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Статті в журналах з теми "Repetitive patterns (Decorative arts) in architecture"
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Priester, Ann. "Bell Towers and Building Workshops in Medieval Rome." Journal of the Society of Architectural Historians 52, no. 2 (June 1, 1993): 199–220. http://dx.doi.org/10.2307/990786.
Повний текст джерелаАнотація:
Thirty-five medieval bell towers, along with dozens of churches such as S. Clemente, S. Crisogono, S. Maria in Trastevere, and S. Lorenzo fuori le mura, survive as testimony to a boom in ecclesiastical construction in Rome during the twelfth and early thirteenth centuries. This article focuses on these bell towers, using computer database analysis of their architectural and decorative features to investigate the nature of building workshops in medieval Rome. A comparison of a number of variable features among the bell towers, such as masonry techniques, cornices, and decorative details, uncovered patterns of similarities and differences which may be attributed to workshop practices. Four distinct groups of bell towers are identified on the basis of these features, which I suggest are evidence of the existence of four workshops of brick masons active in bell tower construction in Rome between the early twelfth and the thirteenth centuries. Finally, the article addresses the question of specialization within medieval Rome's building industry and the circumstances behind a rapid decline around 1200 in bell tower building and the fate of the workshops that built them. I observe that by the early thirteenth century, certain prestigious architectural commissions, such as the cloisters at the Lateran and S. Paolo f.l.m., were not given to workshops of brick masons, but to marble workers.
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Khan, Sonia Nasir, and Muhammad Ahsan Bilal. "The Architecture plan of Qutb Complex (Delhi) and its Decoration Analysis." PERENNIAL JOURNAL OF HISTORY 1, no. 1 (June 30, 2020): 49–68. http://dx.doi.org/10.52700/pjh.v1i1.21.
Повний текст джерелаАнотація:
The Qutb complex in Delhi contains the array of early Sultanate Period Muslim monuments that demonstrate the earliest artwork development stage of Muslim monuments from 12 to 13th century especially the architecture style and the stone carving patterns that exists in the monuments of this complex like in masjid Quwat-ul Islam (1191 A.D), Qutab Minar (1202 A.D), Illttutmish Tomb (1235 A.D), Alai Darwaza (1311 A.D). These splendid monuments have a new architectural style in India. Their beautiful carvings in red sandstone and marble that includes the patterns of arabesque style along with Kufic and Naskh calligraphy, the delicate floral and geometric patterns along with some Hindu motifs that depicts the earliest amalgamation of Hindu and Islamic architecture within the subcontinent. This paper not only aim to explore the architectural plan of this Qutb complex under different monarchs but also the decoration of this Qutb complex, its analysis and the aesthetic changes of design after the amalgamation of two different cultures. This complex is famous not only for its architecture but also for varieties of decorative arts. This paper also attempts to discover not only aesthetics but also the traditional and regional logic for using these motifs. This explorative study is from available historical data and literature. In the end concludes that the amalgamated motifs of decoration was excellent experiment and first addition in the design vocabulary of Indo-Muslim art and architecture. These designs provide serenity and majestic feelings to these monuments and in whole to Qutb complex.
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B, Zadorozhny. "THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 2 (November 20, 2021): 38–43. http://dx.doi.org/10.23939/sa2021.02.038.
Повний текст джерелаАнотація:
The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.
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Karim, Somayeh, Parnaz Goodarzparvari, Mohammad Aref, and Pardis Bahmani. "A COMPARATIVE STUDY OF THE GEOMETRIC MOTIFS OF THE ATEEQ MOSQUE (SHIRAZ) AND THE CORDOBA MOSQUE (CORDOBA) WITH A CONTEXTUAL APPROACH." Journal of Islamic Architecture 6, no. 2 (December 9, 2020): 93–102. http://dx.doi.org/10.18860/jia.v6i2.10113.
Повний текст джерелаАнотація:
Islamic art is an introverted art derived from mystical thought and believes expressed in artistic activities and is pure, indigenous, and commensurate with the spirit and social status of its time; Islamic architecture also has an Islamic foundation, and it has a close relationship with the decorative arts. In this regard, mosques are considered the most significant Islamic architecture achievements; in most cases, geometrical shapes and motifs with religious and natural themes have been used. Therefore, the present study's primary purpose is to study the geometric patterns of the Ateeq Mosque (Shiraz) and the Cordoba Mosque (Cordoba) by a descriptive-analytical method. Analyzing the collected data revealed that the motifs and their role in both the Ateeq Mosque of Shiraz and Cordoba are similar. Among the essential motifs observed in these two mosques can be the circle (symbol of being and the symbol of heaven and God), Shams (symbol of the sun and celestial light), the triangle with the downward vertex, the symbol of the female principle and the upward symbol of the mountain symbol and the masculine principle and crucifix (symbol of rotation of the seasons and permanent reproduction) and spiral as the symbol of fertility. In the Islamic period, these motifs are decorated with architectural spaces. The geometric motifs represent natural elements. As appreciation and sanctification of natural elements have been noticed, geometric motifs symbolically evoke those sacred elements and were illustrated in Iran and Spain's arts.
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Olin, Martin. "Tessinarna i Venedig." Sjuttonhundratal 6 (October 1, 2009): 7. http://dx.doi.org/10.7557/4.2757.
Повний текст джерелаАнотація:
<p>The Tessins in Venice</p><p>Foreign royalty and other travelers visiting Venice in the early eighteenth century encountered a flourishing of the arts. This vibrant artistic life could be transposed to new settings, as a number of Venetian painters worked for courts north of the Alps. When the statesman and <em>connoisseur</em> Carl Gustaf Tessin, Swedish Ambassador to Vienna, visited Venice in 1736, it was with the intention of hiring a decorative painter for the new royal palace in Stockholm. His first choice was Giovanni Battista Tiepolo, but his services proved to be too costly for the Swedes. Tessin did, however, buy art works, among them easel paintings by Tiepolo, Giuseppe Nogari and Francesco Zuccarelli. Anton Maria Zanetti helped Tessin survey the artistic landscape of his city and later became his agent. Carl Gustaf Tessin was not the first Tessin in Venice. His father and grandfather had also visited and documented Venetian architecture in drawings and notes. Marble floors in Venetian buildings left such a lasting impression on Nicodemus Tessin the Elder that he incorporated their patterns in his floor designs for Drottningholm Palace. In his travel notes from 1688, Nicodemus Tessin the Younger is critical of Venetian architecture, but writes enthusiastically about the city’s theatre and civic life.</p>
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Rovenko, Elena V. "Music is an Architecture Revived: a Gothic Cathedral as a Model for a Perfect Musical Composition as Seen by Vincent D’Indy." Contemporary Musicology, no. 3 (2021): 43–72. http://dx.doi.org/10.56620/2587-9731-2021-3-043-072.
Повний текст джерелаАнотація:
Vincent d’Indy developed his own understanding of the ideal algorithm of constructing musical forms. In support of his concept, he took a general artistic perspective. His aim, apparently, was to confirm the special status of the suggested compositional strategies as universal for different kinds of art. These strategies are grounded in such categories as rhythm, order, proportionality, and symmetry inherent to any kind of spatial/temporal art with architecture and music representing the extremes of the spatial/temporal continuum. D’Indy established the correlations between the spatial/temporal arts by embracing the ideas of Hegel, Ruskin, and Lévesque. To explore these ideas, the article resorts to the cultural and historical analysis. D’Indy argues that the “cyclic principle” is the most mature historically and the most perfect constructively. The principle applied exclusively to multimovement compositions has its basis in the translational symmetry of the initial pattern-cell together with its variant renewal. The “cyclic principle” finds its supreme realization in the “cyclic sonata” and the Gothic cathedral. The article is the first attempt to analyse how the “cyclic principle” is used per se, while its particular implementation in music has repeatedly been discussed. The latter was initiated by d’Indy himself in his Cours de Composition Musicale. A step-by-step method of putting the cyclic principle into practice, regardless of the artistic material, is derived by applying the comparative analysis, which helps to develop universal models for working with repetitive patterns in spatial and temporal arts. The analysis revealed the following: first, a “cyclic element” is represented by a syntactically articulated structure which may function as an initial compositional unit (from musical cells to sculptural details); second, the elaboration on the artistic material in music and architecture is done through rhythmic transformations of patterns resulting in the new internal structure with the core preserved. The latter ensures the implementation of the aesthetic maxim “unity in diversity”, seen by d’Indy as crucial in constructing the artistic whole.
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Alisher, Anna. "Art history dynamics of theater scenography." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 170–75. http://dx.doi.org/10.32461/2226-3209.2.2021.240004.
Повний текст джерелаАнотація:
The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.
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Lipitskaya, Valentina. "Soviet Sport: Attempts of Galvanizing Eidos in Modern Films about Outstanding Soviet Athletes." Ideas and Ideals 16, no. 2-2 (June 26, 2024): 430–40. http://dx.doi.org/10.17212/2075-0862-2024-16.2.2-430-440.
Повний текст джерелаАнотація:
The author believes that the so-called cinematic speaking on the Soviet, that is, an array of texts, formulated within the contours of fi lm, television, and other screen arts, is one of the representative sources shaping the domestic discourse of the reception of the Soviet. Within the framework of this work, research attention is focused on the consideration of modern Russian films about the legends of Soviet sports, which, in the area of the abovementioned cinematic speaking, appeal to a number of phrase themes, such as sports, personality, heroism, asceticism, service, and moral values. According to the author, the repetitive nature of references to Soviet sports mythology is associated with the dire need of having some kind of incredible task fulfilled; but, unlike, for example, S. Toymentsev, the author considers this task to be cultural, educational and didactic rather than politically predetermined. The author sees Soviet sports biopics as a good opportunity for a large-scale conversation at the level of everyday consciousness, designed to ensure the galvanization of eidos, re-launch of values and remastering of meanings. However, despite the self-evidently noble nature of such intentions, modern sports dramas are unable to fully realize their mission for a number of reasons. The first reason why biographical films about Soviet athletes do not turn into a guide to action, and their protagonists do not become sought-after role models, is the dramatic discrepancy between the glorified personal qualities of the heroes and the main plots of current popular psychology, which consistently inculcates the cult of hedonism and the so-called ‘positive mindset’. The second reason that determines the emergence of the viewer’s “cognitive lag” is associated with the unanimous silencing in such films of the ideological component of Soviet social relations as a factor that necessarily shapes personality (or the reduction of this factor to requisite and decorative markers): a complex of behavioral patterns, choices and motives thus turn out to be impenetrable to the viewer in the absence of interpretative model. As the third reason, the author names the formal, ‘dotted’ manner of depicting Soviet temporality in “champion fi lm sagas” and comes to the conclusion that unpacking and appropriating the didactic, instructive potential of legendary sports stories is impossible without a thoughtful depiction of Soviet social time.
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Wattimena, Lucas. "Wisata Kampung Adat Huaulu di Pulau Seram, Maluku." Kapata Arkeologi 11, no. 1 (August 30, 2016): 67. http://dx.doi.org/10.24832/kapata.v11i1.282.
Повний текст джерелаАнотація:
Traditional tourist village research of Huaulu on the Seram Island Central Mollucas, Mollucas Province. Is an early overview of their potential cultural resources and their supporters can be developed as a tourist destination. The purpose of this research is to know and understand the aspects of what can be developed from the cultural resources and support as a tourism destination.A qualitative approach as a method of research using data collection techniques; interviews, surveys or observation, and literature study. The results showed that the traditional tourist village of Huaulu is potential as a tourism village with emphasis on material cultural resources as a major capital management, conservation and development. Cultural resource material in question is among other things: 1) The potential for tourism and residential architecture; People of Huaulu building houses about the shape and type technique. Settlement pattern based on the rule monodualisme (good and bad, up and down, and taboos or no taboos). Aspects of technology and knowledge; is a key element in the understanding and knowledge of architecture and settlements and life cycle People of Huaulu on the environment and natural surroundings as well as human society outside their own group. 2) Potential tourism traditional arts and crafts; variety of decorative patterns and motifs People of Huaulu, and gender in the management and execution of traditional crafts.Penelitian wisata kampung adat Orang Huaulu di Pulau Seram, Kabupaten Maluku Tengah Propinsi Maluku adalah merupakan pandangan awal tentang potensi-potensi sumberdaya budaya yang ada beserta pendukungnya dapat dikembangkan sebagai tujuan pariwisata. Tujuan penelitian adalah untuk mengetahui dan memahami aspek-aspek apa saja yang dapat dikembangkan dari sumberdaya budaya dan pendukung tersebut sebagai destinasi pariwisata. Pendekatan kualitatif sebagai metode penelitian dengan menggunakan teknik pengumpulan data; wawancara, survei atau observasi dan studi kepustakaan. Hasil penelitian menunjukan bahwa kampung adat Orang Huaulu berpotensi sebagai Desa Wisata dengan mengutamakan sumberdaya budaya bendawi sebagai modal utama pengelolaan, pelesatrian dan pengembangan. Sumberdaya budaya bendawi yang dimaksud adalah antara lain :1) Potensi pariwisata arsitektur dan permukiman; bangunan rumah Orang Huaulu bentuk dan jenis peruntukannya. Pola permukiman berdasarkan kaidah monodualisme (baik buruk, atas bawah, pamali dan tidak pamali). Aspek teknologi dan pengetahuan; adalah unsur utama dalam pemahaman dan pengetahuan tentang arsitektur dan permukiman dan siklus hidup Orang Huaulu terhadap lingkungan dan alam sekitar serta manusia masyarakat diluar kelompok mereka sendiri. 2) Potensi pariwisata Seni dan kerajinan tradisional; ragam pola hias dan motif Orang Huaulu, serta gender dalam pengelolaan dan pengerjaan kerajinan tradisional.
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سليم, داليا محمد عزت أبو مسلم. "الإبداع التصميمي الغير مرئي (نظام الكيره) في معالجة أسطح وعناصر الفراغ الداخلي من خلال نمو النسق التكراري في العمارة والفنون الإسلامية وذلك قبل النسق التكراري المعاصر (نظام بنروز) = Creativity of Design for Alternative Invisible Geometry (Girih) : The Formation of Interior Elements through Growth Repetitive Patterns in Architecture and Islamic Arts before the Penrose Patterns". مجلة العمارة والفنون والعلوم الإنسانية, № 6 (квітень 2017): 172–91. http://dx.doi.org/10.12816/0036894.
Повний текст джерелаДисертації з теми "Repetitive patterns (Decorative arts) in architecture"
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
Повний текст джерелаАнотація:
In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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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.
Книги з теми "Repetitive patterns (Decorative arts) in architecture"
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Patterns: Design, architecture, interiors. Berlin: DOM publishers, 2008.
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Pattern: Ornament, structure, and behavior. Basel: Birkhäuser, 2009.
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Barbara, Glasner, Schmidt Petra, and Schöndeling Ursula, eds. Patterns 2: Design, art, and architecture. Basel: Birkhäuser, 2008.
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Petra, Schmidt, Tietenberg Annette, and Wollheim Ralf, eds. Patterns in design, art and architecture. Basel [Switzerland]: Birkhauser, 2005.
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Petra, Schmidt, Tietenberg Annette, and Wollheim Ralf, eds. Patterns in design, art and architecture. Basel [Switzerland]: Birkhäuser, 2005.
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1947-, Manglou Tony, Sida Serge, and Réunion Commissariat à l'artisanat, eds. Lambrequins. [Saint Denis?] Ile de la Réunion: Commissariat à l'artisanat, 1985.
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Karaosmanoğlu, Mehmet. Anadolu mimari bezemeleri: Roma çağı yumurta dizisi. Erzurum [Turkey]: Atatürk Üniversitesi, Fen-Edebiyat Fakültesi, 1996.
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Kogŏnch'uk kwa yŏdam. Kyŏnggi-do P'aju-si: T'aehagwŏn, 2020.
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Götz, Günter A. Ornamente an Dach und Fassade. Köln: R. Müller, 1992.
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Han-hyo, Chŏn, ред. Munyang ŭro ilgŏ ponŭn uri nara tanchʻŏng. Sŏul-si: Tʻaehagwŏn, 2007.
Знайти повний текст джерелаЧастини книг з теми "Repetitive patterns (Decorative arts) in architecture"
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Occhinegro, Ubaldo. "Muqarnas: Geometrical and Stereotomic Techniques in Ancient Islamic Architectures." In Advances in Media, Entertainment, and the Arts, 549–74. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0029-2.ch023.
Повний текст джерелаАнотація:
The topic of this chapter is the geometry and the construction of vaulted and decorative systems called ‘muqarnas', one of the most typical elements of Islamic architecture. This way of ‘vaulting spaces' or building roof and decorations with a system of regular staircase-elements that break down the surface covering it with simple geometrical figures, so as to make up complex patterns, spreads throughout Arabic countries, leading to the development of several styles, deriving from different generative geometries, and from building techniques and used materials. The reason which accounts for the widespread development of this type of decoration is to be found in the prohibition of the Moslem religion to portray idols or anthropomorphic figures of God, in contrast with the decorative techniques of sculpture and painting characterizing Christian art. The geometrical study which is at the basis of the Islamic art of decorating is arousing new interest and attention as regards the new systems of parametric modeling in computer art, besides opening new perspectives in standardized building techniques with new materials.
Тези доповідей конференцій з теми "Repetitive patterns (Decorative arts) in architecture"
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Li, Yiqing. "Study of Xi'an Islamic Architecture Decorative Patterns." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.393.
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