Chapter four. Principled Disagreements The Museum of Ornamental Art and Its Critics, 1852–1856 –1872

Grand Designs ◽  
2020 ◽  
pp. 126-159
Keyword(s):  
Ornamental Art

The emergence of bone-working and ornamental art in the Caucasian Upper Palaeolithic

Antiquity ◽  
2010 ◽  
Vol 84 (324) ◽  
pp. 299-320 ◽  
Author(s):  
Liubov V. Golovanova ◽  
Vladimir B. Doronichev ◽  
Naomi E. Cleghorn
Keyword(s):  
Early Modern ◽  
New Work ◽  
Upper Palaeolithic ◽  
Modern Humans ◽  
The Caucasus ◽  
Early Modern Humans ◽  
Ornamental Art

New work from the Caucasus is revolutionising the timing and character of the shift from Neanderthals to early Modern humans in Eurasia. Here the authors reveal a powerful signal of that change from excavations at Mezmaiskaya: the abrupt appearance of a well-formed bone industry and ornaments.

scholarly journals Hvordan lese islamske Ornamenter i skolen?

Prismet ◽  
1970 ◽  
pp. 85-94
Author(s):  
Geir Winje
Keyword(s):  
Religious Education ◽  
Primary Sources ◽  
Religious Texts ◽  
Minority Religions ◽  
Fundamental Level ◽  
Geometric Figures ◽  
Norwegian School ◽  
The Subject ◽  
Ornamental Art

This article presents various ways of symbolic reading of Islamic ornaments, derived from academic writings on the subject. They may be categorized as more or less minimalist or maximalist, depending on the degree of explicit meaning ascribed to geometric figures and stylized flowers. The different interpretations of ornamental art is then seen in connection with Religious Education in Norwegian school, and the article proposes among other things a reading in accordance with contemporary views on multimodality and composition. On a more fundamental level, the article discusses the use of religious primary sources in school, especially those representing minority religions. It argues in favour of a didactic model that differentiates between several dimensions in religious texts, spanning from concepts and values that are common to all mankind, to what is specific for the actual religion. 

scholarly journals THE TRADITIONS OF ORNAMENTAL UNTSUKUL NOTCHES IN THE WORK OF GAMZAT GAZIMAGOMEDOV

2020 ◽  
pp. 106-113
Author(s):  
Anzhela Saidovna Saidova
Keyword(s):  
Russian Federation ◽  
Applied Art ◽  
The Russian Federation ◽  
New Perspective ◽  
Ornamental Art ◽  
Artistic Analysis

The article considers the main and significant works of the people's artist of the Russian Federation G. G. Gazimagomedov, which characterize his ornamental art in a new perspective, through the prism of innovative forms and traditional heritage of the Avars. The author attempts to give an artistic analysis of these works, examines the applied innovative technological techniques and types of ornamental trends in the modern decorative and applied art of Dagestan.

Medieval ornamentation of the mausoleum of Aisha Bibi is the identity key of the regional architecture of Kazakhstan in the 21ST century

2021 ◽  
Vol 80 (2) ◽  
pp. 39-47
Author(s):  
L.M. Aukhadiyeva ◽  
◽  
G.S. Abdrassilova ◽  
Keyword(s):  
21St Century ◽  
Architectural Monument ◽  
Regional Architecture ◽  
Ornamental Art

The article is dedicated to the architectural monument of Kazakhstan, the mausoleum of Aisha Bibi, called by the architect Т.K. Basenov «the jewel of memorial architecture of Kazakhstan and treasury of the Kazakh ornamental art». The mausoleums of Aisha Bibi and Babaji Khatun were built in the XI-XII centuries and are located 18 km southwest of Taraz city. The mausoleum is the identity key of the regional architecture of Kazakhstan in the XXI century.

Features of Design of Gardens and Parks with Symbolic Meaning in Shymkent City—Kazakhstan

2019 ◽  
Vol 44 (1) ◽  
pp. 98-106
Author(s):  
Akmaral Yussupova ◽  
Liu Songfu ◽  
Ardasher Namazbay ◽  
Ahad Nejad Ebrahimi
Keyword(s):  
Landscape Architecture ◽  
Arid Zone ◽  
Urban Environments ◽  
Symbolic Meaning ◽  
Cultural Traditions ◽  
Design Structure ◽  
Symbolic Meanings ◽  
Ornamental Art ◽  
Socio Economic Factors

This study investigated the emerging progressive use of ornamental art in the landscape architecture of Kazakhstan and determined the influence of symbolism on the quality of new urban environments. The study analysed the existing recreational facilities in Kazakhstan in order to establish their symbolic meaning, the level of utilisation of symbolic ornaments, and the socio-economic factors that influence the design structure of landscape elements. The results revealed that symbolic meanings of the ornaments stem from historic, legal and cultural traditions of different ethnic groups in Kazakhstan. Therefore, the form depends on not only the topography of the area, but also the traditional symbolism and numerology. This study categorised the studied places according to their size: large gardens, small squares and small landscape forms. Taking into account the natural and climatic features of Kazakhstan, small landscape forms acquire the quality of arid zone gardens. However, lack of identity and consistency appears to be a major problem in design of larger scale landscapes. This article posits that coordination between socio-economic and historical-cultural factors will open new creative opportunities for the development of an original landscape architecture in Kazakhstan, yet balance between environmental construction and contextually meaningful urban planning will still be needed.

DECORATIVE AND STYLISTIC ORIGINALITY OF UNTSUKUL ORNAMENTAL COMPOSITIONS NOTCHES OF G. GAZIMAGOMEDOV

2020 ◽  
pp. 97-104
Author(s):  
Anzhela Saidovna Saidova
Keyword(s):  
Material Culture ◽  
Russian Federation ◽  
Artistic Style ◽  
The Russian Federation ◽  
New Perspective ◽  
Ornamental Art ◽  
Complex Formations ◽  
Arabic Calligraphy

This article discusses the famous works of the national artist of the Russian Federation G. G. Gazimagomedov, characterizing his ornamental art in a new perspective, through complex formations taken from the traditional material culture of the Avars. The author made an attempt to cover present an artistic of the works of the applied artist, to identify the artistic style and direction in the modern ornamental Untsukul art of notching and inlay. Systematization and analysis of the ornamental notch of G. Gazimagomedov allowed us to get acquainted with the variety of different compositions. The artist in his works uses Arabic calligraphy and ancient Avar sustainable “nakish-ishans” (ornaments). The return to the folk origins contributes significantly to the development of traditional Untsukul art.

The Dynamic Eye

2016 ◽  
pp. 367-402
Author(s):  
Giuseppe D'Acunto
Keyword(s):  
Sixteenth Century ◽  
The Other ◽  
Ornamental Art

During the Sixteenth century, the studies about perspective reach an higher level of systematize, so high to open their field of action to geographical and astronomic representations: In the painting and ornamental art, especially, it start to use a different way of perspective technique more cunning and provocative, in agreement with the desire of contemporaneous artists and scientists to go beyond, across the limit of reality where ‘it shown only things that you can see' for a fresh look – physical and symbolic - to the Other from her- or himself, to a new and more exciting overlook in which “…the appearance eclipses the reality”. The more odd and bizarre aspects of the perspective rules' turn into the aim of research, where its interior laws are taken to an extreme level and are employed to verify the expressive prospect of the same technique, beyond any restitution of realistic appearance to the represented subject, organic or not. It is so the time of anamorphosis.

The Ceremonial Bar and Associated Features of Maya Ornamental Art

1941 ◽  
Vol 7 (1) ◽  
pp. 48-63 ◽  
Author(s):  
Walter W. Taylor
Keyword(s):  
Actual Practice ◽  
Maya Archaeology ◽  
New Information ◽  
Single Complex ◽  
Ornamental Art

In 1913, Spinden published his monumental work on the artistic forms in Maya culture. Since that time, many of his statements have assumed axiomatic character in the literature and discussion of Maya archaeology. However, as was to be expected, new information has tended to modify some of the generalizations put forward in 1913. In the present paper, I would like to offer evidence to support the hypothesis that certain artistic compositions, treated separately by Spinden, actually are members of a single complex, and then to review some of his generalizations in the light of this evidence and Maya chronology.The complex which I propose to demonstrate consists of the Ceremonial Bar, the Bar Pendant, and the Frieze-mask. It is my thesis that the Bar Pendant is the conceptual equivalent of the Ceremonial Bar and, in actual practice, is substituted for the latter. Similarly, the Friezemask is conceptually connected with the Bar and, thus, directly or indirectly, with the Pendant.

Gestalt psychological interpretation of ornamental art

Ethnos ◽  
1946 ◽  
Vol 11 (1-2) ◽  
pp. 49-62
Author(s):  
Sverre Holm
Keyword(s):  
Ornamental Art
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