount Tsitsila. The monuments under consideration are decorated at a high artistic level with late Kufic relief Arabic inscriptions and floral ornaments. The inscriptions were made at different times in the “blooming kufi” style by the same master stone cutter, calligrapher and ornamentalist, which is proved by the commonality of the forms of both monuments, the technique of their carving, the peculiarities of their decorative finishes, the ornamental style, and the unity of the compositional schemes of the decor. The name of the master who made these monuments is unknown. The article clarifies the existing in the decor of the monuments and certain differences in the style of the letters of the Kufic inscriptions, the details of the ornamental compositions of the central fields, which, obviously, are associated with the different times of the manufacture of the stelae. On the monument number 2 there is a date - 783 AH / 1381-82. (according to the Gregorian calendar); there is no date on monument No. 1. The author of the article believes that monument No. 1 was made 12-15 years earlier than monument No. 2.In the article, both tomb stelae are considered as highly artistic works of Muslim art based on the features of the decorative finish of the letters of the relief Arabic inscriptions of the curb strips, their proportionality and proportionality, as well as taking into account the expressive floral ornament of the central fields and the framing epigraphic border strips, the unity and interconnection of the details of the compositions of the central field (stele No. 2) and upper side corners.

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Dobrydneva, A. S. "Aleksandr Deineka’s Works in the Context of the Art Deco Style". Concept: philosophy, religion, culture 4, n. 3 (28 settembre 2020): 168–75. http://dx.doi.org/10.24833/2541-8831-2020-3-15-168-175.

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This paper analyzes the founding bases of comparisons between the Aleksandr Deineka’s artistic works and the art deco, the connection between Deineka’s works and European and American art of the 1930s Deineka’s early works refer to the avant-garde and the late ones are usually related to socialist realism. The novel artistic language is the most important link between the Soviet art and the art deco style, making the artist its most prominent USSR proponent. In this respect, the key event is the artist’s trip to the USA, France and Italy in 1935. What made Deineka engage in the intercultural discussion on artistic styles were industrial, urban, mundane and sport themes the Soviet art and art deco (mostly American) shared. A dialogue with the US Skyscraper style influenced a series of paintings and sketches, including New York. Central Park, The Road to Mount Vernon, Baseball, The Boredom. The Soviet experience contributed to Deineka’s few American works. In the most clear and general manner the art deco ideas and practical solutions were incorporated in the 1938 project of Deineka – in the decoration of the Mayakovskaya metro station, Moscow. The idea was to create a series of allegoric and technically new mosaic plafonds. Both spirit and techniques of late Deineka were partly inspired by the American art deco.

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Più fonti

Tesi sul tema "Art deco Decoration and ornament"

1

Lutz, Mark L. "Precedent and context". Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23153.

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2

Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003". Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.

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Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art". Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.

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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.

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Bruneel, Benjamin. "Art and worship in Zwinglian theology". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.

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Mills, Lori. "Floralware /". Online version of thesis, 1989. http://hdl.handle.net/1850/10924.

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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement". Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.

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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.

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Popp, Sigrid. "Die Fresken von St. Vigil und St. Zyprian Studien zur Bozner Wandmalerei um 1400 /". Access full-text online, 1996. http://edocs.tu-berlin.de/diss/1996/popp%5Fsigrid.pdf.

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Çaycı, Ahmet. "Anadolu Selçuklu sanatında gezegen ve burç tasvirleri". Ankara : T.C. Kültür Bakanlığı, 2002. http://catalog.hathitrust.org/api/volumes/oclc/55133627.html.

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Kaplan, Craig S. "Computer graphics and geometric ornamental design /". Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6887.

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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.

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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.

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Più fonti

Libri sul tema "Art deco Decoration and ornament"

1

Huang, Zhennan. Art deco of antique. Taipei: Connoisseur Art, 2000.

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Haslam, Malcolm. Art deco. New York: Ballantine Books, 1988.

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Art deco. London: Macdonald, 1987.

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1953-, Knowles Eric, Miller Judith e Miller Martin, a cura di. Art deco. London: M. Beazley, 1991.

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1953-, Knowles Eric, Miller Judith 1951- e Miller Martin, a cura di. Art Deco. London: Miller's, 2000.

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Yuan, Yu'an. Art deco in Shanghai: Art deco zai Shanghai. Shenyang, China: Liaoning Science and Technology Pub. House, 2008.

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Art deco jewelry. New York: Rizzoli, 1985.

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Art deco jewelry. London: Thames and Hudson, 1985.

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Raskin, E. H. Art deco design fantasies. Mineola, N.Y: Dover Publications, 2009.

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Art deco design fantasies. Mineola, N.Y: Dover Publications, 2009.

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Capitoli di libri sul tema "Art deco Decoration and ornament"

1

Freschi, Federico. "Art Deco, modernity, and the politics of ornament in South African architecture, 1930–1940". In The Routledge Companion to Art Deco, 253–70. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429032165-14.

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Aristova, Maria-Anna. "Decoration in the Desert:". In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvxkn5n8.9.

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Finster, Barbara. "Chapter nine. vine ornament and pomegranates as palace decoration in 'Anjar". In The Iconography of Islamic Art, 143–58. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474471428-013.

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"5. Decoration in the Desert: Unsettling the Order of Architecture in the Certosa di San Martino". In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048535873-007.

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Ruppio, Christin. "Ornaments as Means of Communication". In Advances in Religious and Cultural Studies, 117–37. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9438-4.ch007.

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A few years after art patron and museum founder Karl Ernst Osthaus (1874-1921) had his family residence—the Hohenhof (1908-1906)—built, he decided to have his study redesigned with a striking ornament. The chapter aims to explain why Osthaus had his study redesigned and how impulses from Islamic ornamentation and the world art collection at his museum—the Folkwang—were tied to this process. It will become apparent that to Osthaus this was not a process of mere decoration after Orientalist fashion but rather a way to exemplify how impulses from other cultures can lead to a new way of artistic practice. Osthaus believed that applied arts and architecture were the most important means of initiating social change, and his study became a place to discuss the significance of Eastern artistic practice to contemporary design questions.

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Atti di convegni sul tema "Art deco Decoration and ornament"

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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae e M. Carciumaru. "PORTABLE ART OBJECTS DISCOVERED IN THE UPPER PALEOLITHIC OF ROMANIA". In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.22-23.

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In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932

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Bermejo-Soler, Juan, Iñigo González-González, Estíbaliz Lama-Ochoa, Fernando Baceta-Gobantes e MªDolores Rodríguez-Laso. "The volumetric and chromatic reintegration of hydraulic mosaics: comparison between four different techniques". In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13539.

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The mosaic made of hydraulic tiles, is an architectural coating with a significant decorative importance, characteristic of both modernist and Art Deco architectures. This technique appeared in France in the decade of the 1860s, spreading all over Europe with great rapidity, and with a remarkable impact until the beginning of World War II. The decoration with hydraulic mosaic is based on the use of tiles made of compressed cement, adorned with intense colours and a glossy appearance. After been used for more than a century, many of these decorations are in need of an immediate intervention. As they are serialized and mass-produced elements, their volumetric and chromatic reintegration becomes easier. Non-interventional procedures are not usually acceptable, as they often have pavement function. In this work, four different restoration techniques have been compared. Starting from inorganic binders, we have proposed 1) white cement / silicate mineral paint; 2) acrylic resin / paint and 3) epoxy resin / paint. Last, reintegration tests were made on marble stucco using a combination of plaster, pigments and animal glue. The results of these four systems were compared with the ones obtained from the traditional hydraulic mosaic, paying special attention to gloss, hardness, and porosity. As the goal is to choose the most appropriate technique applied to Cultural Heritage, its behaviour was tested through two accelerated aging tests. On one hand, a group of test samples have been exposed to the penetration of salts by capillarity, very common in pavements. On the other hand, the samples were placed in a climatic chamber with the aim of accelerating its aging, exposing them to humidity, heat and UV radiation. These tests have made possible to know the potential of each of these materials and their suitability for volumetric and chromatic reintegration.

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