scholarly journals Using modern decorative design in the products to win new customers and markets

2022 ◽  
Vol 1 (1) ◽  
pp. 1
Author(s):  
Tarek Ismail Mohamed
Keyword(s):  
Decorative Design

scholarly journals Discussion on Exhibition and Decorative De-sign of Museum

2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Haijun Wang
Keyword(s):  
Point Of View ◽  
Construction Work ◽  
Continuous Development ◽  
Basic Part ◽  
Daily Work ◽  
Decorative Design ◽  
China’S Economy ◽  
Museum Exhibition

The work of museum exhibition and decorative design isa part of the important daily work of the museum, but also a relatively basic part. With the continuous development of China's economy, the museum has been promotedto devel-op, which enriches our lives and culture. However, with the development of society, the museum exhibition and decora-tion design has encountered a lot of problems with respect to actual construction. In general, attention to the museum exhibition and decorative design needs improving, including theoretical and practical aspects of construction. In order to further promote the construction of the museum, we need to optimize the relevant construction work of the muse-um. Next, I will combine my own practical activities to have a discussion from the point of view of the museum exhibi-tion and decorative design, hoping to have certain reference significance for relevant personnel.

scholarly journals Symbolism of decorative design of ancient Chinese bronzes

2021 ◽  
pp. 215-223
Author(s):  
Светлана Николаевна Шаповалова
Keyword(s):  
Chinese Art ◽  
Semiotic Analysis ◽  
Religious Worldview ◽  
Art Objects ◽  
Bronze Vessels ◽  
Western Zhou ◽  
Decorative Design

Статья является продолжением семиотического анализа декоративно - орнаментальных элементов, украшающих древнекитайские предметы искусства. Личина Тао-те (Tao-tie (饕餮) и входящие в ее состав фигуры дракона Куй до сих пор не имеет научного определения, так как ни в одном письменном источнике нет упоминания об изображенном иконостилистическом персонаже. Исследование опирается на анализ пиктографических изображений (иероглифических надписей) на бронзовых сосудах эпохи Шан, раскрывающих семантику некоторых специально подчеркнутых деталей узора. В результате исследования объясняется значение изображенных элементов: символа гуй (возвращение) и знака «уха» (эр) , подтверждающих принадлежность образа Тао-те к описанию божественного первопредка и способствующих в осмыслении религиозного мировоззрения государств Ся (2017 -1765 г. до н.э.), Шан-Инь (1554 - 1046 г. до н.э.) и Западное Чжоу (1045 - 770 г. до н.э.). The paper is a continuation of the semiotic analysis of ornamental elements decorating ancient Chinese art objects. The mask of Tao-tie (饕餮), including the figures of the dragon Kui making it up, still has no scientific definition, since there is no mention of the depicted, iconostylistic character in any written source. The study is based on the analysis of pictographic images (hieroglyphic inscriptions) on bronze vessels of the Shang Era, revealing the semantics of some specially emphasized details of the pattern. As a result of the study, the significance of the depicted elements is explained: the hui symbol (return) and the "ear" sign (er), confirming the belonging of the image of Tao-tie to the description of the divine primacy and contributing to the understanding of the religious worldview of the dynasties of Xia (2017 -1765 BC), Shang-Yin (1554 - 1046 BC) and Western Zhou (1045 - 770 BC).

Research on Creative Thinking of Ceramic Product Design Based on Style Characteristics

2021 ◽  
Vol 7 (5) ◽  
pp. 2082-2093
Author(s):  
Xiao Wang
Keyword(s):  
Product Design ◽  
Creative Process ◽  
Creative Thinking ◽  
Ceramic Materials ◽  
Market Demand ◽  
Ceramic Product ◽  
Decorative Art ◽  
Ceramic Design ◽  
Design Type ◽  
Decorative Design

Objectives: Ceramic product design is a process that is the most purposeful, practical and aesthetic product system design made of ceramic materials. It is a creative process of conception, behavior and realization. Design is a creative process, and the power of creativity comes from the use of creative thinking by designers. As a kind of design type, ceramic design, in the face of constantly updated market environment and market demand, naturally cannot exist independently from creative thinking. Methods: The innovative design of ceramic products, once accepted by the society, is not only the decisive factor for the quality leap of ceramic products, but also an important condition for ceramic products to gain competitive advantage in sales. The application of ceramic decorative art in modern decorative design is undoubtedly a new fashion element in the development of modern decorative design. Results: Based on the perspective of the style characteristics of product design, this paper interprets the ceramic decorative art and studies the combination of ceramic product design and creative thinking. Conclusion: In the process of design, creative thinking is used to show the value of products, which provides inexhaustible power for the innovation and development of product design.

Between Script and Ornament: Delftware Decorated with Pseudo-Chinese Characters, 1680–1720

2020 ◽  
Author(s):  
Willemijn van Noord
Keyword(s):  
Seventeenth Century ◽  
Wide Spectrum ◽  
Chinese Characters ◽  
Semantic Meaning ◽  
The Relationship ◽  
Decorative Design

Abstract In the late seventeenth century, Dutch Delftware manufacturers developed refined ceramics with an entirely new decoration of pseudo-Chinese characters. The application of this extraordinary design did not replicate Chinese porcelain examples and today it is usually dismissed as made up and meaningless. However, illegible script—be it foreign or ‘pseudo’—in any form of art has, if not a specific semantic meaning, a certain agency to evoke particular spheres of authenticity and remoteness and therefore deserves further investigation. Moreover, closer examination of these decorations and their sources of inspiration—both Dutch and Chinese, ceramic and print—reveals that there is a wide spectrum of authenticity and intentionality that ranges between script that appears to have been invented and symbols that show resemblance to actual Chinese characters. This article focusses on the transfer and reinterpretation of script as a decorative design, and how the presence of characters negotiates the relationship between Delftware and Chinese porcelain. By comparing the pseudo-characters on Delftware to pseudo-scripts on other materials, the function of pseudo-script as a design and its relationship to materiality is explored. As characters were appropriated and applied in different contexts, their connotations swayed between Chineseness and foreignness, script and ornament.

The Art of Decorative Design. Christopher Dresser

1981 ◽  
Vol 16 (1) ◽  
pp. 106-108
Author(s):  
Charlotte M. Porter
Keyword(s):  
Decorative Design

A Note on the “ Ying tsao fa shih ”

1930 ◽  
Vol 5 (4) ◽  
pp. 855-860
Author(s):  
W. Perceval Yetts
Keyword(s):  
Sixteenth Century ◽  
The Subject ◽  
Manuscript Copy ◽  
Decorative Design

The vicissitudes suffered by this famous architectural treatise, and especially the sources of the splendid re-edition published in 1925 were the subject of an earlier article in the Bulletin (Vol. IV, Pt. Ill (1927), pp. 473–92). A happy chance throws new light on the 1925 edition and allows me to add this note to what was said before. It is the presence in England of a sixteenth century manuscript copy of a part of the Ying tsao fa shih. If the editors of the 1925 edition had had access to this, they would doubtless have turned to it for data in their efforts to reconstruct the lost Sung original. At all events, the drawings it contains are of great interest to students of Chinese decorative design, for reasons to be mentioned presently.

Decorative Design for Beginners

Design ◽  
1947 ◽  
Vol 49 (1) ◽  
pp. 16-16
Author(s):  
Marie K. Gerstman
Keyword(s):  
Decorative Design

Research on Design of Artistic Style of Automotive Interior Fabric

2011 ◽  
Vol 332-334 ◽  
pp. 200-204
Author(s):  
Shan Gao ◽  
Li Ping Hu
Keyword(s):  
Practical Significance ◽  
Vehicle Interior ◽  
Pattern Design ◽  
Textile Design ◽  
Artistic Style ◽  
Automotive Market ◽  
Functional Aspects ◽  
Fabric Design ◽  
Automotive Interior ◽  
Decorative Design

With the development of the automotive market, automotive interior fabric design becomes an important category of textile design. The design of automotive interior fabric in our country is more focused on the design and research of comfort, safety, health and other functional aspects. At the same time, the artistic and personalized decorative design hasn’t been paid enough attention .The material quality, the color and pattern design of the automotive interior fabric play an important role in shaping the style of overall vehicle interior environment. The diverse styles of the automotive interior fabric design have an important practical significance for the car companies to create distinctive products and meet the needs of different consumers.

scholarly journals Gold Embroidery Style Features of the Mishar Tatars of the Ulyanovsk Region

2020 ◽  
Vol 17 (2) ◽  
pp. 140-150
Author(s):  
Lyudmila M. Shklyaeva
Keyword(s):  
Ethnic Composition ◽  
Spiritual Values ◽  
Decorative Art ◽  
The Past ◽  
Ulyanovsk Region ◽  
The Aesthetic ◽  
Female Occupation ◽  
The Universe ◽  
Rural Part ◽  
Decorative Design

The article reveals the origins and style features of the gold embroidery of the Mishar Tatars of the Ulyanovsk Region. Though surrounded by a population that is not uniform in ethnic composition, including the Chuvash, Mordovian, Mari, Udmurt and Russian peoples, the Mishars have preserved the aesthetic preferences of their ancestors. For centuries, the bib — an element of the national costume — has maintained the visually expressed originality of its decorative design conditioned by the traditions characteristic of this local group. The gold embroidery was a hereditary female occupation; its technique, as well as unique ornamental elements, were imparted from mother to daughter. Samples of needlework by masters of the past indicate the uniqueness of the patterned finish as well as the main trends of its development. The design techniques include large floral elements arranged in a certain compositional order. Its artistic structure uses the principle of symmetry as a reflection of the balance and stability of the universe. The repetition of images symbolizes the cyclical nature of being and reproduction processes. The style features of the Ulyanovsk Mishars’ gold embroidery include the homotypic impregnated technique and the relief of finishing elements. The interpretation of the key character-symbol in the center, which combines solar and floral forms, is diverse. The stylistic features of the Mishars’ gold embroidery reflect the system of the spiritual values common to the Tatars that were feeding the artistic forms of decorative art, originally sourced by the Bulgarian urban culture of the Golden Horde period, and then the Kazan Khanate. For many centuries, the best samples were selected and polished in the course of time. The style-forming elements of the national costume components’ gold decoration were steadily reproduced. The tradition of their application allows us to assume that the ancestors of the modern Mishar Tatars living in the rural part of the Ulyanovsk Region were of urban origin.

Sign in / Sign up

Export Citation Format

Share Document