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Artigos de revistas sobre o tema "Decorative arts"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 31 de julho de 2024

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1

Gurzhii, I. "DECORATIVE CERAMICS AS A BRANCH OF MODERN ART". Aesthetics and Ethics of Pedagogical Action, n.º 29 (14 de junho de 2024): 100–111. http://dx.doi.org/10.33989/2226-4051.2024.29.306146.

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The article examines decorative arts as a type of visual arts that focuses on works of art creation, with the aim of decorating and giving them aesthetic appeal, as well as objects of a purely exhibition nature. Decorative ceramics are divided into the following types: exterior, interior, and exhibition, and have two directions of development: traditional and academic. Modern Ukrainian decorative ceramics is characterized as an essential branch of decorative arts that developed based on millennial traditions and has its territorial features. It has been found that the technique of making modern decorative ceramics can be divided into forming and decorating. Traditional decorative ceramics are formed by the method of sculpting by hand and on the potter’s wheel. Academic ceramics have broader possibilities of formation, such as sculpting, pottery, pressing or casting in plaster molds, layer formation, and 3D printing. The decoration of modern decorative ceramics is quite diverse, but the traditional techniques remain unchanged. They are engobe, ceremony, pasting, smearing with water. For academic decorative ceramics, a variety of decoration methods, both traditional and experimental, are used. The methods are the following: engobing, etching, pasting, coating with water, painting with metal oxides, painting with metal salts, painting under watercolor paints, painting over watercolor paints, painting with precious metal products and chandeliers It has been found that the artists do not limit their possibilities in academic ceramics. They are not bound by traditional decoration methods. Artists can do whatever they fantasize about, while in traditional ceramics, they must stick to regional features in the methods of decoration and formation.

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2

Tang, Xi Ya. "Decorative Arts of Gates Detail Components in Chinese Traditional Architecture". Advanced Materials Research 860-863 (dezembro de 2013): 1237–43. http://dx.doi.org/10.4028/www.scientific.net/amr.860-863.1237.

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Gate decoration art is one of Chinese traditional architecture decoration. It not only has own structure form and material form of building passageway against with that of other nations in the world, but so is a cultural background miniature of Chinese nation, and it is a material carrier of folk culture and decorative pattern. Decorative arts of gates detail components in Chinese traditional architecture have contained abundant aesthetic value and cultural connotation, all of this endowed gate decoration art with secret oriental color.

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3

Heckscher, Morrison H., R. Craig Miller, Oswaldo Rodriguez Roque e Alice Cooney Frelinghuysen. "American Decorative Arts". Recent Acquisitions, n.º 1985/1986 (1985): 52. http://dx.doi.org/10.2307/1513692.

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Heckscher, Morrison H., Oswaldo Rodriguez Roque, Frances Gruber Safford, Alice Cooney Frelinghuysen e Amelia Peck. "American Decorative Arts". Recent Acquisitions, n.º 1986/1987 (1986): 62. http://dx.doi.org/10.2307/1513711.

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5

Roque, Oswaldo Rodriguez, Frances Gruber Safford e Amelia Peck. "American Decorative Arts". Recent Acquisitions, n.º 1987/1988 (1987): 56. http://dx.doi.org/10.2307/1513731.

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6

Frelinghuysen, Alice Cooney. "American Decorative Arts". Metropolitan Museum of Art Bulletin 59, n.º 1 (2001): 53. http://dx.doi.org/10.2307/3269173.

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7

Leidy, Denise P., Wai-fong Anita Siu e James C. Y. Watt. "Chinese Decorative Arts". Metropolitan Museum of Art Bulletin 55, n.º 1 (1997): 1. http://dx.doi.org/10.2307/3269222.

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8

Safford, Frances Gruber, Alice Cooney Frelinghuysen e Catherine Hoover Voorsanger. "American Decorative Arts". Metropolitan Museum of Art Bulletin 49, n.º 2 (1991): 58. http://dx.doi.org/10.2307/3258938.

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9

Frelinghuysen, Alice Cooney, e Peter M. Kenny. "American Decorative Arts". Metropolitan Museum of Art Bulletin 48, n.º 2 (1990): 62. http://dx.doi.org/10.2307/3258958.

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10

Frelinghuysen, Alice Cooney, e Amelia Peck. "American Decorative Arts". Metropolitan Museum of Art Bulletin 47, n.º 2 (1989): 56. http://dx.doi.org/10.2307/3259902.

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11

BUCHKIVSKA, Galyna, Valentyna BARANOVSKA e Kateryna BINYTSKA. "ВИКОРИСТАННЯ ІКТ І НАРОДНОГО ДЕКОРАТИВНОГО ТА ПРИКЛАДНОГО МИСТЕЦТВА В ПРОЦЕСІ ПРОФЕСІЙНОЇ ПІДГОТОВКИ МАЙБУТНІХ ВЧИТЕЛІВ". Освітні обрії 52, n.º 1 (28 de abril de 2021): 124–28. http://dx.doi.org/10.15330/obrii.52.1.124-128.

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The article highlights the possibilities of using ICT and folk decorative and applied arts in professional training of future teachers. The use of ICT and decorative and applied arts in the process of training future teachers, in the course of artistic and labor activities, in particular, forms positive motives for learning. Future teachers feel the need to know the history and artistic traditions of the native land (at the stage of choosing the object of work, clarifying its purpose, methods of decoration in accordance with regional peculiarities, etc.), they are eager to master the basics of artistic techniques and technologies (at the stage of manufacturing and decoration the object of labor), they learn to justify the economic feasibility of the manufactured decorative and applied article, etc. It is generalized that in the process of professional training of future teachers the most effective use of ICT and folk decorative and applied arts occurs in the course of the study of artistically creative and design-technological subjects using audiovisual aids in teaching which together with other equipment form a system of a dynamic design, for instance, of technological process of manufacturing decorative and applied arts article. It is emphasized that the process of professional training of future teachers must be provided with up-to-date material and technical facilities, connection to the Internet

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12

Maistruk, Nazar, e Liubov Kravchenko. "ІСТОРИЧНІ АСПЕКТИ ПІДГОТОВКИ ФАХІВЦІВ ДЕКОРАТИВНО-УЖИТКОВОГО МИСТЕЦТВА В НАВЧАЛЬНИХ ЗАКЛАДАХ УКРАЇНИ". B U L L E T I N OF OLEKSANDR DOVZHENKO HLUKHIV NATIONAL PEDAGOGICAL UNIVERSITY 54, n.º 1 (16 de abril de 2024): 245–50. http://dx.doi.org/10.31376/2410-0897-2024-1-54-245-250.

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The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century – today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). The high-quality training of pottery and porcelain and faience specialists, teachers of graphic arts and drawing, masters of artistic decoration of products ready to perform significant amounts of physical work - making tiles, bulky dishes, decorating the facades of churches, houses, fireplaces, creating sculptures, interior and exterior decorations - was facilitated by the activities of famous artists and teachers S. Maslenikov, O. Slastion, and V. Krychevskyi, who also supervised the production of outstanding works and participation in industrial exhibitions. Key words: decorative and applied arts, ethnological training of specialists, porcelain production, domestic and foreign experience, ethnography.

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13

Bincsik, Monika, Shinya Maezaki e Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts". International Journal of Humanities and Arts Computing 6, n.º 1-2 (março de 2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.

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In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actually difficult to gain access to the objects scattered in numerous collections or to achieve high-quality images, not to mention that there are only a few specialists capable of documenting the objects. Generally, that is why there are only very few online databases dedicated to decorative arts. The Art Research Centre, Ritsumeikan University (Kyoto, Japan), has developed databases of various Japanese cultural assets, tangible as well as intangible art forms and, based on the expertise in developing scholarly databases, has launched online image databases of three-dimensional art objects. The purpose of the project is to advance searchable, academic databases and to foster international cooperation between researchers and students of Japanese art by sharing high-quality images on the Web.

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14

Matthews, Julia. "Native Arts and Decorative Arts Journals". Art Documentation: Journal of the Art Libraries Society of North America 14, n.º 3 (outubro de 1995): 17–18. http://dx.doi.org/10.1086/adx.14.3.27948757.

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15

Ahmed, Ayman Mohamed. "Imitation of the Lotus Flower in Architecture: its Use in the Decoration of Walls and Ceilings of Palaces, Houses, and Tombs in Ancient Egypt". Res Mobilis 11, n.º 14 (12 de fevereiro de 2022): 1–20. http://dx.doi.org/10.17811/rm.11.14.2022.1-20.

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Plant motifs were of great importance in the arts of ancient Egypt. It was very interested in decorative units and its aesthetic forms. The lotus flower is one of the most well-known plants in ancient Egyptian civilization due to its association with the religious and daily life of the ancient Egyptians. This fragrant flower in its colors white, blue, red, and as a sacred symbol in the life of the ancient Egyptian was not only an aesthetic decorative component that was depicted by the ancient Egyptians on walls of temples, or used in the manufacture of perfumes and cosmetics, but also used it in the decoration of palaces, houses and tombs in a specific decorative form. This study investigates on how the ancient Egyptians imitated the lotus flower in architecture and used it in decorative decoration of walls and ceilings in naturalistic scenes on walls or ceiling decoration with floral composition, and also in the form of pattern border strip (frieze), both in civil and religious architecture.

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16

Grbanovic, Ana Marija. "The Ilkhanid Revetment Aesthetic in the Buqʿa Pir-i Bakran: Chaotic Exuberance or a Cunningly Planned Architectural Revetment Repertoire?" Muqarnas Online 34, n.º 1 (9 de outubro de 2017): 43–83. http://dx.doi.org/10.1163/22118993_03401p004.

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The Pir-i Bakran mausoleum (completed by 1312–13; Linjan, Isfahan) is considered to be a typical example of exuberant Ilkhanid architectural decoration. In the 1970s, the International Association of Mediterranean and Oriental Studies (IsMEO) undertook significant research and restoration work on the mausoleum. After their efforts were interrupted by the onset of the Iranian Revolution, restoration activities were continued by the Iranian Cultural Heritage Organization. Almost four decades later, questions concerning the mausoleum’s history, function, decorative program, patronage, and craftsmen—as well as the identity of the deceased—nonetheless remain unresolved. The mausoleum’s tile and original polychrome stucco decoration also require further scholarly attention. This article proposes a new view of the mausoleum’s decorative aesthetic and contributes to our understanding of the Ilkhanid architectural legacy. The article argues that, rather than being a haphazard application, the aesthetic characteristics of Pir-i Bakran’s revetments were determined by multiple undertakings executed according to specific decorative principles. Moreover, the mausoleum’s decorative program illustrates a rapid change in Ilkhanid decorative principles and aesthetics. I also propose a hypothetical timeline of mausoleum’s constructive and decorative undertakings, and reconsider its function and political significance.

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17

Zhu, Jin, e Yi Fan Chen. "The Application of Folkloric Textile Decorative Art to the Regional Character of the Hotel". Advanced Materials Research 331 (setembro de 2011): 3–8. http://dx.doi.org/10.4028/www.scientific.net/amr.331.3.

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The construction of the regionalism is not only affected the architecture space pattern, but also is closely related to the soft decoration art. This paper has analyzed the elements of the folkloric textile decorative art from the level of decoration pattern, color, material and technology. Taking decorative arts with regional characteristics as an example, the paper discusses how folkloric textile decorative art express the theme of the hotel and implicate the regional characteristics in symbolic elements and stylized language combined with the cultural history and folk custom in different areas. Meanwhile this paper summarizes approaches of creating regional character of modern hotel space. The adornment style should be determined according to the hotel orientation. The folkloric features should be strengthened in serialized designs to create the non-material artistic conception combined with other soft adornment.

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18

Larson, Katherine. "Design & The Decorative Arts". Woman's Art Journal 24, n.º 1 (2003): 54. http://dx.doi.org/10.2307/1358822.

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Group, Cutting Edge Women's Research. "Design & The Decorative Arts". Woman's Art Journal 22, n.º 2 (2001): 61. http://dx.doi.org/10.2307/1358945.

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20

Raggio, Olga, James David Draper, James Parker, Clare Le Corbeiller, Jessie McNab e Clare Vincent. "European Sculpture and Decorative Arts". Recent Acquisitions, n.º 1985/1986 (1985): 22. http://dx.doi.org/10.2307/1513685.

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21

Draper, James David, James Parker, Johanna Hecht, Clare Le Corbeiller, Jessie McNab, William Rieder e Clare Vincent. "European Sculpture and Decorative Arts". Recent Acquisitions, n.º 1986/1987 (1986): 23. http://dx.doi.org/10.2307/1513704.

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Raggio, Olga, James Parker, James David Draper, Clare Vincent e Clare Le Corbeiller. "European Sculpture and Decorative Arts". Recent Acquisitions, n.º 1987/1988 (1987): 26. http://dx.doi.org/10.2307/1513724.

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23

CANTAY, Gönül. "Fruit In Turkih Decorative Arts". Journal of Turkish Studies Volume 3 Issue 5, n.º 3 (2008): 65–86. http://dx.doi.org/10.7827/turkishstudies.409.

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24

McNab, Jessie. "European Sculpture and Decorative Arts". Metropolitan Museum of Art Bulletin 59, n.º 1 (2001): 45. http://dx.doi.org/10.2307/3269170.

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Draper, James David, Olga Raggio e James Parker. "European Sculpture and Decorative Arts". Metropolitan Museum of Art Bulletin 49, n.º 2 (1991): 26. http://dx.doi.org/10.2307/3258931.

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Draper, James David, James Parker, Clare Le Corbeiller, Jessie McNab, Clare Vincent, Danielle O. Kisluk-Grosheide e D. G. "European Sculpture and Decorative Arts". Metropolitan Museum of Art Bulletin 48, n.º 2 (1990): 25. http://dx.doi.org/10.2307/3258951.

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Parker, James, James David Draper, Clare Le Corbeiller e Jessie McNab. "European Sculpture and Decorative Arts". Metropolitan Museum of Art Bulletin 47, n.º 2 (1989): 23. http://dx.doi.org/10.2307/3259895.

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Editors The Rijkmuseum Bulletin. "Acquisitions: Fine & Decorative Arts". Rijksmuseum Bulletin 57, n.º 4 (15 de dezembro de 2009): 342–67. http://dx.doi.org/10.52476/trb.11651.

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Seckelson, Linda. "Decorative Arts: Laying the Groundwork". Art Documentation: Journal of the Art Libraries Society of North America 27, n.º 1 (abril de 2008): 30–32. http://dx.doi.org/10.1086/adx.27.1.27949481.

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30

Mleziva, Jindřich. "Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni". Muzeum Muzejní a vlastivedná práce 57, n.º 1 (2020): 3–14. http://dx.doi.org/10.37520/mmvp.2019.002.

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The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.

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31

Abd Halim, Nurhazwani, Tengku Intan Suzila T. S. e Nazirah Ramli. "DECORATIVE ARTS OF THE BATEK INDIGENOUS PEOPLE: A SYSTEMATIC DOCUMENTATION OF FEATURES". Journal of Nusantara Studies (JONUS) 6, n.º 2 (30 de junho de 2021): 273–95. http://dx.doi.org/10.24200/jonus.vol6iss2pp273-295.

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Background and Purpose: The present paper discussed the features of Batek Hep tribe of the Tembeling River, Pahang National Park dwellers’ decorative arts, and the characteristics of three features which include the influence of Fibonacci numbers and Golden ratio in these decorative arts as well as whether its symmetrical elements are leaning towards the vertical or horizontal axis. Methodology: The study adopted a qualitative approach where a content analysis was conducted. The arts being studied were the carvings on Batek bamboo dart cases. Initial impressionistic exploratory overview suggested some similar patterns. Therefore, a hundred bamboo dart containers were conveniently documented by systematic labelling, photographed, and analytically documented. Each bamboo dart casing was then purposively visually analysed. Immerging features were coded and themed. Simple quantification in terms of the carvings and the diameter and the base segment height of 26 bamboo dart cases was performed to put forth the three analysed art forms that is available and visible in Batek arts for the purpose of discussion. Findings: The findings suggest that Batek decorative arts were mostly vertically symmetrical and conform to initial reported representations. The influence of Fibonacci numbers and Golden ratio could also be seen in these decorative arts. There were also repetitions of a sequential pattern that could be found on the dart cases. Contributions: The significance of this study is, not only it documents an endangered artistic element, but it also serves as a mechanism to set apart the Batek Hep’s decorative arts from other indigenous’ decorative arts through systematic and analytical study on the characteristics of its features. Therefore, the findings contribute to the Malaysian artistic heritage pool of knowledge. Keywords: Batek hep, decorative arts, Fibonacci numbers, golden ratio, symmetrical elements. Cite as: Abd Halim, N., Tengku Sharif, T. I. S., & Ramli, N. (2021). Decorative arts of the batek indigenous people: A systematic documentation of features. Journal of Nusantara Studies, 6(2), 273-295. http://dx.doi.org/10.24200/jonus.vol6iss2pp273-295

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hussein, ahmed. "Symbolism in Fatimid Pottery Decorative Arts". Conference Book of the General Union of Arab Archeologists 16, n.º 16 (1 de novembro de 2013): 278–92. http://dx.doi.org/10.21608/cguaa.2013.32599.

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Powell, Olivia. "In Dialogue with the Decorative Arts". Journal of Museum Education 42, n.º 3 (3 de julho de 2017): 236–47. http://dx.doi.org/10.1080/10598650.2017.1344045.

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Witkowski, Terrence H. "Marketing thought in American Decorative Arts". Journal of the Academy of Marketing Science 18, n.º 4 (setembro de 1990): 365–68. http://dx.doi.org/10.1007/bf02723922.

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Iswarini, Ni Ketut, e I. Gusti Ayu Putu Wita Indrayani. "Berpadu dalam Harmoni: Pemanfaatan ElemenFloral dalam Bisnis Kuliner". Jurnal Gastronomi Indonesia 11, n.º 1 (5 de junho de 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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Sarkawt nooralddin ibrahim, Dr, e Dr Hassan Hassoon aldelfi. "The Effects of Schools of Arts on Theaters Contemporary Decorative Design". لارك 2, n.º 50 (30 de junho de 2023): 643–360. http://dx.doi.org/10.31185/lark.vol2.iss50.3070.

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The design of Contemporary theaters are very vital in simulating the producer vision, decorative design, play text, and viewers. Most of contemporary theaters designers in Kurdistan Region and Iraq in general have no clear understanding to the modern theatrical decorative design. In this paper, the authors highlighted the different types of schools of arts and its influence on the theatrical decorative design. The research approach used analytical descriptive method to fulfill the outcomes of the research. The authors investigated the different theatrical design in KGR and Iraq; those designs are not related to any schools of decorative theatrical design. The research introduced clear comparison between different schools of theatrical decorative design in the implementation of colors, unit’s distribution on the stage, play text, producer vision. The outcome of the research is to uncover the theoretical and practical aspects of schools of arts which is implemented the theatrical decorative design. This work can benefit researchers, students, academics and theatrical designers regionally and globally.

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Sabina González, José Antonio. "Los remates de cubierta o de composición en los edificios canarios 1896-1931: tratamiento y utilización por los técnicos". Vegueta. Anuario de la Facultad de Geografía e Historia 22, n.º 1 (7 de fevereiro de 2022): 289–323. http://dx.doi.org/10.51349/veg.2022.1.15.

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Gran parte de nuestro patrimonio arquitectónico cuenta con ciertos elementos decorativos característicos del estilo ecléctico y modernista que caracterizaron a una época pasada de gran esplendor. Uno de ellos es el remate que estudiamos en el presente artículo, un ornato que culmina un edificio perfectamente ornamentado y del que los técnicos disponen en algunos de sus inmuebles; un elemento que se expondrá con ejemplos de su procedencia externa. Este trabajo contará con estos técnicos para profundizar en este elemento decorativo, mediante la consulta de los planos de sus edificios que cuentan con este ornato en Tenerife, entre los años 1896 y 1931, examinando la documentación de los archivos municipales para poder complementar la información existente sobre estos profesionales, y de esta manera llegar a obtener revelaciones sobre el estilo, las particularidades y las preferencias de ellos, con respecto a este componente decorativo. Much Canarian architectural heritage reflects certain decorative elements characteristic of the eclectic and modernist style that signals a bygone era of great splendour. One of them is the capstone covered in this article, the culmination of a perfectly ornamented building as employed by some architects, an element that will be detailed here with examples. This article explores this decorative element by consulting architects’ plans for buildings that made use of the ornament in Tenerife between 1896 and 1931, examining the documentation of the municipal archives as a complement to extant information on these professionals. By doing so, the article analyses such architects’ styles, particularities and preferences with respect to this decorative component.

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Марущак, Оксана, Олександр Шинін e Наталія Вусик. "Розвиток творчих здібностей у майбутніх фахівців художньо-декоративного мистецтва під час вивчення народних ремесел і промислів". Мистецтво в культурі сучасності: теорія та практика навчання, n.º 2 (18 de dezembro de 2023): 25–33. http://dx.doi.org/10.31652/3041-1017-2023(2)-03.

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In the context of the revival of national culture, the problem of forming an artistic and aesthetic culture in future specialists of decorative arts, which causes radical changes in the direction of development of their artistic and creative abilities, becomes particularly relevant. The foundation for the development of artistic and creative abilities of higher education students is created by the activity of decorative and applied art. The main problem of our research is the development of a theoretical, methodological base and a methodological system for the development of artistic and creative abilities in future specialists of decorative arts during the study of folk crafts and crafts. The purpose of the research involves the substantiation of the scientific and methodological foundations of the development of artistic and creative abilities in future specialists of decorative arts during the study of folk crafts and crafts. To achieve it, theoretical methods were used: study, analysis and generalization of psychological-pedagogical, methodical, historical literature, monographic works, systematization of theoretical provisions, comparative analysis of dissertation works, study of curricula of disciplines of the professional training cycle of the artistic direction, study of reference literature, methodological manuals on decorative and applied art and folk crafts; empirical: study of the pedagogical experience of teaching students of pedagogical institutions of higher education the basics of decorative and applied art, observation of classroom and independent educational and creative work, scientific research and artistic and creative activities of students of education, conversations, questionnaires of teachers and students, study of products of artistic and creative activities of students of higher education in decorative and applied arts. The article theoretically substantiates the peculiarities and methods of development of artistic and creative abilities of students of higher education in decorative and applied arts. The main components of their artistic and creative abilities are determined: mental (productive and reproductive), practical and personal qualities. The main groups of artistic and creative abilities of students of higher education in decorative and applied art are defined: figurative and associative thinking, figurative and associative imagination, abilities in decorative and applied art. A comprehensive methodical system and organizational and pedagogical conditions for the development of artistic and creative abilities in decorative and applied art among students of higher education are proposed.

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Gulyamov Komiljon Makhmudovich. "Leading Competencies That Develop The Professional Competence of The Future Applied Decorative Arts Teacher". Journal of Advanced Zoology 44, S6 (3 de dezembro de 2023): 1341–44. http://dx.doi.org/10.17762/jaz.v44is6.2446.

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This article discusses the concept of “professional competence of a future teachers of applied decorative arts”. The leading competencies and their components, which are part of the professional competence of future teachers of applied decorative arts, have been identified.

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KRYSHTANOVYCH, Myroslav. "ДОСВІД ФОРМУВАННЯ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ В МАЙБУТНІХ ФАХІВЦІВ ОБРАЗОТВОРЧОГО І ДЕКОРАТИВНОГО МИСТЕЦТВА У ЄВРОПЕЙСЬКИХ КРАЇНАХ". Освітні обрії 52, n.º 1 (12 de março de 2021): 111–14. http://dx.doi.org/10.15330/obrii.52.1.111-114.

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A study of the experience of forming professional competence among future specialists in fine and decorative arts was carried out. The main task is to study the experience of forming professional competence in future professionals of fine and decorative arts. It has been determined that the system of training future specialists in fine and decorative arts exists in all European countries. However, Great Britain, Spain, Italy, Germany and others are recognized as leaders in this area. In our study, we will take a closer look at the features of the training system for future specialists in fine and decorative arts in Spain and Italy. It has been established that the educational process in Italian universities is based on the principles of student responsibility for their own learning. Students have the opportunity to independently create their own class schedule. Attendance at the classes is voluntary and the teacher is not registered. The academic year is divided into three semesters. Based on the results of the semesters, exams are passed, but the student, if desired, can postpone the exam to a later date, since students are entitled to an individual training program. The higher education system in Spain is considered one of the best in the world. Higher education in Spain is divided into public and private. To enter a higher education institution, you must pass an entrance exam (Selectividad), which is conducted centrally. The experience of Spain in the development of professional competencies of future specialists in fine and decorative arts shows that in the course of the master's program, masters acquire competencies that allow them to understand and implement a strategic, comprehensive and objective vision of the industry from a business point of view; use the most innovative methods; effectively conduct branding and sponsorship. The main pedagogical conditions that form the professional competence of future specialists in the fine and decorative arts in Italy are determined. Highlighted the professional components that should be inherent in future specialists in fine and decorative arts in European countries.

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Maistruk, N., e L. Kravchenko. "TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT". Ukrainian professional education, n.º 8 (25 de novembro de 2020): 121–27. http://dx.doi.org/10.33989/2519-8254.2020.8.239466.

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The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed. It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.

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Kara-Vasylieva, Tetyana, Olha Lukovska e Valentyna Kostiukova. "The Avant-Garde Phenomenon in the Ukrainian Textile Art of the XX Century". Arta 32, n.º 1 (setembro de 2023): 50–57. http://dx.doi.org/10.52603/arta.2023.32-1.07.

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The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.

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Taheri, Jafar. "The impacts of architecture and decorative arts on health based on medical sources in the Muslim societies during the medieval era". Studia Historiae Scientiarum 20 (13 de setembro de 2021): 861–91. http://dx.doi.org/10.4467/2543702xshs.21.025.14056.

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This article aims to provide a historical overview of the impact of architecture and decorative arts on health and health preservation in Muslim societies during the medieval era. Based on primary medical sources, this article provides a historical interpretation of the theoretical origin of the ignored link between medicine and architecture (and decorative arts). Our findings indicate that some empirical results concerning the effects and aspects of built environments (architectural spaces) on health and treatment–both physical and mental– have been considered in the medical sources. Practical instructions of these sources introduced two theoretical achievements: 1) an introduction to the historical knowledge of environmental health and design of healthy places, and 2) a comparative analogy of the built environment and human nature (organism), which became a theoretical basis for the relationship between natural sciences, architecture, and the decorative arts in the middle ages. Considerations of the study show the extent to which architects and artisans, based on the teachings and instructions of physicians, dealt with the structural and content adaptation models of architecture and decorative arts to human organism and nature.

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Biryukov, Mikhail Yu. "The potential of arts and crafts in the formation of aesthetic taste in children of senior preschool age". Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 30, n.º 1 (28 de junho de 2024): 73–77. http://dx.doi.org/10.34216/2073-1426-2024-30-1-73-77.

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This article is devoted to the study and analysis of the use of the possibilities of decorative and applied art in the formation of aesthetic taste in older preschool children. The study revealed that decorative and applied arts have their own aesthetic and educational capabilities in teaching children both fine arts and in developing their aesthetic sensitivity to the world around them. Promising directions for the use of types, subtypes, varieties, techniques and technologies of decorative and applied arts in the artistic and creative activities of older preschoolers are proposed. The author concludes that introducing children of senior preschool age to arts and crafts is one of the main means of developing aesthetic taste, developing the ability to see and understand beauty in the surrounding life and art.

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Bogaychuk, Liudmyla, Zinaida Borisyuk e Tetiana Kovalchuk. "A methodological approach to the organization of the understanding of the decorative image by future specialists of decorative and applied arts". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, n.º 3 (144) (28 de setembro de 2023): 33–40. http://dx.doi.org/10.24195/2617-6688-2023-3-5.

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The study highlights the methodological approach to organizing the creative process of future specialists in decorative and applied arts of a higher pedagogical educational institution under conditions of the modern education system of Ukraine. The purpose of the study was to present the content of special methodological work on how to organize the creative process aimed at forming students' understanding of the decorative image features. The problem is how to achieve a high result of creative tasks, students' works, along with the development of technologies for painting fabrics (batik), which together will help a future specialist to become a professional in the future. The methods of the study were: theoretical – the analysis of scientific sources on the problem related to the formation and determination of its formation signs in students; practical – the analysis of pedagogical experience – in order to highlight effective forms of work with students within the educational environment of a higher education institution, which contributes to the formation of students' understanding of the organization of the creative process. The professional literacy of the future specialist majoring in 023 "Fine Arts and Decorative Arts, Restoration" is based on his/her ability to build activities according to aesthetic laws (to understand contemporary fine and decorative arts, folk art); it consists of a system of special knowledge and skills. It is substantiated that folk art is our self-identification, we need to know the traditions of our people, modern fine arts; it is important to revive them in original modern forms, to promote the development of experimental trends, to work creatively with folk paintings in the process of teaching the disciplines of the course "Decorative and Applied Arts", to show how promising it is today. The article describes the methodological approach to the organization of the creative process in solving the thematic tasks within the academic course "Fundamentals of Fabric Painting". One of the ways to renew assignments of the academic disciplines "Fundamentals of Fabric Painting" and “Decorative and Applied Arts" has been presented. It is shown that on the basis of the conducted pedagogical experiment and its results, the creative activity of understanding and creating a decorative image as a holistic process that improves professional skill and competence is confirmed. We see the prospects of scientific research in the extension of the study of the necessary modern methodology which develops students' interest in various types of activities, including scientific, research-centred, artistic and creative, as well as in the increasingly extensive implementation of methodological findings in the process of studying Decorative and Applied Arts.

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Danyliuk, Liudmyla. "Decorative-usage arts as means of formation of professional competence of future teachers of fine arts". HUMANITARIUM 44, n.º 2 (31 de dezembro de 2019): 40–47. http://dx.doi.org/10.31470/2308-5126-2019-44-2-40-47.

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In the article on the basis of analysis and generalization of literary sources, pedagogical theory and practice, the means of formation the professional competence of future teachers of fine arts are determined. The main basis component of the formation of the art culture of future teachers of fine arts is decorative- usage arts, folk art crafts are noted in it. An important condition for the professional activity of future teachers of fine arts is the formation of art culture, which includes the ability to emotionally perceive of the environment, creatively transform it, culture of work, knowledge of culture people and nations in different periods of development of society, possession of universal values, in particular, the values of creative, which provide of personality of self-realization and self-development in decorative- usage arts and fine arts. The main basis component of the formation of the art culture of future teachers of fine arts is the decorative-usage arts, folk artistic crafts, the cultural and educational mission of which consists, first of all, in the increase of a productive representation of the values of human life, represented in figurative form of art works, the development of art intuition, aesthetic taste, emotional perception of art creativity, the definition of art as a specific spiritual activity in the development of culture of a particular epoch and on this based on the achievement of a high level of their own art skills.The important condition of professional activities of the future teachers of fine arts is formation of art culture is grounded. In the research and mastery of techniques of decorative-usage art in the future a teacher of fine art form of the desire to learn and protect the Ukrainian people’s material and spiritual achievements is determined.

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KINCHIN, JULIET. "Pugin and the Decorative Arts in Scotland". Architectural Heritage 8, n.º 1 (novembro de 1997): 74–88. http://dx.doi.org/10.3366/arch.1997.8.1.74.

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KINCHIN, JULIET. "Pugin and the Decorative Arts in Scotland". Architectural Heritage 8, n.º 8 (janeiro de 1997): 74–88. http://dx.doi.org/10.3366/arch.1997.8.8.74.

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Shubert, Steven Blake. "THE DECORATIVE ARTS: A PROBLEM IN CLASSIFICATION". Art Documentation: Journal of the Art Libraries Society of North America 12, n.º 2 (julho de 1993): 77–81. http://dx.doi.org/10.1086/adx.12.2.27948536.

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Beth, Dana L. "THE JOURNAL OF DECORATIVE AND PROPAGANDA ARTS." Art Documentation: Journal of the Art Libraries Society of North America 6, n.º 1 (abril de 1987): 42. http://dx.doi.org/10.1086/adx.6.1.27947728.

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