Letteratura scientifica selezionata sul tema "Decoration and ornament"
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Articoli di riviste sul tema "Decoration and ornament"
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Afrianto, Damar Tri. "Ornaments as a tourist attraction at the King Binamu Tomb Complex in Bontoramba District, Jeneponto Regency". ELS Journal on Interdisciplinary Studies in Humanities 3, n. 3 (25 settembre 2020): 366–75. http://dx.doi.org/10.34050/elsjish.v3i3.11012.
Testo completoAbstract (sommario):
The existence of ornament which adorns almost the entire walls of the tomb functions as decorative or symbolic. Ornamen provided information about the life of Raja Binamu when he was still victorious. The analysis is described in a descriptive qualitative manner with an interpretive approach. The discussion is described based on problems related to how the ornament is able to be an attraction of visitors or tourists. The scavenger began by analyzing the ornament in the tomb with Thomas Murno's ornamental composition theory which was developed in Guntur, according to Murno, organizing the composition in art works in this case there were four models of ornaments, namely: composition based on expediency, composition based on representation, composition based on expository, and thematic based composition. It also uses concepts that are based on tourism science strategies. The results obtained in the form of an understanding that the ornaments there contain two understandings, namely ornamentation as a decorative element, namely the presence of thematic repetition ornaments such as parengreng flower motifs. The symbolic ornaments explain the life and activities of kings during his life and have a moral message. Related to its potential as a tourist attraction, the presence of ornaments needs an understanding and image strategy in the form of 1) bringing up ornaments or ornaments in each of the promotional media, 2) providing information about the types of decoration or ornaments in books (booklets) tourist guides and 3 ) creating merchandise taken from ornamental motifs in the Raja Binamu tomb complex
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Sharapov, I. A. "Discourse of Ornament in Twentieth-Century Architecture". Art & Culture Studies, n. 2 (giugno 2021): 60–87. http://dx.doi.org/10.51678/2226-0072-2021-2-60-87.
Testo completoAbstract (sommario):
The article provides an overview of the ornament in the architecture of the twentieth century, indicating the points that form the direction of the axial trajectories of the development of the ornamental form in the context of architecture. The research is based on the method of analytical description of ornament positions extracted from the the practice and textual corpus of architect’s statements. Utterances synthesize the discursive range of ornament in the field of architecture. The body of the ornament covers the subject aspects of human life and is present in the spatial form of the architectural environment. Traditionally, the location of the ornamental form is associated with the art of decoration, so the standard ornament is considered as an additive, additional in relation to the singularity of the form. The same principle applies to architecture. This study actualizes the problem of redefining the ornamental form, marking point inversions of the additivity of ornamen tal decoration as a formative aspect involved in creating the results of architectural activity. The formative principle of the article is a chronological sequence of twenty positions outlining the discourse of ornament in the context of twentieth-century architecture.
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Agustin, Dyan, Nur Rahmatul Lailiyah, Mu'ammar Fadhil e M. Ferdiyan Arya. "Kajian Ornamen pada Rumah Tradisional Madura". NALARs 19, n. 2 (29 giugno 2020): 97. http://dx.doi.org/10.24853/nalars.19.2.97-104.
Testo completoAbstract (sommario):
ABSTRAK. Ornamen merupakan suatu hiasan yang dibentuk dengan mengembangkan dari bentuk-bentuk yang ada di alam. Ornamen pada bangunan tradisional berbentuk ragam hias dimana teknik maupun pengungkapannya dibuat menurut aturan-aturan, norma serta pola yang telah digariskan dan menjadi kesepakatan bersama dan diwariskan secara turun temurun. Pada rumah tinggal Madura, terdapat ornamen dalam elemen arsitekturalnya dimana keberadaan ornamen tersebut tidak lepas dari adanya akulturasi kebudayaan antar suku yang menetap di Madura. Penelitian ini membahas akulturasi kebudayaan mana saja yang mempengaruhi bentuk, warna ornamen di rumah tradisional Madura serta makna dari masing-masing motif ornamen yang digunakan. Metode yang digunakan adalah metode kualitatif dengan analisis deduktif untuk mengetahui rupa visual dari ornamen pada rumah tradisional di Madura. Hasil analisis menunjukkan beberapa motif yang digunakan pada rumah tradisional Madura antara lain motif flora, fauna antara lain motif ekor ular, naga, burung phoenix dan motif swastika. Pada motif flora-swastika merupakan akulturasi kebudayaan dari Cina, Jawa hindu, dan Madura. Motif flora fauna didominasi dengan hasil akulturasi budaya antara Madura dengan Cina. Untuk area penempatan ornamen bagian atap, dinding, pintu, kolom. Sedangkan penempatan ormanen pada komplek hunian Tanean Lanjhang adalah roma tongghuh (rumah induk) dan Roma na’poto (Rumah Anak). Sedangkan pada kobhung (langgar), tanean (halaman), dapor (dapur), kandhang (kandang) tidak terdapat ornamen karena tempat tersebut lebih diutamakan segi fungsinya. Kata kunci: Ornamen, Rumah, Madura ABSTRACT. Ornament is a decoration that is formed by developing from the forms that exist in nature. Ornaments in traditional buildings are in the form of decoration. The techniques and disclosures are made according to the rules, norms, and patterns that have been outlined and become collective agreements and passed down from generation to generation. In Madura's house, there is an ornament in its architectural element where the decoration's existence is inseparable from the acculturation of cultures between tribes who settled in Madura. This study discusses which cultural acculturation influences the shape, the colour of ornaments in traditional Madurese homes, and the meaning of each ornamental motif used. The method used is a qualitative method with a deductive research method to determine the visual appearance of ornaments in traditional houses in Madura. The analysis results showed several motifs used in traditional Madurese homes, including flora and fauna motifs, including snake-tailed motifs, dragons, phoenixes, and swastika motifs. The flora-swastika motif is an acculturation of culture from China, Hinduism, Java, and Madura. The motif of flora and fauna is dominated by the results of cultural acculturation between Madura and China. For the ornamental placement area of the roof, walls, doors, columns. The placement of people in Tanean Lanjhang residential complex is Rome Tongghuh (main house) and Roma na'poto (Children's House). While in kobhung (langgar), tanean (page), dapor (kitchen), kandhang (cage), there are no ornaments because the place is preferred in terms of function.Keywords: Ornament, House, Madura
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Nurul Fajri, Sri Ayu, Aznan Nazzer Nur Syarif e Andi Hildayanti. "Filosofi Ornamen dan Dekorasi Interior pada Klenteng Xian Madi Kota Makassar". TIMPALAJA : Architecture student Journals 1, n. 1 (9 gennaio 2020): 57–69. http://dx.doi.org/10.24252/timpalaja.v1i1a7.
Testo completoAbstract (sommario):
Abstrak_Tujuan penelitian ini adalah untuk mengidentifikasi dan mengkajifilosofi ornamen dan dekorasi interior yang terdapat pada Klenteng Xian Madi Kota Makassar. Pada dasarnya kebudayaan Tionghoa mewariskan heterogenitas ragam hias Arsitektural Klenteng yang unik dan filosofis, mulai dari pemilihan warna dan penerapan atribut pada dekorasi ruang Klenteng. Penelitian ini digunakan metode penelitian deskriptif kualitatif yang bertujuan untuk mendeskripsikan dan mengemukakan makna filosofi dari ornamen dan dekorasi interior Klenteng Xian Madi. Berdasarkan hasil penelitian bahwa interior Klenteng Xian Madi didominasi dengan warna merah dan gold. Bagi umat Tionghoa warna emas melambangkan keberuntungan, dan keceriaan. Warna gold melambangkan kebahagiaan dan kemakmuran. Disamping itu, terdapat beberapa patung yang terletak di segala sisi ruang Klenteng sebagai tempat sembahyang umat Tionghoa. Sehingga filosofi ornament dan dekorasi interior Klenteng Xian Madi dapat diketahui secara empiris, karena masing-masing ornament dan dekorasi interior mengandung makna sebagai bentuk komunikasi bagi pengamat yang datang.Kata kunci: Arsitektur Klenteng; Filosofi Ornament; Dekorasi Ruang,Metode Deskriptif Kualitatif. Abstract_ The purpose of this study is to identify and clarify the ornament and interior decoration philosophy found in the Xian Madi Temple, Makassar City. Chinese culture inherits the heterogeneity of the unique and philosophical architectural decoration of the pagoda, starting from the selection of colors and the application of attributes to the pagoda's room decoration. This study used a descriptive qualitative research method that aims to describe and express the philosophical meaning of the ornamentation and interior decoration of the Xian Madi Temple. Based on research results that the interior of the Xian Madi Temple is dominated by red and gold. For Chinese people, the golden color symbolizes luck and cheerfulness. The gold color symbolizes happiness and prosperity. Also, there are several statues located on all sides of the temple room as a place of prayer for Chinese people. So that the philosophy of ornament and interior decoration of Xian Madi Temple can be known empirically because each ornament and interior decoration contains meaning as a form of communication for observers who come.Keywords: Temple Architecture; Ornament Philosophy; Room Decoration; Qualitative Descriptive Method.
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Rinaldi e Azmi Dwi Seffiani. "RAGAM HIAS NISAN KOMPLEKS PEMAKAMAN RAJA KOTALAMA, KABUPATEN INDRAGIRI HULU, PROVINSI RIAU". Berkala Arkeologi Sangkhakala 22, n. 1 (25 gennaio 2020): 45. http://dx.doi.org/10.24832/bas.v22i1.397.
Testo completoAbstract (sommario):
The cemetery of the King Kotalama complex is the Indragiri royal burial complex of the islamic-style period of Narasinga II. This study focused on the type of ornament that developed in the burial complex of the king of Kotalama. Decoration can provide information about the development of art culture during the reign of Narasinga II. The method used to answer these problems is through morphological analysis and stylistic analysis, in order to find out the types of decorations. The developing decoration shows that the community acculturates the old culture and the new culture. The ornamental variety consists of flora, geometric and calligraphy.
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin e Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara". International Journal of Nusantara Islam 2, n. 1 (9 giugno 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
Testo completoAbstract (sommario):
The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Ranelis, Ranelis, Rahmad Washinton e Alipuddin Alipuddin. "PELATIHAN PEMBUATAN ORNAMEN TRADISIONAL BAGI SISWA-SISWI DI SD 066/XI TANJUNG BUNGA KECAMATAN TANAH KAMPUNG KOTA SUNGAI PENUH". SELAPARANG: Jurnal Pengabdian Masyarakat Berkemajuan 6, n. 2 (11 giugno 2022): 891. http://dx.doi.org/10.31764/jpmb.v6i2.8086.
Testo completoAbstract (sommario):
ABSTRAKPengabdian yang dilakukan di SD 066/XI Tanjung Bunga Kecamatan Tanah Kampung Kota Sungai Penuh ini adalah berupa pelatihan pembuatan ornamen tradisional. Tujuan dari kegiatan pengabdian ini adalah untuk memberikan pelatihan kepada siswa dalam membuat motif tradisional, dan mewarnainya dengan teknik gradasi warna. Ornamen berasal dari bahasa latin ornare yang memiliki arti menghiasi. Ornamen adalah komponen dari suatu seni yang ditambahkan atau sengaja dibuat untuk tujuan sebagai hiasan. Ornamen yang fungsinya Sebagai ragam hias murni adalah bentuk-bentuk ragam hias yang dibuat hanya untuk menghias saja demi keindahan suatu bentuk (benda) atau bangunan, dimana ornamen tersebut ditempatkan. Pelatihan ini dilakukan dengan dua metode yaitu metode ceramah dan metode demonstrasi. Metode ceramah dilakukan dengan cara memberikanpenjelasan tentang ornamen dan penempatannya ke benda kriya seperti gerabah, kain, dan lainnya kepada siswa dan siswi. Metode demontrasi dilakukan dengan cara bagaimana proses pembuatan ornamen tradisional dan pemberian warna pada motif dengan teknik gradasi warna yang dimulai dengan warna yang tua ke warna yang muda dan dari warna muda ke warna yang lebih tua. Pelatihan ini dimulai dengan penyedian alat dan bahan yang diperlukan untuk kegiatan pelatihan. Hasil dari kegiatan pengabdian ini adalah para siswa merasa senang dan semangat dilakukan nya pelatihan ini, dan semuanya mampu untuk membuat motif tradisional dan mewarnainya dengan teknik gradasi warna. Kata kunci: ornamen tradisional; tampuk manggis; itik pulang petang. ABSTRACTThe service carried out at SD 066/XI Tanjung Bunga, Tanah Kampung Subdistrict, Sungai Penuh City is in the form of training in making traditional ornaments. The purpose of this service activity is to provide training to students in making traditional motifs, and coloring them with color grading techniques. Ornament comes from the Latin ornare which means to decorate. Ornament is a component of an art that is added or intentionally made for the purpose of decoration. Ornaments whose function is as pure decoration are decorative forms that are made only to decorate for the sake of the beauty of a form (object) or building, where the ornament is placed. This training was conducted using two methods, namely the lecture method and the demonstration method. The lecture method is carried out by providing explanations about ornaments and their placement on craft objects such as pottery, cloth, and others to students. The demonstration method is carried out by using the process of making traditional ornaments and giving color to the motifs with a color gradation technique starting with dark colors to light colors and from light colors to older colors. This training begins with the provision of tools and materials needed for training activities. The result of this service activity is that the students feel happy and enthusiastic about this training, and all of them are able to make traditional motifs and color them with color grading techniques. Keywords: traditional ornaments; mangosteen crown; ducks coming home in the evening.
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., Mirza Prastyo, Dr Drs I. Ketut Supir, M. Hum . e I. Gusti Made Budiarta, S. Pd ,. M. Pd . "Omprok Gandrung Banyuwangi". Jurnal Pendidikan Seni Rupa Undiksha 7, n. 2 (27 marzo 2018): 27. http://dx.doi.org/10.23887/jjpsp.v7i1.13630.
Testo completoAbstract (sommario):
Penelitian ini bertujuan untuk mendeskripsikan: (1) Alat dan bahan dalam pembuatan Omprok Gandrung Banyuwangi (2) Proses pembuatan Omprok Gandrung Banyuwangi (3) Ornamen Omprok Gandrung Banyuwangi (4) Makna Ornamen Omprok Gandrung Banyuwangi. penelitian ini merupakan penelitian deskriptif kualitatif. Sasaran adalah Omprok (Mahkota) Penari Gandrung dengan memilih Sutrisno, Suwari, Eko Susanto dan Sayun Sisiyanto sebagai narasumbernya. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) Observasi, (2) wawancara, (3) Dokumentasi, dan (4)Triangulasi, serta menggunakan Analisis Taksonomi Domain.
Hasil temuan dalam penelitian ini adalah: (1) alat dalam pembuatan Omprok Gandrung Banyuwangi dibagi menjadi dua kelompok, yaitu alat pokok berupa pahat, kuas, jarum, pisau, tindhih dan alat bantu pensil, batu asahan, penggaris. Bahan utama yang digunakan kulit sapi, spon matras. (2) Tahapan proses pembuatan Omprok Gandrung Banyuwangi, yaitu proses pemahatan, proses pewarnaan, proses pembuatan Kuluk, dan proses pembuatan hiasan yang terdiri dari Kembang Goyang, hiasan Gombyok, hiasan Pilis Stenlis, dan hiasan kaca. (3) Ornamen yang ada pada Omprok Gandrung Banyuwangi, yaitu Ornamen pilisan yang terdiri dari bidang pola pilis depan, pilis tengah dan pilis atas, Ornamen wayang Gatutkaca, Ornamen Gajah Uling, Ornamen Tebokan yang terdiri dari pola gunungan dan sabuk gombyok. (4) Makna dari Hiasan dan Ornamen Omprok Gandrung Banyuwangi yaitu bahwa pemimpin dan masyarakat yang mempunyai norma-norma sosial untuk bekerjasama mengatur wilayah Banyuwangi sebagai bentuk puji syukur kepada mahabesar akan anugrah yang diberikan.Kata Kunci : Kata kunci: Omprok, Gandrung, Banyuwangi. The research aimed to describe about, (1) the tools and materials in making Omprok Gandrung Banyuwangi, (2) the process of making Omprok Gandrung Banyuwangi, (3) ornament of Omprok Gandrung Banyuwangi, and (4) the meaning of Omprok Ornament Gandrung Banyuwangi. This study used a qualitative descriptive research. The subject of this study was Suwari, Eko Susanto, and Sayun Sisiyanto as the resource person to know making Omprok (crown) of Gandrung dancer. The collection of data in this study was performed with the techniques of: (1) observation, (2) interview, (3) documentation of (4) triangulation, and use the analysis domain taxonomi.
The results of this study were (1) the tool of making Omprok Gandrung Banyuwangi divided into two groups a staple tool in the from of the chisel, brushes, needles, knives, tindhih and pencil tools, grindtones, stones, of a ruler. the main ingredient use cow leather, sponge mattresses. (2) The stages of making Omprok Gandrung Banyuwangi process which were the process of carving, coloring process, Kuluk making process, and decoration process consisting of Kembang Goyang, Gombyok ornament, Pilis Stenlis ornament, and glass decoration. (3) Ornaments in exist of Omprok Gandrung Banyuwangi were the pilisan ornament that was consisting of the pattern of front pilis, middle pilis and upper pilis, Gatut kaca ornaments, Ornament Gajah Uling, Ornament Tebokan consisting of gunungan and belt gombyok. (4) The meaning of embellishment and Omprok Gandrung Banyuwangi ornaments, namely the leaders and communities who had social norms to cooperate regulating the Banyuwangi region as a form of praise to the enormous as the grace given to us.keyword : Omprok, Gandrung, Banyuwangi.
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Ahani, Fatemeh, Iraj Etessam e Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture". Journal of Arts and Humanities 6, n. 6 (6 giugno 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.
Testo completoAbstract (sommario):
<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
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Cross, Christopher. "Urban Design: Ornament and Decoration". URBAN DESIGN International 1, n. 2 (giugno 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.
Testo completoTesi sul tema "Decoration and ornament"
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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /". Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.
Testo completo
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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.
Testo completo
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Reid, Bronwyn. "Cast architectural ornament : plaster and compo". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.
Testo completoAbstract (sommario):
Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.Department of Architecture
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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/.
Testo completoAbstract (sommario):
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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Duckworth, Chloë N. "The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.
Testo completoAbstract (sommario):
The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw ingredients. To this end, the use of a technique new to archaeology, ToF-SIMS, is developed here in order to investigate the origin of the colorant opacifiers used in glass production. But questions about manufacturing technology and stages of production are also vital to an understanding of the role and perception of glass, and the aforementioned technique is complemented by electron microprobe analysis, revealing a surprising complexity of production, primarily related to coloration. Furthermore, it has been argued that the terms used to refer to glass in epigraphic sources indicate that it was primarily produced in order to imitate, or substitute for, precious stones of value in Late Bronze Age Egypt and Mesopotamia (primarily lapis lazuli, carnelian and turquoise). Recent research into the archaeological and ethnographic understanding of colour naming and classification is applied to these sources along with an investigation of the material properties of glass itself. It is suggested that, far from being an imitation, the artificiality of glass - as a man-made material - was deliberately, sometimes spectacularly, proclaimed. Central to this is the use of colour, in particular in terms of transformation, and the aforementioned complexity of production. It is argued that only through combining the numerous approaches to the evidence taken here - scientific, linguistic-historical, and archaeological - can the perception of glass, and the motivations behind its production, be determined.
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Parkerson, Sarah Lawrence. "Variations in gold : the stylistic development of the picture frames used by James McNeill Whistler". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4471/.
Testo completoAbstract (sommario):
The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.
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Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.
Testo completoAbstract (sommario):
This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.
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Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making". Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.
Testo completoAbstract (sommario):
This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.
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White, Andrew J. "Post medieval pottery in Lincolnshire 1450-1850". Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/28497/.
Testo completoAbstract (sommario):
This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.
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Towle, Andrew C. "A scientific and archaeological investigation of prehistoric glasses from Italy". Thesis, University of Nottingham, 2002. http://eprints.nottingham.ac.uk/11741/.
Testo completoAbstract (sommario):
Ancient glasses are invariably complex materials, in which the specific chemical composition and microstructure capture aspects of their technologies. The chemical characterisation of glasses in specific archaeological contexts has given useful insight into the peculiarities of diverse glass-making technologies. In addition such studies generate more general information upon an important range of phenomenon, including the pyrotechnological milieu, empirical knowledge of sophisticated chemistry, organisation of production, access to significant raw materials and long-distance trade. This study examines a wide selection of glass artefacts recovered from archaeological contexts in Northern and Central Italy from approximately 1200 BC to 200 BC. The earliest material is from the Final Bronze Age, and extends the characterisation of an established glass type, which is unique to Europe and distinct from the contemporary technologies of the Eastern Mediterranean. Using a combination of X-ray fluorescence analysis, electron microprobe and scanning electron microscopy glass artefacts from a thousand-year period from the same region are investigated. The shifting technologies permit the discussion of localised production and importation of glass from elsewhere. The chemical analysis reveals a complex picture of glass production, which defies the expected pattern, and there is evidence for new compositional types, which may yet prove to be diagnostic of highly localised production. The changing compositions are discussed in relation to the broader archaeological context.
Libri sul tema "Decoration and ornament"
1
Schmidt, Clara. Medieval ornament =: Ornement médiéval = Mittelalterlich Ornamente = Srednevekovye ornamenty. [Lyon]: L'Aventurine, 2007.
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2
Spiridonov, M. S. Chuvashskiĭ ornament: Chăvash ėreshĕ = The Chuvash ornament. Cheboksary: [publisher not identified], 2010.
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3
Ibraeva, K. Kazakhskiĭ ornament. Almaty: "Ȯner", 1994.
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4
Colling, James Kellaway. Medieval decorative ornament. New York: Dover Publications, 1995.
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5
Baer, Eva. Islamic ornament. New York: New York University Press, 1998.
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6
Moughtin, Cliff. Urban design: Ornament and decoration. Oxford: Butterworth Architecture, 1995.
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7
Moughtin, Cliff. Urban design: Ornament and decoration. 2a ed. Oxford: Architectural Press, 1999.
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8
Lewis, Philippa. Dictionary of ornament. New York: Pantheon Books, 1986.
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Lewis, Philippa. Dictionary of ornament. Moffat: Cameron & Hollis, 1990.
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10
Heideloff, Carl Alexander von. Medieval ornament. New York: Dover Publications, 1995.
Cerca il testo completoCapitoli di libri sul tema "Decoration and ornament"
1
Mallinson, Jonathan. "1. 1897–1900: The Making of a Potter". In William Moorcroft, Potter, 7–30. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.01.
Testo completoAbstract (sommario):
This chapter looks at Moorcroft’s training as a potter at the firm of E.J.D. Bodley where his father had worked as Artistic Director, and his education both at the innovative Burslem School of Art and at the National Art Training School (soon to be renamed the Royal College of Art). His appointment as a designer at James Macintyre & Co., Ltd. put him in a firm at the very centre of enlightened art education in the Potteries, its Directors including the forward-looking M.P. Wm Woodall (who had served on the Royal Commission on Technical Instruction), the philanthropist Th. Hulme, and the gifted ceramic chemist, H. Watkin. It was a firm developing its production of electrical porcelain, but keen also to invest in the manufacture of high-quality art pottery. The firm’s Minutes reveal the great benefit it soon derived from Moorcroft’s appointment. After just four years, Moorcroft had acquired an international reputation as a ceramic artist, and his Florian ware was stocked by exclusive retailers the world over, bringing widespread commercial success. It was the ideal collaboration of manufacturer and designer, of commerce and art, very much in the spirit of the Arts and Crafts. The chapter also considers Moorcroft’s distinctive integration of ornament and form, a quality often singled out in early reviews and quite different from the ‘applied’ decoration of much contemporary pottery. No less distinctive was his technique of slip decoration, his unusually rich colours achieved by staining the unfired clay with metallic oxides, and his unique practice of signing every pot by hand.
2
Bennett, Roger. "Ornamental Horticulture and Decorative Horticulture". In Amenity Horticulture, 18–47. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-11934-9_3.
Testo completo
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Mallinson, Jonathan. "3. 1905–09: Experiment and Adversity". In William Moorcroft, Potter, 51–70. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.03.
Testo completoAbstract (sommario):
In the years following success at St Louis, Moorcroft’s designs began to follow two distinct paths: some appealing to the contemporary nostalgia for eighteenth-century elegance, others developing more innovative and experimental ideas. One of his most radical creations, named ‘Flamminian’ ware, reduced ornament to a simple roundel, and focussed attention on form and glaze; it was an uncompromising challenge to the swirling lines of Art Nouveau, and was a great success both at home and in the US. Reviews published in the UK, France and Canada regularly distinguished Moorcroft’s work from much art pottery, underlining the originality of his decorative technique, the quality of his colours, and the integrity of his designs. It is a mark of his growing international reputation that he was invited to write an article for the newly founded American Pottery Gazette. But even as his reputation grew, the first signs of tension with H. Watkin, Director and General Manager at Macintyre’s, can be seen between the lines of reviews in the Pottery Gazette, where Moorcroft’s name was increasingly subordinated to that of Macintyre’s. Factory Minutes show that Watkin was tabling proposals to close down Moorcroft’s department from as early as 1905, to the evident surprise of the other Directors; surviving financial documents suggest that the reason was not the unprofitability of the Ornamental ware, as Watkin would affirm.
4
Mallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art". In William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.
Testo completoAbstract (sommario):
The chapter explores Moorcroft’s creative principles against the background of the Gorrell report and the continuing debate about industrial design, energised by high-profile exhibitions at Dorland Hall (1933), Harrod’s (1934) and the Royal Academy (1935), each with its own priorities. Moorcroft continued to promote the value of individuality, craft and ornament, as opposed to the functionalist machine aesthetic championed by Pevsner or Read, but he overlapped in significant ways with modernist thinking. He was no less critical of contemporary industrial design, often characterised by angular shapes and strident ornament, and he shared the belief that good design should be judged by its coherence and suitability to the manufacturing process, that it should reflect inner conviction rather than commercial opportunism, and that it gives to everyday objects an essential and uplifting beauty. This overlap was exemplified in the widespread admiration for the formal purity of his Powder Blue tea ware which, although launched in 1914, already anticipated modern design values of the 1930s, ‘undatedly perfect’ in Pevsner’s words. These principles also informed Moorcroft’s decorative pottery which continued to attract critical attention, not from the perspective of industrial design (as was now often the case in reviews of studio pottery), but as art work singled out for its expressiveness. But in a letter to The Times he provocatively disowned the label ‘artist’, applied to him by the British Pottery Manufacturers Federation, rejecting the implication that (his) art was elitist, or affordable only by connoisseurs. All his work was seen to have the same quality of design and production, whatever its cost or function, and he presented himself as a fusion of artist and industrialist, a position particularly significant at a time when modern critical thinking was encouraging the collaboration of designers and manufacturers. Amid an ongoing debate about the nature and importance of a national design tradition, Moorcroft’s work was often regarded as English on account of its individuality, irreducible to a (mere) style. Mussolini’s purchase of a flambé vase at the Milan Triennial Exhibition of 1933, reported in the national press, was seen as evidence of the international appeal of this pottery.
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Massey, Jonathan. "Ornament and Decoration". In The Handbook of Interior Architecture and Design. BLOOMSBURY VISUAL ARTS, 2013. http://dx.doi.org/10.5040/9781474294096.ch-035.
Testo completo
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"Ornament and Decoration". In Advice on Establishing a Library, 70–73. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8306083.13.
Testo completo
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Gameson, Richard. "Decoration". In The Role of Art in the Late Anglo-Saxon Church, 192–234. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198205418.003.0008.
Testo completoAbstract (sommario):
Abstract We have alluded several times in the aforegoing chapters to the importance of decoration and ornamental criteria in late Anglo-Saxon art and aesthetics. We shall now examine the subject of decoration itself-in particular, as it was applied to frames and initials. This concentration is not to imply that frame and initial decoration was more important than that in other media-the reverse was probably true-rather it is that these are the two contexts in which non-figural ornament survives in a significant quantity while preserving its original form and colour, enabling us to assess it with some confidence. Moreover, consideration of this material will usefully complement our discussion of other forms of book decoration in previous chapters.
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Lucey, Conor. "Decorating houses: style, taste and the business of decoration". In Building reputations, 122–67. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526119940.003.0004.
Testo completoAbstract (sommario):
Reflecting on the separation of house building and house decorating in the historiography of the eighteenth-century town house, this chapter explores the role of the building artisan in determining the form and appearance of the urban domestic interior. Of particular importance here is the business of decoration: the impact of decorators, such as decorative plasterers and timber joiners, as speculative builders and property developers; and the standardization of interior decoration in the form of pre-fabricated ornament. Key topics include the dissemination of architectural tastes through the agency of immigrant artisan populations; the role of books and magazines in shaping vocabularies of decorative taste; and the creative adaptation from printed sources. Focusing on the artisan’s negotiation and interpretation of the neo-classical (or ‘Adam’) style, this chapter also considers how degrees of separation from the source of that ornamental language fostered distinct dialects in towns and cities across Britain, Ireland and North America. Collectively, the topics of chapter make a case for the artisan as a key agent of fashionable taste in elite real estate markets.
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"The City Floor". In Urban Design: Ornament and Decoration, 99–114. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-10.
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"Landmarks, Sculpture and Furniture". In Urban Design: Ornament and Decoration, 115–44. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-11.
Testo completoAtti di convegni sul tema "Decoration and ornament"
1
Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian e Yi Li. "Flexible Ornament Selection System for VR Decoration Exhibition". In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00039.
Testo completo
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Жамилова, М. Ж., e Ю. В. Гусарова. "TRADITIONS OF GIJDUVAN CERAMICS IN THE WORKSHOP OF THE NARZULLAEV DYNASTY". In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.53.
Testo completoAbstract (sommario):
Небольшой город Гиждуван неподалеку от Бухары является колыбелью одной из древнейших школ искусства керамики в Узбекистане, где ремесленники бережно хранят лучшие традиции многовекового гончарного промысла, передавая свое мастерство и неповторимый почерк орнамента из поколения в поколение. Алишер Нарзуллаев, керамист в шестом поколении, делится секретами аутентичной технологии изготовления уникальных изделий, которые становятся гордостью музеев и украшением многочисленных выставок. The small town Gijduvan, not far from Bukhara, is the cradle of one of the oldest schools of ceramic art in Uzbekistan, where artisans carefully preserve the best traditions of centuries-old pottery, passing on their skills and unique style of ornament from generation to generation. Alisher Narzullaev, a sixth- generation ceramist, shares the secrets of the authentic technology for making unique products that become the pride of museums and the decoration of numerous exhibitions.
3
Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova". In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.
Testo completoAbstract (sommario):
Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and the development of ornament and architectural decoration. Th e issue addressed refers to the plastic language of universal motifs, which are deeply rooted in Romanian culture and which contain messages encoded in a string of symbolic connotations. It involves deciphering the message and interpreting the symbolic meaning of the Tree of Life, some aspects of the solar cult, symbols as images of the world and of the universe, and the multiple representations that are part of the animal iconography repertoire.
4
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.
Testo completoAbstract (sommario):
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
5
Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae e M. Carciumaru. "PERSONAL ORNAMENTS DISCOVERED IN THE EARLY UPPER PALEOLITHIC OF POIANA CIREȘULUI-PIATRA NEAMȚ (ROMANIA)". In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.20-21.
Testo completoAbstract (sommario):
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
6
Cangaş, Svetlana. "Interferences and traditions of carpet ornament and folk wear products in the Republic of Moldova". In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.06.
Testo completoAbstract (sommario):
The carpet is a cult object used in decorating the house, certainly found in all areas of the Republic of Moldova. It is an old object that retains in itself symbols and ornaments oft en common with those on shirts and folk costumes. Th e tradition of weaving carpets by each housewife has little been preserved since the beginning of the century, but the tradition of decorating the house with carpets is still viable today. Th e authentic carpet as an object of worship is characterized by a strongly geometric and stylized characteristic ornament with common symbolic infl uences of the ornament of folk wear products. Th e chromatic range, the organization in rows of the ornament in the carpet or in the popular shirt, the presence and the semantics of the height and of the in the shirt, as well as the border of the carpet mention about the deep interferences in the organization of the plastic space. Th e predominant use of the tree of life, the comb or the palm, the shepherd’s hook in the carpet ornament, but also in the embroidery elements of the shirt or other pieces of popular wear characterize the authenticity of the product.
7
Kern, Daniela. "Entre Darwin e Ruskin: Charles Frederick Hartt e a evolução no ornamento". In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3782.
Testo completoAbstract (sommario):
No presente trabalho pretende-se abordar o modo como o geólogo e arqueólogo canadense Charles Frederick Hartt (1840-1878) utiliza e harmoniza, em sua teoria sobre a evolução do ornamento nas artes decorativas, conceitos de dois pensadores contemporâneos e intelectualmente antagônicos, o naturalista Charles Darwin (1809-1882) e o crítico de arte John Ruskin (1819-1900). Trata-se, aqui, de analisar as estratégias utilizadas por Hartt, com amparo sobretudo em Darwin e Ruskin, em três artigos escritos entre 1873 e 1875, a saber, Begginings of art, or evolution in ornament, conferência apresentada em Albany em 1873 e publicada no ano seguinte; A origem da arte e a evolução do ornamento, conferência proferida na Escola da Glória, Rio de Janeiro, em 1875, e Evolution in ornament, texto publicado no periódico Popular Science Monthly, em 1875, uma versão revisada da conferência de 1873. Em tais trabalhos, Hartt propõe-se a apresentar, conforme suas próprias palavras, pela primeira vez na história da arte, uma teoria racional que justifique a origem e a evolução da arte decorativa, em especial da ornamentação cerâmica, teoria cujas bases e argumentos é nossa intenção discutir.
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Godoy, Patrícia Bueno. "A arte decorativa brasileira inspirada na cerâmica marajoara". In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3706.
Testo completoAbstract (sommario):
A presente comunicação tem por objetivo destacar uma das mais férteis fontes inspiradoras para a arte decorativa ao longo da primeira metade do século XX: a cerâmica da cultura marajoara. Seus padrões decorativos inspiraram projetos para a arte decorativa, ornamentações arquitetônicas e ilustrações. Entretanto, estes não foram os únicos padrões pesquisados naquele período. Provenientes de outras culturas indígenas, também foram consultados pelos artistas. Para discorrer sobre o tema trataremos de uma breve análise do repertório ornamental do professor do curso de Pintura da Escola Profissional Masculina de Rio Claro-SP, Carlos Hadler (1885-1945), autor intitulado 88 motivos ornamentais marajoara s.d, provavelmente concebido no final da década de 1930.
9
Голофаст, Л. А., e С. В. Ольховский. "Glass Assemblage from the Underwater Quay in the Harbour of Phanagoria". In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-307-7.43-72.
Testo completoAbstract (sommario):
В статье представлен комплекс стекла 56 вв.н.э., выявленный в ходе подводных раскопок фундамента причального сооружения в акватории Фанагории. Благодаря довольно длительному периоду формирования комплекса находок в нем отразились изменения в ассортименте бытовавшей стеклянной посуды: от весьма разнообразного в 5 в. до скудного набора 6 в., в котором безраздельно доминировали рюмки . Набор сосудов в полной мере отражает сложившуюся в рассматриваемое время ситуацию, характеризующуюся открытостью торговых маршрутов, которые связывали различные регионы Европы: одинаковые стеклянные изделия, производившиеся в одних и тех же центрах Восточного Средиземноморья, находят как в довольно удаленных друг от друга, так и от центров производства регионах. Благодаря активной торговле быстро распространялась мода на одни и те же сосуды и приемы их орнаментации, что служило стимулом для появления производства популярных сосудов в разных точках средиземноморско-причерноморского региона. Таким образом, представленная коллекция стекла, как и комплекс керамики этого времени, продемонстрировала включенность Фанагории рассматриваемого периода в обширный средиземноморско-причерноморский рынок. The article presents the glass assemblage of the 5th6th centuries found in the course of underwater excavations of the quay in the harbour of Phanagoria. The collection presents a great variety of forms and reflects changes in the assortment of glass vessels in the course of time. The 5th century is characterized by the extensive assortment of forms and various types of decoration (relief mold-blown, blue blobs and polished ornament). In the 6th century most kinds of ornamentation disappeared, the range of vessel types were reduced to 2-3 main forms with considerable predominance of stemmed goblets. All these changes occurred in terms of process common for the entire MediterraneanPontic region in the Late Antiquity. This period is characterized by the well-developed network of trade routes that connected sometimes very remote regions with production centers of the Eastern Mediterranean and Europe. The intensive trade promoted the spread of fashion for various forms of vessels and ornamentation that in its turn stimulated the appearance of new manufacturing centers that produced popular glass vessels in different points of the Mediterranean-Pontic region.
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A., Kharinskii, Portniagin M. e Ivanov G. "HOLBO-4 — A NEW OBJECT OF THE YELGINSKY TIME OF THE BAIKAL REGION". In MODERN SOLUTIONS TO CURRENT PROBLEMS OF EURASIAN ARCHEOLOGY. Altai State Univercity, 2023. http://dx.doi.org/10.14258/msapea.2023.3.43.
Testo completoAbstract (sommario):
The archaeological site Kholbo-4 is located in the Olkhonsky district of the Irkutsk region, 1.2 km southeast of the village of Shara-Togot. In 2022, a trench measuring 1×8 m was excavated on it. From the east, the trench intersected a stone structure resembling an oval measuring 21×24 m, elongated along the north-south line. It consisted of stones laid in 1 row and 1 layer. All the finds found in the trench are confined to a layer of gray sandy loam (depth 4–28 cm from the surface of the earth). They are represented by fragments of pottery, whole and fragmented animal bones, iron slags. Ceramic vessels are smooth-walled, flat-bottomed, made without the use of a potter’s wheel. Among the ornaments decorating the vessels, horizontal bolsters and incised curvilinear ornament prevail. The archaeological site of Kholbo-4 can be attributed to the Yelga stage in the history of the Baikal region and dated within the 3rd century BC — 4th century AD.