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Статті в журналах з теми "Decoration and ornament Themes"
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Kursīte, Janīna. "Puithoonete ornament / Ornament of wooden buildings." Studia Vernacula 12 (November 5, 2020): 124–36. http://dx.doi.org/10.12697/sv.2020.12.124-136.
Повний текст джерелаАнотація:
In this translation of a chapter from monograph “Latvian’s Home” (“Latvieša māja”, 2014), the author provides an insight into the decorations of wooden houses in Latvia, including incisions and ornamental wall decorations and she also differentiates architectural details like the so-called ‘sun posts’ and decorated boards on sides of a triangular opening in the hip under the roof. At the beginning of the paper the author refers to the fact that the ancient geometrical ornament has been more typical of Latvians, which has been preserved also during the time when East-European nations gradually took over the ornaments depicting plants and animals. The author approaches ornamentation as one complete entity and draws attention to the perceived visual rhythm in ornamentation. The individual signs of the ornament are combined either in pairs (statically) or in odd numbers (dynamically). The more modern ornamentation is made up of geometrical ornament with plant ornaments. The author gives an overview of more widely-used signs – slanting crosses, triangles, octagons, and the chalk marking 20+K+B+m+14 widespread in Catholic regions, etc.
Kursīte discusses one peculiar decorative element of the houses – the so-called ‘sun posts’, which in big rooms are just very practical (e.g. in houses of prayer), but which might have also carried some cosmic symbolism.
In buildings (mainly dwelling houses and storehouses), the doors and window jambs, wider battens/boards, and the wooden window shutters were decorated. Ornamental decorations were also used on the top of the boards decorating the triangular opening in the hip under the roof, which were carved like a bird’s or a horse’s head, or shaped like a horn, sometimes even under the collar beams. The decorations were directed outwards so they would be visible. The other kind of ornament (mostly single signs) was cut on house tenons/mitre (i.e. inside). This was not visible, but the ornament had to protect the foundation of the house and the building from hazards coming from the outside (evil ghosts, evil people, natural elements, etc.).
In conclusion it may be said that from a magical and a decorative point of view, ornamentation played an important role in the wooden architecture of Latvia.
In the short preface the themes highlighted by Kursīte are compared with the wooden architecture of Estonia; it is stated that there are similarities but one has to work hard to find them.
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Kursīte, Janīna. "Puithoonete ornament / Ornament of wooden buildings." Studia Vernacula 12 (November 5, 2020): 124–36. http://dx.doi.org/10.12697/sv.2020.12.124-136.
Повний текст джерелаАнотація:
In this translation of a chapter from monograph “Latvian’s Home” (“Latvieša māja”, 2014), the author provides an insight into the decorations of wooden houses in Latvia, including incisions and ornamental wall decorations and she also differentiates architectural details like the so-called ‘sun posts’ and decorated boards on sides of a triangular opening in the hip under the roof. At the beginning of the paper the author refers to the fact that the ancient geometrical ornament has been more typical of Latvians, which has been preserved also during the time when East-European nations gradually took over the ornaments depicting plants and animals. The author approaches ornamentation as one complete entity and draws attention to the perceived visual rhythm in ornamentation. The individual signs of the ornament are combined either in pairs (statically) or in odd numbers (dynamically). The more modern ornamentation is made up of geometrical ornament with plant ornaments. The author gives an overview of more widely-used signs – slanting crosses, triangles, octagons, and the chalk marking 20+K+B+m+14 widespread in Catholic regions, etc.
Kursīte discusses one peculiar decorative element of the houses – the so-called ‘sun posts’, which in big rooms are just very practical (e.g. in houses of prayer), but which might have also carried some cosmic symbolism.
In buildings (mainly dwelling houses and storehouses), the doors and window jambs, wider battens/boards, and the wooden window shutters were decorated. Ornamental decorations were also used on the top of the boards decorating the triangular opening in the hip under the roof, which were carved like a bird’s or a horse’s head, or shaped like a horn, sometimes even under the collar beams. The decorations were directed outwards so they would be visible. The other kind of ornament (mostly single signs) was cut on house tenons/mitre (i.e. inside). This was not visible, but the ornament had to protect the foundation of the house and the building from hazards coming from the outside (evil ghosts, evil people, natural elements, etc.).
In conclusion it may be said that from a magical and a decorative point of view, ornamentation played an important role in the wooden architecture of Latvia.
In the short preface the themes highlighted by Kursīte are compared with the wooden architecture of Estonia; it is stated that there are similarities but one has to work hard to find them.
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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.
Повний текст джерелаАнотація:
Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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Sattarova, Liliya I. "A Carved Wooden Door from Kayseri." Observatory of Culture 18, no. 1 (May 24, 2021): 44–54. http://dx.doi.org/10.25281/2072-3156-2021-18-1-44-54.
Повний текст джерелаАнотація:
The article deals with a little-known mo- nument of Seljuk woodcarving — a door from an ancient Friday mosque (Jami-i Kebir) in Kayseri (Turkey). The carved door, exhibited now in the Ankara Museum of Ethnography, has not yet been the subject of a comprehensive publication. Therefore, this artifact belongs to the group of Anatolian Seljuk woodcarvings, made in the 12th — early 13th centuries, that have a special significance. As rare monuments of Islamic art of the pre-Mongol Middle East, they stood at the origins of the blooming of Anatolian Seljuk art that would occur some decades later.The door was ordered and installed during the Jami-i Kebir mosque renovation, carried out in the second reign of the Seljuk Sultan Giyseddin I Kayhosrov (1205—1211), on the instructions of one of his emirs — Muzaffar al-din Mahmud son of Yagy-Basan, a descendant of the Danishmendid dynasty. The article considers the door’s ornamental decoration, organized as a classic “mihrab” composition, in a set of technical and stylistic aspects. For a comparative analysis, the author inspects a wide range of woodcarvings of the 11th—13th centuries from Anatolia and Iran. The close resemblance of used techniques and decoration, as well as motifs, ornamental themes and epigraphy makes it possible to suggest that the cabinet maker Ibrahim son of Abu-Bakr al-Rumi, who left his signature on the Minbar of the Alaaddin Mosque in Ankara Fortress, could be the author of the magnificent carved door from Kayseri’ Jami-i Kebir.
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., I. B. SHINDU PRASETYA, Drs Agus Sudarmawan, M. Si ., and I. Wayan Sudiarta, S. Pd ,. M. Si . "SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA." Jurnal Pendidikan Seni Rupa Undiksha 9, no. 1 (March 1, 2019): 1. http://dx.doi.org/10.23887/jjpsp.v9i1.17013.
Повний текст джерелаАнотація:
SISTEM PENURUNAN KETERAMPILAN SENI LUKIS WAYANG KAMASAN OLEH I NYOMAN MANDRA
Oleh
Ida Bagus Shindu Prasetya, NIM 1412031025
Jurusan Pendidikan Seni Rupa
ABSTRAK
Penelitian ini bertujuan untuk mendeskripsikan (1) latar belakang murid I Nyoman Mandra dalam menimba keterampilan melukis wayang Kamasan, (2) tahapan-tahapan yang dikerjakan I Nyoman Mandra di dalam mengajarkan melukis wayang Kamasan pada muridnya, dan (3) hasil karya lukis para murid I Nyoman Mandra dalam pembelajaran melukis wayang Kamasan. Subjek dan objek penelitian ini adalah karya lukis I Nyoman Mandra sebagai referensi belajar murid-muridnya serta proses penurunan keterampilan seni lukis wayang Kamasan. Penelitian ini merupakan penelitian deskriptif kualitatif. Pengumpulan data dalam penelitian ini menggunakan teknik (1) observasi, (2) wawancara, (3) dokumentasi, dan (4) kepustakaan.
Hasil penelitian ini menunjukkan bahwa (1) Hal yang melatarbelakangi murid-murid Nyoman Mandra untuk belajar melukis di Sanggarnya bukan hanya karena faktor ekonomi dan sekedar hobi, namun juga karena kesadaran akan pentingnya melestarikan budaya yang sudah turun temurun. (2) Penurunan keterampilan melukis di sanggar Nyoman Mandra diawali dengan pemahaman tema untuk mengenal karakter dalam cerita pewayangan, dilanjutkan dengan pemahaman bentuk karakter wayang, seperti mata, hidung, mulut, kumis, wajah, hiasan gelung, telinga, sikap tangan, kaki, hiasan gelang tangan dan kaki, hiasan dada dan wastera sampai dengan hiasan-hiasan di luar tokoh wayang seperti hiasan bingkai, hiasan dalam ruang, hiasan batu-batuan dan hiasan pepohonan. Setelah itu diberikan pemahaman penempatan warna. (3) Hasil dari lukisan wayang Kamasan yang dibuat murid-murid dari sistem Aprentisip dan sistem Pewarisan memiliki tingkat kemiripan yang berbeda dengan hasil lukisan Nyoman Mandra, dimana hasil lukisan Wayang Kamasan dari anak-anak Nyoman Mandra lebih mendekati karya Nyoman Mandra sendiri dibandingkan dengan murid pada zaman dulu dan atau sekarang yang melalui sistem Aprentisip. Walaupun hasilnya berbeda, kedua sistem ini sama-sama memberi manfaat bagi para pebelajar antara lain mengembangkan sensitifitas, melatih kreativitas, membina sikap kecermatan, ketekunan, kerapian dan kerja sama. Selain itu, memupuk apresiasi terhadap hasil kerja keterampilan, memupuk bakat dan minat dalam keterampilan melukis Wayang Kamasan.Kata Kunci : wayang, kamasan THE INHERITANCE SYSTEM OF PAINTING SKILL OF KAMASAN PUPPET BY I NYOMAN MANDRA
By
Ida Bagus Shindu Prasetya, NIM 1412031025
Art Education Department
ABSTRACT
The objectives of this study were describing about (1) background of I Nyoman Mandra’s students in drawing on painting skill of Kamasan puppet, (2) the steps which were done by I Nyoman Mandra in teaching about painting Kamasan puppet to his students, and (3) the painting results by I Nyoman Mandra’s students in learning about painting Kamasan puppet. The subject and object of this study was the painting result by I Nyoman Mandra as a reference for his children to learn and the process of lowering painting skill of Kamasan puppet. This study was descriptive qualitative research. The methods of data collection in this study were used (1) observation, (2) interview, (3) documentation, and (4) literature.
The result of this study showed that (1) it was the background for Mr. Mandra’s students to learn painting in his studio, not only because of economy factors and hobbies, but also the awareness of the importance of cultural preservation that has been declining for generations. (2) The lowering of painting skill in the Mr. Mandra’s studio was started with the understanding of themes to know the puppet’s characters, continued with the understanding of the shapes of the characters, such as eyes, nose, mouth, mustache, face, head ornament, ears, arms, legs, hands and legs ornaments, chest ornaments and another ornaments outside of the characters such as frame, decoration in room, rocks decoration, and trees decoration. Next was given the understanding of color placement. (3) The painting results from Kamasan puppet which were made by the students from Aprentisip system and inheritance system had similar level which was different with Mr. Mandra’s painting result where the painting of Kamasan puppet from his children were more closer to Mr. Mandra’s than Mr. Mandra’s students through Aprentisip system. Although the results were different, both systems gave benefits for learners such as developing sensitivity, training creativity, developing intelligence, perseverance, tolerance, and cooperation. On the other hand, it was fostering the appreciation of result of work skills and fostering talent and interest in painting Kamasan puppet.keyword : Puppet, Kamasan
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Søvsø, Mette Højmark. "Tro, håb og kærlighed – De middelalderlige ringspænders symbolik." Kuml 60, no. 60 (October 31, 2011): 263–85. http://dx.doi.org/10.7146/kuml.v60i60.24529.
Повний текст джерелаАнотація:
Belief, hope and loveThe symbolism of medieval ring broochesOrnaments and costume accessories have always been worn for decorative and functional reasons as well as for signalling status etc. However, they have also often been ascribed properties by virtue of their form and decoration – properties which would aid or protect the wearer. A belief in the inherent power of objects was a part of the world view during the Middle Ages. Medieval lapidaries contain descriptions of the properties or virtues that were ascribed to metals, precious and semi-precious stones and other geological materials. These properties constituted for example the ability to cure particular illnesses, impart spiritual insight, bring fortune in the matters of the heart and confer protection when travelling. In addition to the powers resident within the various materials, decoration has also played a major role. Inscriptions were common and were deemed very efficacious. Furthermore, shape, geometric figures and numerical symbolism could also have played a role which is, however, more difficult to decipher today.This article focuses on the ring brooches that were employed as costume accessories in Europe between the 12th and 15th centuries, and which were especially popular during the 13th and 14th centuries. In the High Middle Ages, in particular, three themes dominated the symbolism of the ornaments, i.e. religion, magic and love. The religious aspect saw expression in the form of inscriptions or images showing the worship of holy men and women (figs. 2-5). A second kind of symbolism is that which can be termed magical. This is most clearly seen as inscriptions in the form of anagrams or illegible words (fig. 6). It seems likely that materials such as metals or stone were attributed magical properties relative to ring brooches, but this is difficult to prove today (fig. 7). It is obvious to imagine that the actual form of the “ring” or frame of the brooches, for example as stars or quatrefoils, had a significance over and above the purely decorative (figs. 3 & 8). Especially so, when a comparison is made with brooches where the form of the frame has an undoubted romantic symbolism, which we readily recognise today (figs. 2a, 4, 10, 11). These symbols, i.e. hearts and clasped hands, together with a series of inscriptions, bear witness to the fact that ring brooches, on a par with finger rings, were used as tokens of love (fig. 1). The amorous inscriptions speak directly to us of relations between people (fig. 7). The romantic inscriptions of the French court, of which there is one Danish example, are especially refined (fig. 9).These three themes are not clearly delimited and often merge together. It seems likely that the mingling of, for example, religious and magical inscriptions took place with the intentional aim of creating a special or more powerful effect. Ring brooches with symbolic expression occur in a wide range of qualities, from valuable examples of gold and silver to mass-produced brooches of cheaper metal alloys (figs. 4 & 10). This demonstrates that the symbolism was familiar and widespread in a very broad social sense. The symbolism seen on ring brooches and other types of ornaments from the Middle Ages is, in many instances, a direct expression of feelings, belief and hope and constitutes a fascinating source relative the medieval secular world.Mette Højmark SøvsøSydvestjyske Museer
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Danilov, P. G. "The 18th century Tobolsk tiles from the Governor's Palace." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3 (50) (August 28, 2020): 101–9. http://dx.doi.org/10.20874/2071-0437-2020-50-3-8.
Повний текст джерелаАнотація:
In Siberia, ceramic tile manufacturing should be dated to the 1670s–1680s, when the stone building in To-bolsk commenced. The source base for studying the tile craft in Siberia is provided by archaeological investiga-tions on Russian settlements. This paper aims at the typology of plots and graphical reconstruction of the appear-ance and color scheme of a collection of repousse polychromic tiles acquired in the course of archaeological in-vestigations of the Governor’s Palace in Tobolsk. The collection is dated to the first half of the 18th century. Most of the tiles were fragmented and had signs of burning. The discovered tile fragments belong to the repousse poly-chromic type. We consider them to be the stove decoration sets due to the traces of smut and soot on the back side and by the presence of a box-shaped rump with some space from the edge. The rump has holes on the sides made to fix the tiles onto a stove with wire. The tiles from the Governor’s Palace can be subdivided as follows: 1) wall tiles of ‘small hand’ and ‘large hand’; 2) corner wall tiles; 3) corner wall halves; 4) flat banded tiles; 5) cor-ner flat bands; 6) roller-band; 7) cornice belt; 8) valances; 9) legs and 10) gorodki (product made of clay with variations in size used for decoration of brick furnaces). Twenty themes have been reconstructed from the pre-served fragments. The stoves with such facework belong to the Renaissance type. In the tile manufacture, opaque, dull enamels were used: blue; turquoise green; white and yellow, as well as translucent glaze producing a glossy brown color on red clay. The study of the tile drawings and ornaments revealed that most of them were borrowed from other centers of tile manufacturing. A large part of the drawings either has stylistic similarity or is an accurate copy of the drawings on the tiles manufactured in Moscow in the 1670s–1680s. The drawings on five tiles do not have records in the earlier published works, and therefore they may have local origins. The tile orna-ment is mainly floral-geometrical, except for three tiles. Two of the latter have zoomorphic drawings of birds and the third one depicts a planter. Both plots are amongst the most popular themes in Russia.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.
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Delafons, John. "Urban design: Ornament and decoration." Cities 13, no. 3 (June 1996): 235. http://dx.doi.org/10.1016/0264-2751(96)88703-8.
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Ahani, Fatemeh, Iraj Etessam, and Seyed Gholamreza Islami. "The Distinction of Ornament and Decoration in Architecture." Journal of Arts and Humanities 6, no. 6 (June 6, 2017): 25. http://dx.doi.org/10.18533/journal.v6i5.1188.
Повний текст джерелаАнотація:
<p>Ornament has been present throughout the recorded history, revealing human's aspirations, reflections and imaginations. Correspondingly, the discussion of ornament has almost uninterruptedly been a major topic for architectural discourses; one which has led to the publication of several significant texts in which ornamental practices has been addressed from a variety of perspectives. An investigation into the key architectural texts however, reveals that the absence of a certain definition of ornament and its functions in architecture as well as the interchangeable use of the terms 'decoration' and ornament as synonyms, have always been a serious obstacle to reach a clear conception of ornament nature . In this regard, the present paper attempted to distinguish between 'ornament' and 'decoration' based on a comparative analysis of the scholars’ accounts and the way the terms were employed in the architectural texts. Results indicated that the aforementioned concepts can be distinguished by means of seven criteria including components, connection, reference source, role, field of application and reference mode. According to the most referred criteria, ornament is an essential part of architecture which creates a firm bonding with its carrier and often fulfills functions more than aesthetic one .It is mostly made up of transformed motifs and evokes natural forces that originate deeply beyond or within the body of building. Decoration on the other hand, is a pleasing arrangement of real things; a suggestion of the decorous which does not have a permanent connection with its carrier. It is also purely representational, due to its reference to external matters such as mythology, religion, history, or cultural practice. </p>
Дисертації з теми "Decoration and ornament Themes"
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Mutch, Andrew C. "A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/604.
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Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003." Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.
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Shih, Huei-Mei. "An overview of Cochin ceramics in Taiwan with an emphasis on the influence of Hong Kun-Fu and his school 1910s to 1980s /." Access electronically, 2008. http://ro.uow.edu.au/theses/148.
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Anderson, Dustin Robert Wood Zoë Justine. "Two-dimensional computer-generated ornamentation using a user-driven global planning strategy : a thesis /." [San Luis Obispo, Calif. : California Polytechnic State University], 2008. http://digitalcommons.calpoly.edu/theses/15/.
Повний текст джерелаАнотація:
Thesis (M.S.)--California Polytechnic State University, 2008.Major professor: Zoë Wood, Ph.D. "Presented to the faculty of California Polytechnic State University, San Luis Obispo." "In partial fulfillment of the requirements for the degree [of] Master of Science in Computer Science." Submitted June 11, 2008. Includes bibliographical references (leaves 77-79). Also available online. Also available on microfiche (1 sheet).
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
Повний текст джерелаАнотація:
My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Kiracofe, James Bartholomay. "Architectural fusion and indigenous ideology in early colonial Mexico : a case study of Teposcolula, Oaxaca, 1535-1580, demonstrating cultural transmission and transformation through negotiation and consent in planning a new urban environment /." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-11082006-133633/.
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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /." Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.
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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.
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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.
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Prickett, Douglas B. "Ornamentalism /." Online version of thesis, 1990. http://hdl.handle.net/1850/10938.
Повний текст джерелаКниги з теми "Decoration and ornament Themes"
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Fokina, L. V. Ornament: Uchebnoe posobie. Rostov-na-Donu: Rostovskiĭ gos. arkhitekturnyĭ in-t, 1996.
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Last, Jill. Ethiopia: Design & decoration. Addis Ababa: Ethiopian Tourist Trading Corp., 1986.
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Last, Jill. Ethiopia: Design & decoration. Addis Ababa: Ethiopian Tourist Trading Corp, 1986.
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Kraukle, Daina. Ornaments. Rīga [Latvia]: Zvaigzne, 1993.
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Horn, Diane Victoria. African gold ornament designs. Owings Mills, MD: Stemmer House, 1993.
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Ornament in Indian architecture. Newark: University of Delaware Press, 1991.
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Sokrovishcha russkogo ornamenta. Moskva: Belye alʹvy, 2008.
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I︠U︡dovin, S., and M. Malkin. Evreĭskiĭ narodnyĭ ornament. Vitebsk: Zhurnal "Mishpokha", 2002.
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Moldanova, T. A. Ornament khantov Kazymskogo Priobʹi︠a︡: Semantika, mifologii︠a︡, genezis. Tomsk: Tomskiĭ un-t, 1999.
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Moldanova, T. A. Ornament khantov Kazymskogo Priobʹi︠a︡: Semantika, mifologii︠a︡, genezis. Tomsk: Izd-vo Tomskogo universiteta, 1999.
Знайти повний текст джерелаЧастини книг з теми "Decoration and ornament Themes"
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Massey, Jonathan. "Ornament and Decoration." In The Handbook of Interior Architecture and Design. BLOOMSBURY VISUAL ARTS, 2013. http://dx.doi.org/10.5040/9781474294096.ch-035.
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Alborn, Timothy. "Introduction." In All That Glittered, 1–11. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190603519.003.0001.
Повний текст джерелаАнотація:
Abstract: This chapter provides an overview of the central themes and arguments in the book, a brief chapter outline, and a discussion of research methodology. Besides being in the forefront of commercial credit, Britain also led the way during the eighteenth century in creating and sustaining an intellectual justification for a credit economy based on gold, most clearly articulated in Adam Smith’s Wealth of Nations (1776). Smith’s conjectural history of gold and later modifications hewed closely to the twin categories of class and status, which molded the changing contours of British society during the decades on either side of 1800. Gold’s dual role in this history provides a useful map for exploring Britain’s ascendance during the century after 1750. The dominant British discourse on gold, which privileged its use as currency over decoration, aligns with an interpretation of that century as radically modern, whereby Britain took a comfortable if short-lived lead in the race among nations for wealth and power. Against a forward-looking story that identifies gold as a modernizing motor, the nagging prevalence of decorative gold in Britain and its empire supports a contrary narrative that emphasizes continuity rather than a radical break. In this story, the rise of a modern credit economy shared space with an empire that depended as much on ornamental splendor as on economic and racial subordination and an impulse to draw from the past in order to create a habitable present in the face of rising levels of population and class division.
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Aristova, Maria-Anna. "Decoration in the Desert:." In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvxkn5n8.9.
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"The City Floor." In Urban Design: Ornament and Decoration, 99–114. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-10.
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"Landmarks, Sculpture and Furniture." In Urban Design: Ornament and Decoration, 115–44. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-11.
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"Colour in the City." In Urban Design: Ornament and Decoration, 145–56. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-12.
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"Conclusion – The City of Today and Tomorrow: Ornament and Decoration." In Urban Design: Ornament and Decoration, 157–68. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-13.
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"Epilogue." In Urban Design: Ornament and Decoration, 169–86. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-14.
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"Theory and Philosophy of Ornament and Decoration." In Urban Design: Ornament and Decoration, 13–36. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-6.
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"The Façade." In Urban Design: Ornament and Decoration, 37–60. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-7.
Повний текст джерелаТези доповідей конференцій з теми "Decoration and ornament Themes"
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Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian, and Yi Li. "Flexible Ornament Selection System for VR Decoration Exhibition." In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00039.
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López González, Concepción. "La decoración lítica de las Torres de Serranos de Valencia." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11346.
Повний текст джерелаАнотація:
The lithic decoration of the Serranos Towers of ValenciaThe apparent austerity of this powerful door of the Christian wall of the city of Valencia built in 1392 by Pere Balaguer, encloses a magnificent and rich decoration of carved stone. The intervention aimed at cleaning the stone promoted by the City Council, allowed an in-depth study of the ornamentation that had not been previously carried out. A graphic study of all the pieces of carved stone that decorate the Towers was made. The different types of decoration carved in stone were established according to three parameters: according to their function, according to the theme or ornamental motif and according to the type of size used. Likewise, comparative analyzes were established with other buildings constructed in the Crown of Aragon at the same time. This study showed the influences and collaborations between stonework workshops that worked in different geographical points.
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Голофаст, Л. А., and С. В. Ольховский. "Glass Assemblage from the Underwater Quay in the Harbour of Phanagoria." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-307-7.43-72.
Повний текст джерелаАнотація:
В статье представлен комплекс стекла 56 вв.н.э., выявленный в ходе подводных раскопок фундамента причального сооружения в акватории Фанагории. Благодаря довольно длительному периоду формирования комплекса находок в нем отразились изменения в ассортименте бытовавшей стеклянной посуды: от весьма разнообразного в 5 в. до скудного набора 6 в., в котором безраздельно доминировали рюмки . Набор сосудов в полной мере отражает сложившуюся в рассматриваемое время ситуацию, характеризующуюся открытостью торговых маршрутов, которые связывали различные регионы Европы: одинаковые стеклянные изделия, производившиеся в одних и тех же центрах Восточного Средиземноморья, находят как в довольно удаленных друг от друга, так и от центров производства регионах. Благодаря активной торговле быстро распространялась мода на одни и те же сосуды и приемы их орнаментации, что служило стимулом для появления производства популярных сосудов в разных точках средиземноморско-причерноморского региона. Таким образом, представленная коллекция стекла, как и комплекс керамики этого времени, продемонстрировала включенность Фанагории рассматриваемого периода в обширный средиземноморско-причерноморский рынок. The article presents the glass assemblage of the 5th6th centuries found in the course of underwater excavations of the quay in the harbour of Phanagoria. The collection presents a great variety of forms and reflects changes in the assortment of glass vessels in the course of time. The 5th century is characterized by the extensive assortment of forms and various types of decoration (relief mold-blown, blue blobs and polished ornament). In the 6th century most kinds of ornamentation disappeared, the range of vessel types were reduced to 2-3 main forms with considerable predominance of stemmed goblets. All these changes occurred in terms of process common for the entire MediterraneanPontic region in the Late Antiquity. This period is characterized by the well-developed network of trade routes that connected sometimes very remote regions with production centers of the Eastern Mediterranean and Europe. The intensive trade promoted the spread of fashion for various forms of vessels and ornamentation that in its turn stimulated the appearance of new manufacturing centers that produced popular glass vessels in different points of the Mediterranean-Pontic region.
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PORTABLE ART OBJECTS DISCOVERED IN THE UPPER PALEOLITHIC OF ROMANIA." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.22-23.
Повний текст джерелаАнотація:
In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PERSONAL ORNAMENTS DISCOVERED IN THE EARLY UPPER PALEOLITHIC OF POIANA CIREȘULUI-PIATRA NEAMȚ (ROMANIA)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.20-21.
Повний текст джерелаАнотація:
In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932