Artykuły w czasopismach na temat „Decorations, world”
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1
Spijkerman, Rose. "‘The Cross, naturally’: Decorations in the Belgian Army and their effect on emotions, behaviour and the self, 1914–1918". War in History 26, nr 3 (15.03.2018): 358–83. http://dx.doi.org/10.1177/0968344517713109.
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During the First World War, many soldiers in the Belgian Army were endowed with a decoration, in order to inspire, motivate, and reward desirable conduct. The relationship between decorations and the soldier’s self-consciousness, his behaviour and his emotions, is present in every aspect of decorating, as it emphasized his self-esteem, pride, and character. By analysing the material aspects of decorations, the ceremonies surrounding their bestowal, and the textual motivation for doing so, this article explores the functions and effects of decorating, the evaluation of behaviour and self-conscious emotions by both Army Command and soldiers.
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Eneogwe, Innocent. "Examining the Practice of Using Bamboo for Construction, Indoor and Outdoor Decoration". Journal of Physical Science and Environmental Studies 9, nr 1 (20.08.2023): 1–9. http://dx.doi.org/10.36630/jpses_23010.
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With the rise in the cost of building materials all over the world, there is a need to resort to low-cost building materials or building materials that are not capital-intensive. One of such low-cost building material that suits the purpose of the study is bamboo. This paper attempted to present the use of bamboo in the building industry. The paper made use of the survey method in data gathering and discussion. It was found out that bamboos are formidable in building and interiors, as the innovation has been globally accepted to be quite reliable as a housing decoration tool, especially in developing countries of the world. The study recommended that bamboo should be harnessed as a cost-effective material besides being a preferred option that has gained wide acceptance for both indoor and outdoor decorations. Key Words: Cost-effective, Bamboo, indoor decoration, outdoor decorations, bamboo varieties, use of bamboo.
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Bardi, Augustine Okola. "Fine Arts: 2. The Creation of Forms: A Teaching Method to Enhance Art Creativity Among Students in Tertiary Institutions". Review of Artistic Education 16, nr 1 (1.03.2018): 174–81. http://dx.doi.org/10.2478/rae-2018-0018.
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Abstract The existence of creation as narrated in the biblical stories has shown that there is advancement in humanity and in many other fields of endeavour. The creativity in art has advanced the economy, social-political and technological development of not only Europe centuries ago, but also in Africa. This advancement was much earlier realized and as a result of centers of creativity which were established to better the lives in their society. With the advancement of time, art decoration which has not been giving position because of arts aesthetical contents, began to generate success not only in the West where it originated from, but also in other continents of the world. The artist including the author and art aesthetics in Nigeria has not only been encouraged this upliftment, but, has gained enough ground to be appreciated. Decoratives are created by the artists; the use of forms embellished with colours has equally been appreciated in Nigeria and the societies of the world. The usefulness of decoration has been extended for both interior and exterior decorations for beautification and for other forms to solve other human endeavours.
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Fanni, Filippo Andrea, Fabio Pellacini, Riccardo Scateni i Andrea Giachetti. "PAVEL: Decorative Patterns with Packed Volumetric Elements". ACM Transactions on Graphics 41, nr 2 (30.04.2022): 1–15. http://dx.doi.org/10.1145/3502802.
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Many real-world hand-crafted objects are decorated with elements that are packed onto the object’s surface and deformed to cover it as much as possible. Examples are artisanal ceramics and metal jewelry. Inspired by these objects, we present a method to enrich surfaces with packed volumetric decorations. Our algorithm works by first determining the locations in which to add the decorative elements and then removing the non-physical overlap between them while preserving the decoration volume. For the placement, we support several strategies depending on the desired overall motif. To remove the overlap, we use an approach based on implicit deformable models creating the qualitative effect of plastic warping while avoiding expensive and hard-to-control physical simulations. Our decorative elements can be used to enhance virtual surfaces, as well as 3D-printed pieces, by assembling the decorations onto real surfaces to obtain tangible reproductions.
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Iswarini, Ni Ketut, i I. Gusti Ayu Putu Wita Indrayani. "Berpadu dalam Harmoni: Pemanfaatan ElemenFloral dalam Bisnis Kuliner". Jurnal Gastronomi Indonesia 11, nr 1 (5.06.2023): 71–78. http://dx.doi.org/10.52352/jgi.v11i1.1087.
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Floral art has become an interesting element in the world of culinary arts because it can provide a unique and refreshing aesthetic touch to dishes and buffet table decorations. This article examines the use of floral elements in the culinary businesses and explores the trends and potentials associated with their use. Through a qualitative approach, this study identifies phenomena related to the use of floral elements in the culinary arts, including trends in the use of flowers as food and decoration ingredients, challenges in ensuring dish hygiene, and the potential to create unique and unforgettable culinary experiences. Data were collected through literature studies, observation, and unstructured interviews to determine consumer perceptions of the integration of floral elements for decorating dishes and serving rooms. Through a deep understanding of the use of floral art in culinary business, it is hoped that this article can provide insight for chefs, restaurateurs, and culinary enthusiasts to create interesting and innovative dishes that are reinforced with floral elements as decorative elements.
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Zhang, Chao, Xiao Jun Zhu, Lin Guo i Ren Ping Xu. "The Raw Material Development and Application for Shui Nationality Traditional Costumes". Advanced Materials Research 952 (maj 2014): 145–48. http://dx.doi.org/10.4028/www.scientific.net/amr.952.145.
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According to the traditional decorative materials of Guizhou Shui Nationality traditional costumes as the starting point, this paper explores the effect of traditional dress decoration materials faced by the current situation as well as new decorative materials development and application of the traditional culture, the conflict and decorations visual effect. Therefore, proposed in the new environment of market economy, it is necessary to make the development and application of dress traditional materials in order to meet the ever-changing market demand, and also to the protection and inheritance of traditional techniques and characteristics of the Shui Nationality decoration visual aesthetic of art and decoration materials contained in the folk culture. The purpose is to express its application value for the diversified development of world culture and art.
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Kim, Jae Youn. "Study on Human Figures in the Scytho-Siberian World in Eurasian Steppe". Pusan Archaeological Society 29 (30.06.2022): 75–98. http://dx.doi.org/10.47735/odia.2022.30.75.
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The Iron Age of the Eurasian steppe is represented by the Scytho-Siberian culture, and it is a concept that encompasses areas where animal pattern decorations, weapons, and harnesses were commonly used. Among them, animal pattern decorations appear as different characteristics in the eastern and western regions of the culture. However, it can be seen that the meaning of production in both regions is different even with human figures.
Since the late Paleolithic period, the tradition of burying human figures has been confirmed in the eastern and western regions of the Scito-Siberian culture, but each region has developed into different shapes and methods of use. In Altai, Siberia, the eastern region, it has been buried in tombs since the late Paleolithic period, and human figures were mainly made of bone material until the Bronze Age. It has developed into a maximized form in the Altai Pazirik culture, the eastern part of the Scytho-Siberian culture, and has implications for revival.
On the other hand, in the western part of the Black Sea, it has been found in residential areas since the late Paleolithic period and is deeply related to living rituals. This trend is also found in ritual spaces in residential areas in the Cuckuten Tripoliye culture of the cruising era. Human figures buried in tombs in the Scyto-Siberian culture of the Iron Age are decorated with ritual items closely related to real life.
This phenomenon, like animal pattern decoration, can be a characteristic that distinguishes the eastern and western regions of the Scythian-Siberian culture. Also, it can be seen that human figures represent continuity among the characteristics of Eurasia prehistoric culture.
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Korpała, Małgorzata. "KOŚCIOŁY POKOJU W JAWORZE I ŚWIDNICY – PRACE KONSERWATORSKIE WNĘTRZA I WYPOSAŻENIA, JAKO PRZYKŁAD OCHRONY BUDOWLI WPISANYCH NA LISTĘ ŚWIATOWEGO DZIEDZICTWA". Protection of Cultural Heritage, nr 4 (29.11.2017): 83–92. http://dx.doi.org/10.24358/odk_2017_04_08.
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Churches of Peace in Jawor and Świdnica, inscribed in the World Heritage List, are unique examples of religious monuments which were created despite many unfavourable circumstances, and survived till today while preserving their original function, decorations and furnishings.The article discusses crucial principles of conservation work in both buildings, which has been carried out since the beginning of the 1990s. Positive results of conservation work, preserving the authenticity of substance, were possible mainly due to inscribing the building in the UNESCO World Cultural Heritage List. Preserving the authenticity of those monuments was the priority during the realised conservation work on the interior decoration and furnishings. That is why the Churches of Peace in Jawor and Świdnica maintained their authentic original décor from the turn of the 17th and 18th century.
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VanPool, Christine S., Todd L. VanPool i Lauren W. Downs. "DRESSING THE PERSON: CLOTHING AND IDENTITY IN THE CASAS GRANDES WORLD". American Antiquity 82, nr 2 (kwiecień 2017): 262–87. http://dx.doi.org/10.1017/aaq.2017.4.
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Casas Grandes Medio–period (A.D. 1200–1450) human effigies are unique in the North American Southwest in that they depict primary and secondary sexual traits, making determination of sex and gender roles possible. Here, we build on previous discussions by considering the importance of depictions of clothing (e.g., belts and sashes), personal adornments (e.g., necklaces and bracelets), facial decorations, and other aspects of dress. We find that Medio-period symbolism for males and females was based on gender complementary that combined the productive, reproductive, and ritual activities of men and women within a single symbolic and ritual system. Some clothing styles are found on both males and females (e.g., arm bands), but there are also sex-based differences. Women wear low horizontal belts across their hips, whereas men primarily wear sandals and elaborate headbands. Aspects of dress also appear to be continued from previous cultures such as the Classic Mimbres (A.D. 1000–1150) and continued into historic northern Mexican and southwestern groups (e.g., headgear and some sandal types). Ultimately, we find that males have more elaborate dress and are associated with a specific set of ritually important symbols. Females are associated with cloud/fertility symbolism, sternal decorations, and birds.
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Druzdiev, Oleg. "Biblical and missionary plots in the decoration of Saints Peter & Paul Garrison church (former Jesuit church)". Text and Image: Essential Problems in Art History, nr 2 (2021): 25–36. http://dx.doi.org/10.17721/2519-4801.2021.2.02.
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After the former Jesuit Church, now the Garrison Church was opened in 2011, the need to explore and reinterpret its historical and cultural heritage arose. This was primarily caused by the process of church renovation which started in 2012. At the same time, the well-preserved interiors and exteriors of the church are of significant research interest. In particular, the art and religious culture of the society of the XVII-XIX century and not only in Lviv. It is known that until 1946 the church belonged to the Society of Jesus, a monastic order that operated all over the world. Under the influence of various cultures, a particular art culture of the order was slowly formed. It consisted of local plots and those that had a general meaning for the whole order with its own ideological load. Besides, the church as a place of worship/man’s encounter with God should have also had a biblical meaning. A combination of order and biblical themes in church decoration created a comprehensive image in which the order is the bearer of Christian ideas laid down in the Bible. This statement provides the opportunity to view decorations in the Garrison Church and in churches in general as a certain ideological construct that was supposed to “declare” specific “messages” incorporated in a fresco, a sculpture, and an icon, etc. Therefore, studying and interpreting church decorations makes it possible to understand, at least partially, the ideological motive of its author. Hence, it becomes easier to understand the art and religious culture of the society, particularly in the XVII-XIXcenturies. Considering the abovementioned, this article is an attempt to interpret the decorations of Saints Peter and Paul Garrison Church (the former Jesuit Church), a significant part of which consists of biblical and missionary plots.
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Polidovych, Yu B. "HORSE BRIDLE DECORATIONS FROM TOVSTA MOHYLA KURGAN: SEARCHING FOR REGULARITIES". Archaeology and Early History of Ukraine 41, nr 4 (25.04.2021): 134–50. http://dx.doi.org/10.37445/adiu.2021.04.10.
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The paper is devoted to the analysis of horse bridles from Tovsta Mohyla kurgan of the 4th century BC. The barrow was excavated by the expedition of Ukrainian Institute of Archaeology headed by Boris Mozolevsky in the Dnepropetrovsk oblast, Ukraine, in 1971. In this kurgan the burial of noble warrior and two horse graves with skeletons of 6 horses were found. The horses had bridles decorated with images of various animals and fantastic creatures. One bridle was decorated with the images of mythological characters: the serpentine goddess (Rankenfrau, probable Scythian goddess Api) and two Scythian gods who were portrayed as the Greek gods Hercules and Dionysus. All bridles have analogies in other Scythian assemblages of the 4th century BC.
It has been suggested that the reproduction of certain images is associated with ideas about the path of the deceased to the Ancestor’s World. The bridles were decorated with images of fantastic animals and were a kind of mask. According to the Scythian beliefs such a bridle-mask helped to endow the horse with special properties so that it could overcome obstacles on the way to the Ancestor’s World. Probably, the serpentine goddess (Rankenfrau) was the mistress of this Ancestor’s World.
On the way to the Ancestor’s World the noble warrior was accompanied by his assistant, marked by archaeologists as «groom No. 3». Such a scene is depicted in the crypt of Anfesterii from Panticapaeum on the Bosporus (modern Kerch, Crimea). It depicts the arrival of the deceased on horseback, accompanied by assistant, to the goddess, mistress of the Ancestor’s World.
Further research on this topic will extend our understanding of the Scythian ideas about the Beyond.
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Azadi, Vahid, Karim Hajizadeh Bastani i Habib Shahbazi Shiran. "Investigating the representation of the Lydian delegation in the reliefs of the eastern staircase of Apadana (case study: vessels and jewellery)". Cercetări Arheologice 30, nr 1 (30.06.2023): 45–60. http://dx.doi.org/10.46535/ca.30.1.03.
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The eastern staircase of Apadana – the Royal Achaemenid Audience Hall at Persepolis was decorated with numerous reliefs depicting various people subjected to the king’s rule, paying homage and bringing gifts. Among these, the Lydian group is one of the delegations carved in the lower part of the staircase. This group was led by one of the officers of the Achaemenid court. The participants carried amphorae, bowls and armlets and were also bringing horses and a chariot. The amphorae and arm rings were represented distinctly with beautiful and unique animal decorations. The purpose of the following research was to identify the metal prototypes of the goods represented as carried by the Lydian group (amphorae, bowls, arm rings) and to illustrate them with artefacts housed in important museums of the world. This research was carried out by descriptive, analytical, comparative and field visit methods. It also used the method of referring to domestic museums and websites of foreign museums, reviewing documents and historical texts. The research concludes that the gifts carried by the Lydian group on the eastern staircase of Apadana, including amphorae, bowls and arm rings, had ceremonial usage, sometimes also being used in important court parties. Animal decorations in the form of griffins were used on the handles of amphorae and rings, which have their roots in the mythology of ancient Iran and other Achaemenid nations. Achaemenid artists developed it after modelling this type of decoration from other nations. This type of decoration (griffin) has been used to decorate jewellery, luxury items, seals, textiles, reliefs etc. The goods carried by the Lydian group as represented on the eastern staircase and some of its metal prototypes were used by the wealthy class of Iranian society in the Achaemenid period.
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Kartaguzov, S. V. "The Officer’s Staff of the Urals Cossak Troops During the First World War 1914–1918". Izvestiya of Saratov University. History. International Relations 11, nr 2(1) (2011): 35–45. http://dx.doi.org/10.18500/1819-4907-2011-11-2-1-35-45.
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The article focused on the research of the officer’s staff of the Ural Cossack’s infantry during the 1st World War. It is the first attempt to examine of some aspects of training of the officers in the Cossack military embodiment, their educational and professional growth. The reader could find some interesting facts of the losses, decorations and faith of some officers after the end of the First World War.
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Ebrahim, Amir Kolaee, Hajizadeh Karim i Rezalou Reza. "Study of Safavid buildings Decorations (With sample survey of the Cheshme Emarat and Behshahr Baghshah)". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 47 (2022): 241–50. http://dx.doi.org/10.17223/22220836/47/20.
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Throughout history, man has wanted to create his own living space for various reasons. This aspect can be seen even in early humans who lived in caves such as Lascaux in France and Valtamira in Spain. It should be noted that the attempt to do so is visible among ancient human civilizations around the world and is not specific to specific regions or ethnic groups, because the decorations of geometric and abstract patterns are seen among the people of Europe. Safavid era in Iran is one of the busiest architectural periods. The buildings are located in the most attractive and glamorous buildings throughout the architecture of Iran. In the Safavid era, the ancient style of Iranian architecture was renewed and the design of buildings and space materials was opened for itself. Remains of the Safavid period, both in Behshahr and in other cities of Iran, contain a wide range of architectural decorations. The subject of the present discussion is the study of the architectural decorations of this period, which is due to the study of some examples (Cheshmeh Emarat and Baghshah in Behshahr). Safavids will help in Mazandaran region.
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Jagiełło, Marzanna. "Sgraffito as a Method of Wall Decoration in the Renaissance and Mannerist Silesia". Arts 11, nr 1 (3.02.2022): 25. http://dx.doi.org/10.3390/arts11010025.
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During the Renaissance and Mannerist periods, in most European countries the fashion for decorating walls with sgraffiti covered a large part of continent, from Portugal to Romania, and from Central Italy to the German countries and Poland. Its popularity in the middle part of Europe peaked in the 16th and 17th centuries. In many regions, sgraffito was the dominant method of decorating buildings. Sgraffito styles were differentiated by design, artistic level, local conditions and investor preferences. In many regions north of the Alps, sgraffito decorations were, on the one hand, a frequently used method of modernizing medieval buildings, and, on the other, a form of expressing views, often religious ones. Everywhere, however, they expressed supranational belonging to the world of a post-medieval, revival community. It was no different in Silesia, where the sgraffiti madness arrived, thanks to artists who came from the northern regions of Italy around 1540 and settled down until the middle of the next century. The research carried out by the author has proven that, for Silesia, sgraffito was an iconic sign of the architecture of that period. In this region, then belonging to the Habsburg Monarchy, sgraffito decorations covered a wide variety of architectural objects, from barns, walls, and gates to tenement houses, manors, castles, and churches. In the case of the latter, research has shown that temples in Gothic style are heavily decorated with sgraffiti, which should be considered a distinctive feature when compared to other regions. At the same time, it was found that the vast majority of them appeared in forms and themes known to us from other countries covered by the sgraffito fashion. The frame composition made in this technique and, most probably modeled directly on the template by S. Serlia (Tutte L’opere d’Architettura et Prospettiva) from 1619, should be considered as the Silesian contribution to the sgraffito heritage as well as oval bossages. While studying Silesian sgraffito, some local technological differences were also noticed. With the advent of the Baroque period, a large part of the sgraffito decoration was covered (and thus preserved) with a new, baroque decorative costume. We still discover them in the present while carrying out conservation works (sometimes multiple) on historic buildings. Many others, those constantly on display, have been restored to preserve their original shape, or have been reconstructed. Various and simultaneously modernized methods are used to implement these works. Their correct selection depends on in-depth knowledge of sgraffito (historical, artistic, technological and technical) and their regional specificity. It also depends on the constant exchange of experiences between all those dealing with sgraffito heritage.
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Zakharov, A. O. "THE MILITARY AWARD OF INDONESIA BINTANG SAKTI — THE SACRED STAR". Journal of the Institute of Oriental Studies RAS, nr 3 (13) (2020): 217–28. http://dx.doi.org/10.31696/2618-7302-2020-3-217-228.
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Military awards and decorations glorify winners, immortalize victories and reflect world outlooks of their times. These functions place them among the most attractive, informative and curious cultural things in human history. The highest military awards, like the Soviet Order of Victory, symbolize the scale of battles, whereas campaign medals reflect the course of warfare. Military decorations usually imply mortal threats or even acts of heroism of their owners, not being awarded for labour or other civilian activities. Military orders and medals are in great demand among the collectors, being better known for public than other orders and medals. For example, the Japanese military Order of the Golden Kite seems to be the most famous decoration of Japan even now, seventy years after its abolition. The first order of Indonesia is the Bintang Gerilya — The Guerilla Star, instituted in 1949. Its form looks like an imitation of the Ottoman Gallipoli Star. The Bintang Gerilya reflects the modus operandi adopted by Indonesia during its wars for Independence against the Dutch. During the late fifties, the Indonesian Army took control over the nationalized factories and other businesses previously belonging to the Dutch. The Indonesian Army also turned more professional due to actions of several top grass commanders, like Nasution and Gatot Soebroto. The Army and Indonesian Government managed to put down some important separatist movements across the Malay (Indonesian) Archipelago. Obvious military success needed to be praised. In 1958 the highest military award of Indonesia — the Bintang Sakti, or Sacred Star — was instituted. The statute and history of the Bintang Sakti are the subjects of this paper.
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Bartl, Peter V. "Layard's drawings of the incised decorations on the Nimrud reliefs compared with the originals". Iraq 67, nr 2 (2005): 17–29. http://dx.doi.org/10.1017/s0021088900001315.
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The orthostats from the North-West Palace of Ashurnasirpal II (883–859 BC) at Nimrud are among the most outstanding works of art from the Ancient Near East. Today they are to be found in museums all over the world and are looked at every day by thousands of visitors. Numerous books and articles have been written about their style, their meaning and their reconstruction. Thus one would think that nothing could have escaped the eye of observers. Nevertheless, some details have been largely overlooked by researchers. Among these is the incised decoration on the edges of the garments of some of the figures depicted, showing a wide range of simple geometric and floral designs as well as complex mythical and narrative scenes. It thus forms a valuable part of the repertoire of Neo-Assyrian artistic motifs and can help us understand the essence and meaning of Neo-Assyrian political art. The evidence of these incised decorations is not only of importance for the history of art but is also fundamental to the understanding of the significance of the clothes and of the figures wearing them, forming an integral and essential part of the mythical symbolic character of the figures.
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Ollivia, Ollivia, Zulfahita Zulfahita, Nurul Anjani Diah Azizah, Nanda Nuryadi i Witri Witri. "MAKING OF BOHEMIAN SKY DECORATION (FRINGE BOHEMIAN)". JURNAL TERAPAN MANAJEMEN DAN BISNIS 6, nr 1 (30.03.2020): 1. http://dx.doi.org/10.26737/jtmb.v6i1.2207.
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<p>For the student creativity program in this entrepreneurship class, we run a business program for hanging ornaments made of rope. We give this business the name of Making a Bohemian Ceiling Decoration (Fringe Bohemian). This Bohemian Ceiling Decoration is a craft made from rope. The rope used can be various as desired, such as rope, wool rope, plastic rope, etc. But we are here using the basic material of wool rope. This handicraft business aims to increase creativity and be innovative in entrepreneurship, especially for young entrepreneurs. The hanging decoration business from this rope is easy in the manufacturing process but it takes time and requires patience in making it and the materials needed to make this decoration easy to get. The form of our business is still in an individual stage only. We do not yet have official permission from the government, because this business is still new and is still trying to enter the business world. In the future, if this business can get extraordinary profits and have enough customers, then we will increase this business to be even bigger. Many factors need to be considered in order to advance this Bohemian Ceiling Decoration business. Important factors that must be considered in order to advance this business include choosing the right location, a good marketing strategy and determining affordable prices in the community. If all the factors above can be planned properly, it will be able to make this business grow well. For this reason, it is necessary to make a business plan as a reference in accelerating the business of making Bohemian Ceiling Decorations (Bohemian Fringe).</p>
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Dolgodrova, Tatiana A. "Errors in the West-European Books of the 15th — 17th centuries (from the Holdings of the Russian State Library)". Bibliotekovedenie [Library and Information Science (Russia)] 1, nr 2 (28.04.2016): 157–61. http://dx.doi.org/10.25281/0869-608x-2016-1-2-157-161.
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The article is based on the revealed by the author and first described findings from the collection of foreign early-printed books of the Department of rare books of the Russian State Library. Among these editions there dominate the books belonging to the trophy cultural values received by the Library upon the end of the World War II. There are the Forty-two Line Bible of Johann Gutenberg from the collection of Heinrich Klemm, books from the collection of book-covers of Jacob Krause and his disciples (Dresden). The article discusses not only the early-printed books, but the manuscript of the 16th century from the collection H. Klemm. The author cites the examples of various errors: committed by the masters-rubricators in manuscript decorations of the books, engravings printed upside down, errors in the dates in the text and on the book covers, etc. These errors are the direct evidence of the work of masters on printing and decoration of the books committed due to the various reasons: inattention, haste. They impart to these books the unique individuality.
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Navarová, Jana, i Eduard Ujházy. "Obituary for Prof. Helena Rašková, MD., DSc., Dr.h.c. *2 January, 1913 †13 April, 2010". Interdisciplinary Toxicology 3, nr 2 (1.06.2010): 41–42. http://dx.doi.org/10.2478/v10102-010-0008-0.
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Obituary for Prof. Helena Rašková, MD., DSc., Dr.h.c. *2 January, 1913 †13 April, 2010 Professor Rašková had been a member, and after her retirement, an honorary member of a number of scientific societies and editorial boards in Slovakia as well as abroad. To provide a list of all decorations and honours given to Professor Rašková would take a lot of space. Of them, let us mention only that she had been decorated with the Finnish Sibelius Medal, the French medal of the of Académie de Lutec, the Gold Medal of European Pharmacological Societies for her contributions to the development of world pharmacology, as well as all the decorations obtained from the Slovak Academy of Sciences: Gold Medal of the Slovak Academy of Sciences, Honourable Gold Medal of the Slovak Academy of Sciences for her contributions to biological sciences, and the Memorable Medal of the Slovak Academy of Sciences. Professor Rašková was an honorary member of the Learned Society of the Slovak Academy of Sciences
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Luruk Nahak, Maria Sisilia, Yoseph Pius Kurniawan Kelen i Anastasia Kadek Dety Lestari. "Sistem Informasi Geografis Pemetaan Wedding Vendor Berbasis Website (Studi Kasus : Kabupaten Timor Tengah Utara)". Jurnal RESTIKOM : Riset Teknik Informatika dan Komputer 5, nr 2 (29.08.2023): 230–42. http://dx.doi.org/10.52005/restikom.v5i2.160.
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The growth of information technology (IT) and science in the era of globalization has collaborated with many other fields of science and entered all fields. This resulted in the use of information technology is needed to achieve certain goals of an organization. In the business world, advances in information technology can make it easier for entrepreneurs to run their businesses, which were initially managed manually, now can be managed with a geographic information system. Marriage is a form of human relationship carried out by two people who formalize a sacred promise bond. In the process of getting married, it takes a mature preparation. Photography, decorations, invitations, sound systems, gold shops (wedding rings) and bridal make up are the six main things that are often used in weddings. The process of searching for these six things is still very manual, such as the bride and groom must first come to the photo studio, decoration rental, invitation printer, sound system renter, gold (wedding ring) shop and bridal make up to find out what is offered and in detail. so we need a geographic information system that can map wedding vendors in North Central Timor District.
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Eldem, Edhem. "The Aesthetics of War". Archiv orientální 88, nr 3 (16.02.2021): 569–93. http://dx.doi.org/10.47979/aror.j.88.3.569-593.
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War has always been a catalyst for innovation in the Ottoman Empire, even in the un- likely field of iconography. World War I was such an episode, further exacerbated by the alliance with Germany, a major producer of wartime propaganda. This contribution retraces the development of state symbolism in the Ottoman Empire throughout the nineteenth century, especially with respect to medals and decorations, before focusing on the production of images and symbols during World War I. Particular attention is given to one specific case – that of the Ottoman War Medal, dubbed the “Iron Crescent” by the Germans, the creative design of which still remains unexplained and undocu- mented despite its truly iconic nature.
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Zhao, Yu Ling. "Analysis and Prevention Measures of Pollution Sources in Modern Architecture". Applied Mechanics and Materials 522-524 (luty 2014): 1728–30. http://dx.doi.org/10.4028/www.scientific.net/amm.522-524.1728.
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With the fulfillment of pollution into our life, environmental protection has received significant attention of the whole world. The building indoor pollution affects peoples health directly or indirectly, as building decorations use extra composite materials, which release amounts of formaldehyde or carbon dioxide and are sources of some diseases. Thus, in order to meet the modern building standards, the following measures should be taken to control indoor pollution: building structure design, control of pollution sources, ventilation system design, application of green building materials, and indoor afforest, etc.
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Salehi, Mahshid, i Mehdi Salehi. "Traditional Medicine Centers in the World and Their Architectural Features". Complementary Medicine Journal 11, nr 1 (1.04.2021): 56–67. http://dx.doi.org/10.32598/cmja.11.1.1033.1.
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Objective: Hospitals and medical centers, as places that provide health services, play an essential role in increasing patient satisfaction, reducing stress, and promoting health in patients, as well as training medical staff. This study aims to identify some traditional medicine centers in the world and assess their architectural features. Methods: This is a review study using descriptive survey method. Information were collected from traditional medicine books and online sources using a library method. While reviewing the design of 4 traditional medicine centers, it tries to propose designs to improve the physical and mental states of patients in these centers. Results: Sufficient light, color, decorations and motifs, natural construction materials, and diversity in creating green space were the important parameters in designing traditional medicine centers. Conclusion: It is possible to control the temperament (Mizaj) balance and find a specific architectural pattern by designing traditional medicine centers based on the mentioned parameters. Due to the importance of these parameters and their psychological impact on patients, they can be used for improvement of mental health in the community.
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Adamska, Dagmara, Przemysław Nocuń, Tomasz Ratajczak i František Záruba. "Color in Medieval Castle Architecture in Present-Day Poland and Czech Republic". Arts 11, nr 1 (7.02.2022): 28. http://dx.doi.org/10.3390/arts11010028.
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Colors were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich color schemes manifested power and wealth, some could also read the more nuanced messages these colors conveyed. The main objective of this paper is to discuss the use and role of color in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of color decorations of defensive residences of the Teutonic Order. The discussion takes into account the varying states of preservation and draws from the available written accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data are available, as well as the better-preserved castles of dukes and knights. We discuss the identified iconographic programs and their chivalric, heraldic, and hagiographic motifs. Within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that color was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.
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van Buul, Anne. "‘EEN EERBIEDWAARDIG REUZENWERK’". De Moderne Tijd 1, nr 2 (1.01.2017): 160–80. http://dx.doi.org/10.5117/dmt2017.2.004.buul.
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‘A VENERABLE, GIANT PIECE OF WORK’ The Illustrated Bible (1900) De Geïllustreerde Bijbel (The Illustrated Bible, 1900) is a Dutch Bible edition, initiated by the Illustrated Bible Society, containing 100 engravings by 27 artists from all over the world and decorated by Arts and Crafts artist Walter Crane. This essay shows the history of this bible project. It discusses the aims of the Illustrated Bible Society, the reception of the edition, its illustrations and decorations, and it shows how difficult it was to make such an expensive, time-consuming project successful.
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Li, Qingde, Tonghui Sang, Yueqiong Li, Mingce Li i Qi Sun. "Intangible cultural heritage complexes in China: Representation and restoration of pigmented reliefs in Kaiping Diaolou". BioResources 18, nr 3 (7.07.2023): 5665–82. http://dx.doi.org/10.15376/biores.18.3.5665-5682.
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Restoration techniques were explored for the patterns, materials, and surface pigments of the pigments decoration art of Kaiping Diaolou and Villages, a world cultural heritage site in southern China. Field investigation was supplemented by scanning electron microscopy, microscopic Raman spectroscopy characterization, colorimetric tests, and tensile tests. Materials and concepts for the restoration of the Kaiping Diaolou pigments were analyzed. Raman spectroscopy was used to characterize the surface pigments display of pigments decorative patterns. The main colors of restoration included green, red, white, and blue. The green color was a mixture of colored copper arsenate minerals. The red color was made of hematite (Fe2O3). White was calcite, and blue was lapis lazuli or synthetic ultramarine. SEM revealed both pigments show similar flake flocculent section morphologies. UV accelerated aging experiments showed that the Ultraviolet absorber and antioxidants effectively inhibited the degradation of the interface matrix. The interface was less prone to cracking. The tension test showed that the bond stress reached a maximum value of 0.193 MPa at a curing temperature of 20 °C under 95% ambient humidity. The results provide strong evidence for pigment restoration in Kaiping Diaolou. This study also provides a scientific reference for the pigment conservation of other architectural decorations from the same historical period.
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Santika, I. Wayan Agus Arya Santika, Ni Made Rai Sunarini i I. Made Mertanadi. "Pengembangan Motif Dekorasi Pada Benda Keramik Fungsional Di BTIKK BPPT Bali". HASTAGINA: JURNAL KRIYA DAN INDUSTRI KREATIF 2, nr 02 (22.11.2022): 14–25. http://dx.doi.org/10.59997/hastagina.v2i02.1023.
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Internship activity is a process for students to develop the knowledge they have or get in college and add knowledge in a job or project that is worked on by a company or craftsman. And still related to the field.
The reason for choosing BTIKK BPPT Bali as an internship place is because this institution is engaged in ceramics and is still related to the education that the author took in lectures, namely in the field of ceramics, besides that the author wants to add new insights or new knowledge about the world of ceramics and also wants to develop skills which are owned. Another reason is that there are problems that the author faces related to ceramics, the problems include a lack of understanding about decorating techniques, types of decorations and so on.The method of implementing the MBKM internship is carried out with the initial stages, namely surveys and preliminary research. Proceed to the next stage, namely starting to carry out internship activities. At this stage, the author began to learn related to the production process at BTIKK BPPT Bali, such as forming a ceramic body, decorating ceramics, and also glazing. The technique used in this data collection uses techniques including observation, interviews, and documentation.
The writer hopes that with the Merdeka Learning Independent Campus (MBKM) internship, students can gain new knowledge and knowledge related to the field that the student is involved in
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Kumar, P., S. Kiran i K. Kumar. "Floral stalk on date palm: a new discovery". International Journal of Agricultural Research, Innovation and Technology 4, nr 2 (20.03.2015): 53–54. http://dx.doi.org/10.3329/ijarit.v4i2.22649.
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Date palm (Phoenix dactylifera L.) is harvested for its sweet fruit mainly in the middle east and other parts of the world. It has been cultivated for several thousand years and is known to be found in Mesopotamia as well. Besides the fruit, the various parts of the tree are employed for variety of uses. The stalks of the fruit, which connect the fruit to the spikelet, are very beautiful, colourful flower like structures, which have never been described earlier. These fruit stalks could be used for decorations in houses and would then add to more economic gain to the farmer. We observed these stalks and describe here this interesting finding hitherto unreported in the world literature. DOI: http://dx.doi.org/10.3329/ijarit.v4i2.22649 Int. J. Agril. Res. Innov. & Tech. 4 (2): 53-54, December, 2014
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Rozenas, Arturas, Roya Talibova i Yuri M. Zhukov. "Fighting for Tyranny: State Repression and Combat Motivation". American Economic Journal: Applied Economics 16, nr 3 (1.07.2024): 44–75. http://dx.doi.org/10.1257/app.20220085.
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We utilize over 100 million declassified Red Army personnel records from World War II to study how state repression shapes soldiers’ motivation to exert effort in fighting. Exploiting multiple complementary identification strategies, we find that soldiers from places with higher levels of prewar repression under Stalin’s rule were more likely to fight until death and less likely to shirk their duties, but they also received fewer decorations for personal bravery. The coercive incentives created by repression appear to have induced obedience at the expense of initiative and increased the human costs of war. (JEL D74, F51, H56, J45, N34, N44, P26)
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Julhadi, Julhadi. "Vision, Mission And Objectives Of Education In Hadith Perspective". Ambarsa : Jurnal Pendidikan Islam 2, nr 2 (30.08.2022): 20–39. http://dx.doi.org/10.59106/abs.v2i2.74.
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The vision and mission of Islamic education in the hadith are not only as slogans or as decorations and school wall displays, but really must be used as the basis for bringing the educational institution towards improvement accompanied by innovations in it. The very basic goal of Islamic education is to create human beings to become true servants of Allah. That is to make his whole life devoted only to Allah SWT. Besides that, the purpose of Islamic education is to create a balanced life between the life of the world and the hereafter. Islamic education also aims to develop human potential to become a perfect human being (insan kamil).
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Doleżyńska‐Sewerniak, Ewa. "The façade decorations of the tenement houses in Olsztyn's Old Town before and after the Second World War". Color Research & Application 44, nr 4 (23.04.2019): 630–50. http://dx.doi.org/10.1002/col.22379.
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Hashmi, Arsala. "Philosophy of Interior Design in Mughal Era Mosques of Lahore: A case study of Maryam Zamani and Wazir Khan Mosques". Journal of Art, Architecture and Built Environment 01, nr 02 (grudzień 2018): 55–73. http://dx.doi.org/10.32350/jaabe.12.04.
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A great reflection and convergence of Persian, Turkish and Indian architecture is observed in Mughal architecture, which is known as a remarkably symmetrical and decorative amalgamation of these architectures. Muslim and non-Muslim scholars of history have appreciated, identified and recognized the extremely attractive Mughal signs, decorations and beautifications. It has been observed that Mughal architecture is not limited and specified to mosques only but has been used in all other Islamic buildings including their gardens. These signs and decorations have combined different features, elements and components of Islamic architecture and art together. Mughal era has been known as the greatest era which defined the splendid and extravagant phase of Islamic architecture. Therefore, the basic purpose of this paper is to find out how these features and decorations of Mughal architecture used in mosques stem from Islamic principles. The basic aim is to conduct the semiotic analysis of two mosques of Mughal era which have been selected for examination and identification. Hence, this study outlines the importance and scope of Mughal mosque architecture. It examines the decorative style used in this architecture by scrutinizing the basic characteristics of its structure. Moreover, it discovers the real purpose and spiritual meaning of these mosques. The spiritual values are considered significant as they influence the spirit that brings harmony in life. Throughout the Islamic world, this spiritual aspect has been observed as the most dominant factor and element which gives an important underlying message to all Islamic art. Mughals have played a significant role in Islamic art which cannot be ignored and avoided. The findings indicate that the typical Mughal mosques are not just mere representation of religious buildings or places for worship, instead they are something more than that. These mosques have their spiritual connection with art and architecture which cannot be ignored. Their color, shape, volume, texture, and designs all offer the fundamental message of Islam, the incarnation of “peace” and “submission” from which Mughal mosques derive their uniqueness in architecture.
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G., ANARBAEVA. "DESCRIPTION OF THE EQUIPMENT OF WARRIORS IN THE “MANAS” EPOS OF THE KYRGYZ PEOPLE AND THEIR VALUE". Preservation and study of the cultural heritage of the Altai Territory 28 (2022): 7–13. http://dx.doi.org/10.14258/2411-1503.2022.28.01.
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The paper tells about the combat equipment of the warriors in the Manas epic, known throughout the world. The traditional decorations used in this equipment, the methods of their manufacture and their historical significance are also described in detail. Such valuable material is still of interest to many researchers today. In addition, many styles of this clothing have been preserved in our modern society. For example, men’s and women’s headdresses in Turkish and Kyrgyz are made from burqa, ash (white ash and black ash), military clothing (types of boto belt, keshte, ak olpok, baldagai pants, etc.), as well as women’s clothing (belts). The meanings of the ornaments in them were also investigated.
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Mohammed Alashari, Duaa, Abd Rahman Hamzah i Nurazmallail Marni. "The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)". UMRAN - International Journal of Islamic and Civilizational Studies 7, nr 2 (28.06.2020): 69–80. http://dx.doi.org/10.11113/umran2020.7n2.374.
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Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the present research due to the uniqueness in its calligraphy and ornamentation. Abdullah Zuhdi a calligrapher who was known as the calligrapher of the two holy sanctuaries (katib al-haramayn). The calligraphy and ornamentation in the Prophet Mosques are testifying to the skill of the master calligrapher. The principles of aesthetics in calligraphy and ornamentation based precisely on the principles of the beauty of Islam. After Islam, calligraphy was one of the most important kinds of art in Islamic world as well as one of the essential features of Islamic civilization. This study aims to show the necessity of studying Islamic calligraphy used in the Prophet Mosque interior as well as to display some Quranic verses that been written above the tomb of the Prophet Muhammad. The Prophet Mosque located in Medina city in Saudi Arabia as a model simply because it was one of the first mosques built by Prophet Muhammad and it has the fantastic and historical calligraphy and ornamentation that have a long history. The study has revealed that the calligraphy and ornamentation in the Prophet Muhmmad Mosque considered as an innovative art through its dependence unique Thuluth script and intricate pattern of Islamic motifs, the Muslim artist creativity expressed about the sacred calligraphy and highlighted the global nature of the decoration.
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Новікова Ольга. "ЦІНСЬКИЙ ФАРФОР ІЗ НАДПОЛИВ'ЯНИМ РОЗПИСОМ ЕМАЛЕВИМИ ФАРБАМИ (FAMILLE ROSE) З КОЛЕКЦІЇ НАЦІОНАЛЬНОГО МУЗЕЮ МИСТЕЦТВ ІМЕНІ БОГДАНА І ВАРВАРИ ХАНЕНКІВ". World Science 2, nr 1(41) (31.01.2019): 33–39. http://dx.doi.org/10.31435/rsglobal_ws/31012019/6304.
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The article deals with the works of polychrome painted Chinese porcelain created in the Qing era from the Bohdan and Varvara Khanenko Museum of Arts. Each product is analyzed in terms of its color, decoration and image scenes. Attention of the author is focused on symbolic images, among which are anthropomorphic, zoomorphic and vegetative motifs, end variations of the so-called Chinese still life.As a result of the study, three items of Chinese polychrome porcelain with super-polished painted enamel paints were analyzed. The disclosure of semantic content, symbols and semantics of artistic decorations created on the basis of the Chinese religious and mythological beliefs, as well as literary and artistic works has been revealed. The attribution of products based on comparison with similar items from collections of world museums has been specified. The origin of the image of «Chinese woman with a child», which was commonly used during the reign of Emperor Yongzhen and his successor Qianlong, is related to several factors. First, creating a cycle of «Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor», images of which have been reflected in numerous repetitions, in particular, on porcelain products. Secondly, the spread of European Christian missionaries in China with European models with the image of the Virgin Mary and the infant Christ, which could be the starting point for the spread of the Chinese «prototype» of a woman with one or two children.
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Pandey, Dr Anjali. "MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART". International Journal of Research -GRANTHAALAYAH 7, nr 4 (30.04.2019): 90–96. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.878.
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Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value.
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Warland, Rainer. "Frühbyzantinische Kreuzdiskurse des 6. und 7. Jahrhunderts und ihre Rezeption in Konstantinopel, Kappadokien und im Westen". Millennium 18, nr 1 (8.11.2021): 203–50. http://dx.doi.org/10.1515/mill-2021-0007.
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Abstract The paper establishes connections between funerary art in the Eastern (Cappadocia) and the Western Mediterranean (Lombard kingdom in Northern Italy) during the seventh century. Jewelry pendants and gemstone decorations are also covered. The similarities of the image concepts suggest common design principles, with the cross as a symbol of the Son of Man when God returns on Judgment Day (Mt 24, 30). As celestial signs in the midst of stars and planets, these forms of the cross, which may also have influenced the Baiuvarian and Alemannic gold-leaf crosses, have a cosmic character. Under the sign of the concentric cross, according to Mt 24, 31, the angels gather together the elect (Christians) from the four directions of the world.
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Ditchfield, Simon. "Thinking with Jesuit Saints: The Canonization of Ignatius Loyola and Francis Xavier in Context". Journal of Jesuit Studies 9, nr 3 (4.03.2022): 327–37. http://dx.doi.org/10.1163/22141332-09030001.
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Abstract The significance of the two founder saints to the contribution made by Jesuit missionaries, many of whom became martyrs, to the making of Roman Catholicism as a world religion, was made explicit not at the canonization ceremony itself, nor in the celebratory processions made through the streets of Rome, but in events and decorations put up within spaces controlled by the Jesuits themselves at the Gesù, the Collegio Romano, and the novitiate of S. Andrea al Quirinale. This points to the wider phenomenon, pursued in complementary fashion in the six essays that follow: that how one “became” a saint and came to enjoy a cult (then as now) has more to do with particular, local appropriation and interpretation (including Rome itself) than with official papal, universal approbation.
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Łyszcz, Kazimierz M. "The Bauhaus Frame Reliability and Loosening". Philosophical Discourses 2 (2020): 107–21. http://dx.doi.org/10.16926/pd.2020.02.07.
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The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works.
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Mehtizade, Sayad. "Trade life of azerbaijani cities of of the 17th century according to Jan Streis". Scientific Bulletin 3 (2021): 56–64. http://dx.doi.org/10.54414/ceai5005.
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Many cities of Azerbaijan, which are important centers of trade and trade, have not lost their significance in international trade for centuries. Silk-cheese, various silky fabrics, tastefully executed by our masters of elegant decorations, textiles, world-famous carpets, etc. spread the glory of Azerbaijan to the whole world. In the XVII century, many European countries tried to establish trade relations with Azerbaijan. The European states sent messages to the rulers of Azerbaijan, tried to trade in Azerbaijan with trade privileges, fought with each other for dominance in the eastern markets. The Netherlands also joined this fight. Well-known Dutch seafarer and traveler Jana Streis wrote a book in the book "Three Journeys" in which she wrote about the trade life of separate Azerbaijani cities. Although he was more concerned with the issues of trade, he also made some notes on the traditions, holidays and the existence of the Azerbaijani people. Jan Streis provided interesting information about the trade life of Irevan, Derbent, Shemakhi, Ardebil, Isfahan, Zenjan, Sultani and other cities.
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Fawaid, Ahmad, i Ahmad Bakir Sultoni. "AESTHETICS AND RECEPTION OF THE QUR’AN IN THE CALLIGRAPHY OF MOSQUES IN PROBOLINGGO INDONESIA". MUṢḤAF Jurnal Tafsir Berwawasan Keindonesiaan 3, nr 1 (30.12.2022): 44–70. http://dx.doi.org/10.33650/mushaf.v3i1.4672.
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The art of calligraphy, the greatness of Islamic art, was naturally born amid the world of architecture. This can be proven in the various calligraphic decorations that fill mosques and other buildings, combined with the noble Qur’anic verses, hadiths, or the wise words of wise scholars. The Qur’an is written in various models of calligraphy with dazzling and varied decorations. This study analyzes the Aesthetics and Calligraphy Reception of the Probolinggo Regency Mosque from the perspective of the Living Qur’an. With the living Qur’an method, God’s verbal revelation is expressed in a tangible form in writing, which has been a long debate and has influenced civilization. The Qur’an became the main factor in the development of the art of Islamic calligraphy, so calligraphy was expressed to devote the power of the revelation of the Qur’an. Meanwhile, ornamentation is the development of a sense of beauty that is free from natural myths and is done by developing abstract patterns taken from the processing of floral, leaf, and polygon motifs. This study concludes that the aesthetics and reception of calligraphy at the Probolinggo mosque can be considered uniform, both at the Badridduja, Ar Raudhah, and Raudhatul Jannah mosques, even though the texts chosen are not the same. The color choices converge on green and gold, indicating they are identical to Islam, where the symbolic meanings are plants, trees, leaves, and forests. Meanwhile, the psychological meaning of green is growth, renewal, balance, harmony, and the environment. Green color mixed with Gold color, the eyes that will look at it make you feel happy with all the artful writing.
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Semchyshyn-Huzner, Olesia. "The mural paintings of Modest Sosenko. Characteristics of the style based on representative examples." Sacrum et Decorum 15 (2022): 93–109. http://dx.doi.org/10.15584/setde.2022.15.5.
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In the considerable creative legacy of the Ukrainian artist Modest Sosenko (1875–1920), the murals and sacred easel paintings he created for more than ten Galician churches deserve special attention. His contemporaries noted that the artist’s sacred works were characterised by his own ‘Sosenko style’, which boldly and organically combined Byzantine traditions reinterpreted by 16 th – and 17 th – century masters with modern European stylistic requirements of the turn of the 19 th and 20 th centuries. He was a pioneer who paved the way for the development of modern church art, which was helped by the circumstances of his life. After acquiring a thorough European professional education during his studies in Kraków as well as in Munich and Paris thanks to a scholarship funded by Metropolitan Andrey Sheptytsky, Sosenko returned to Galicia and, continuing his mentor’s activities in the field of museums, became a full-time employee of the Church (later National) Museum. His direct contact with old monuments of iconography, manuscripts and incunabula, and folk art allowed him to gain a deep understanding of the peculiarities of Ukrainian national art. Thus, the combination of his personal talent, professional knowledge and museum experience, as well as his close relationship with the head of the Greek Catholic Church – Andrey Sheptytsky, who directed all his efforts towards the revival of the high culture of decorating the sacred space of Eastern Rite churches, gave birth to an intellectual artist, ready to take up the challenge of the present day. However, it is not possible to appreciate Sosenko’s achievements in their entirety. The warfare in the region during the two world wars of the 20 th century, the years of Soviet rule, which was intolerant of cultural, national and spiritual heritage, and even the first years of Ukrainian independence, were not conducive to the preservation of the churches and their decoration. As a result, researchers are forced to conclude that most of Sosenko’s works have been irretrievably lost. The artist’s sources of inspiration, the specific composition of his monumental artworks, the range of colours, the ideological and aesthetic programme can only be reconstructed on the basis of the decorations of two churches in the Lviv region: St. Michael the Archangel in the village of Pidberizci and the Holy Resurrection in the village of Poliany, by making comparisons with fragments of lost murals recorded in archival photographs, and by adding the decoration, already after restoration toning, of the artist’s last sacred object – St. Nicholas Church in Zolochiv. Even such scattered data make it possible to observe many of the author’s characteristics, to determine the process of the formation of Sosenko’s distinct individual artistic style, to which this study is dedicated.
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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ". World Science 2, nr 4(56) (30.04.2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.
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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer's instrumental thinking. This can be seen most in the orchestration of Mozart's oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio. Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute, Mozart's last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.
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VanPool, Christine S. "Shaman Pots, Sympathetic Magic, and Spinning Souls among the Medio Period Casas Grandes: Altered States of Consciousness in Other-than-Human Persons". Religions 15, nr 3 (26.02.2024): 286. http://dx.doi.org/10.3390/rel15030286.
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Medio Period (AD 1200 to 1450) Casas Grandes shamans used tobacco and possibly other entheogens to initiate trance states that allowed their spirits to travel across the cosmos. These trance experiences involved a sense of vertigo and soul flight that is cross-culturally common and occurs with tobacco-based nicotine intoxication. The Medio Period shamans also relied on and interacted with other-than-human persons during their travels, including macaw- and serpent-linked deities, as well as animated objects designed to participate in their shamanic journeys. The animated objects included Playas Red and Chihuahuan Polychrome pottery effigies of humans, macaws, and snakes with shamanic themes that represented the spirit world. I propose these pots were animate “pot-people” created for shamanic rituals. They were created with unusual designs including painted images and incised patterns that emphasized the spinning/vertigo that was central to the shamans’ soul flight experience. In some cases, the pots were literally spun, as evidenced by the distinctive wear patterns on their bases. The shamanic designs on the pots that reflected the upper and lower worlds, the depiction of spinning in the pottery decorations, and the literal spinning of some pots reflected the sympathetic and mimetic magic that linked them to the spirit world. They were imbued with the liminal nature of the creatures they depicted, and the symbolic and occasional literal emphasis on spinning would allow them to enter into a shamanic trance in a manner similar to their human counterparts. They, thus, were designed to enter into ASC in a manner that paralleled their human counterparts.
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Kargól, Marta. "Restoring the Memory of the Forgotten Dutch Embroidery Designer Nellie van Rijsoort". Costume 55, nr 1 (marzec 2021): 74–96. http://dx.doi.org/10.3366/cost.2021.0183.
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In 1932, Nellie van Rijsoort (1910–1996), the Dutch embroidery maker and designer, opened her atelier in Rotterdam. Among her clients were prestigious fashion stores in the Netherlands as well as wealthy middle-class customers. After the Second World War, van Rijsoort left Rotterdam and continued her career in Melbourne in the rapidly developing fashion network of Australia. Today, samples of embroidered fabrics and fashion drawings by Nellie van Rijsoort are part of the collections of the Museum Rotterdam and the National Trust of Australia in Melbourne. These collections provide insight into half a century of history of embroidered fabrics. This article illustrates the largely forgotten career of the embroidery designer. The first part of the article outlines the position and meaning of van Rijsoort's atelier in the fashion networks of the Netherlands and Australia, while the second part provides an analysis of embroidery samples and drawings, which reveal the place and function of embroideries as dress decorations.
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P, Vijay, i Vijayakumar M. "Representation of the Postcolonial Migrants’ Multi-Religious Cultures and the Fantasy of Christianity in John Lanchester’s Capital". ECS Transactions 107, nr 1 (24.04.2022): 6163–74. http://dx.doi.org/10.1149/10701.6163ecst.
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Literary writings have broadened that the world broaches the religious and cultural discrimination between the imperialist countries and the colonized immigrants. John Lanchester spreads over the conflicts of the multi-religious culture of migrants and the pride of the Christmas festival in European countries in his novel, Capital (2012). The Christian countries have defeated the migrants by showing pretentious prevailing city life in London. Unfortunately, some migrating laborers are illiterate to encounter them all. He forces migrants not to convert themselves from one religion to another for getting jobs. He also emancipates his presser to look after the life of migrating people in European countries. He then indirectly talks about the three religions: Hinduism, Islam, and Christianity. He proves that London is a place for Christianity, which is reflected in Christmas decorations. This novel elongates many themes related to the social and economic exploitation of poor migrants at Pepys Road in London.
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Sláma, Jiří. "K počátkům peněžní směny v Čechách / Notes to the beginning of the monetary exchange in Bohemia". Numismatické listy 73, nr 1-2 (2019): 10–14. http://dx.doi.org/10.37520/nl.2018.002.
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Since the break of the 8th and 9th centuries, the people in Bohemia were in intensive contacts with the Western Christian world represented by the powerful Frankish Empire. This is well documented by activities of the Bavarian missionaries in Bohemia and objects of the Western provenance found there (e.g. weapons, various decorations, etc.). Also the number of the Carolingian deniers registered in Bohemia significantly increased recently. Territorial expansion, engagement of the Přemyslid Bohemia in the profitable long-distance trade in the 10th century and the close Přemyslid contacts with the Bavarian milieu led to the production of the Bohemian coins at the beginning of the 960s – the deniers copying the BavarianSwabian prototypes. Introduction of these coins into the local exchange was not that simple. The coins struck in the 9th and 10th centuries were predominantly used by traders in long-distance trade and by ruling elites. Their larger and massive distribution can be taken into consideration since the beginning of the 11th century.
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Brezhneva, Svetlana N. "The visits of the rulers of Russia’s Central Asian protectorates to St. Petersburg at the turn of the 20th century: communicative practice". RUDN Journal of Russian History 20, nr 3 (15.12.2021): 411–25. http://dx.doi.org/10.22363/2312-8674-2021-20-3-411-425.
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This article considers the visits of the rulers of Russias Central Asian protectorates to St. Petersburg as a means for the imperial authorities to communicate with the Muslim elite. It argues out that gifts, decorations and lavish receptions were all means to exert psychological pressure on the Emir of Bukhara and the Khan of Khiva. Together with other practices, these were meant integrate the Muslim elite into Russian society. As relations with the protectorates evolved, the Russian government developed a plan to annex them. However, the ministry of foreign affairs effectively blocked the move. At the same time, St Petersburg accorded extensive powers to the protectorates rulers that even exceeded those of Turkestans governor-general, encouraging them to consider themselves to be independent rulers. At the same time, differences in outlook, faith, and ways to communicate led the protectorates to separate themselves from the Russian Empire and drove them into the arms its enemies during World War I.
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Daly, Tara. "Freddy Mamani’s Cholets for Export". Latin American and Latinx Visual Culture 6, nr 3 (1.07.2024): 47–65. http://dx.doi.org/10.1525/lavc.2024.6.3.47.
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The Bolivian Aymara architect Freddy Mamani has constructed more than sixty brightly colored cholets in El Alto, a migrant sister city to La Paz, Bolivia. These fantastical constructions are neither pure romantic manifestations of an Aymara cosmovision nor only superficial decorations that symbolize the Aymara Indigenous peoples’ entry into capitalism. Instead, they reflect the complexity and contradictions of dynamic urban Indigenous identity in a globalized world. The article is the first of its kind to consider cholets outside a Bolivian context. The article illustrates how cholets have been constructed out of imported products and, in turn, transformed into exportable objects for global consumption. Via analyzing a range of visual media—photography, documentary, and museum installations—I make the case that in the process of exportation, the cholets are converted into decorative objects that risk obfuscating the long class and racial struggles of the Aymara as they have resisted, and embraced, global capitalism’s imperatives.