Vietnamese Blue and White Ware. Decorative Motifs and Symbols

2021 ◽  
pp. 205-212
Author(s):  
Katarzyna Czapska
Keyword(s):  
Decorative Motifs

Decorative motifs on oil lamps from Grimm's 1973 excavations in Alexandria

2019 ◽  
Author(s):  
Heba Abdel Wahed Sayed
Keyword(s):  
Point Of View ◽  
Symbolic Meaning ◽  
Ancient History ◽  
Different Types ◽  
Decorative Motifs ◽  
Egyptian Culture ◽  
Late Roman

A collection of 30 clay oil lamps from Gunther Grimm's excavations in 1973 in the Western necropolis of Alexandria has been classified by Safaa Samir Abu Al Yazid from Tanta University and found to represent 12 different types ranging in time from the Hellenistic to the late Roman periods in Egypt's ancient history. The present paper looks at this collection from the point of view of the symbolic significance of the decorative motifs used in their decoration. These motifs— figural, floral and geometric—had obvious symbolic meaning to their users and signified more than a simple belief in certain deities. They also reflected Roman Egyptian culture.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

scholarly journals The Batik Kompeni Ornament Variety As An Acculturation Result In The Development Of Batik Decorative Motifs In Cirebon Coastal

2022 ◽  
Author(s):  
Nuning Yanti Damayanti ◽  
Ariesa Pandanwangi ◽  
Belinda Sukapura Dewi ◽  
Arleti Mochtar Apin
Keyword(s):  
Decorative Motifs

scholarly journals 4. Knowledge and Valorisation of the Plastic Language and of the Folk Decorative Motifs in the Artistic Education Study Process

2017 ◽  
Vol 14 (1) ◽  
pp. 151-158
Author(s):  
Olimpiada Arbuz-Spatari
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Language Theory ◽  
Education Students ◽  
Artistic Creativity ◽  
Education Study ◽  
Textile Art ◽  
Decorative Motifs ◽  
Study Process ◽  
Art Course

Abstract The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.

scholarly journals Early Neolithic of Trans-Urals: the contemporary view on historiographic problems

2019 ◽  
Vol 8 (2) ◽  
pp. 200-208
Author(s):  
Vadim Sergeevich Mosin ◽  
Ekaterina Sergeevna Yakovleva
Keyword(s):  
Material Culture ◽  
Statistical Processing ◽  
Forest Steppe ◽  
Early Neolithic ◽  
Decorative Motifs ◽  
Critical Issues ◽  
Source Study ◽  
Bodies Of Evidence ◽  
Radiocarbon Chronology ◽  
Archaeological Cultures

This paper is devoted to the critical issues of historiography and source study in the early Neolithic of the Trans-Urals. The authors consider basic dated monuments in the context of radiocarbon chronology; analyze the established criteria for identifying archaeological cultures and ceramic traditions and types of this period. Based on statistical processing of the ceramics of the forest-steppe Tobol region settlements: Tashkovo 1, Dolgovskoe 3, Kochegarovo 1, Ust-Suerka 4, the authors distinguish some stadial features in the evolving of the material culture of the early Neolithic in the first and second halves of 6 thousand BC. Attention is paid, firstly, to the co-existence of Koshkino and Kozlovo ancientries within the settlements, and, secondly, to the coincidence of a number of characteristics of Koshkino and Kozlovo material culture regarding the morphology of potteries, ornamentation techniques and basic decorative motifs. Within the framework of a sociocultural approach, it is proposed to consider the bodies of evidence as complexes of two coexisting and interacting traditions within one sociocultural space, understood in the source sense as an archaeological culture, instead of dividing them into two independent lines of development. Besides it is emphasized that the problem of the Neolithization of Trans-Urals, on the basis of the available data, at this time cannot be solved plausible.

scholarly journals TAS GEGANDEK DESA LOYOK KECAMATAN SIKUR LOMBOK TIMUR

2018 ◽  
Vol 8 (1) ◽  
pp. 79
Author(s):  
Muhammad Erwin . ◽  
Dr. I Ketut Sudita, M.Si . ◽  
Dr. Drs. I Nyoman Sila, M.Hum. .
Keyword(s):  
Qualitative Research ◽  
Decorative Motifs ◽  
Painting Process ◽  
Materials Used ◽  
Selection Of ◽  
Descriptive Qualitative

ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan; (1) Bahan dan alat dalam memproduksi tas gegandek di Desa Loyok kecamatan Sikur Lombok Tmur, (2) Proses pembuatan tas gegandek di desa Loyok Kecamatan Sikur Lombok Timur, (3)Motif hias yang diterapkan pada kerajinan tas gegandek di desa Loyok kecamatan Sikur Lombok Timur. Subjek penelitian adalah perajin tasgegandek di desa Loyok kecamatan Sikur Lombok Timur. Jenis penelitian yang digunakan adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang dilakukan adalah menggunakan teknik observasi, wawancara, dan teknik dokumentasi. Hasil penelitian menunjukkan (1) Bahan yang digunakan, (a)Bambu Tali,(b) Cat, (c) Tali rotan dan nilon, (2) Alat yang digunakan (a) Gergaji, (b) Bateq/golok, (c)Maje, (d) Pengkeres,(e)Meteran, (f) kuas cat (3) Proses pembuatan tas gegandek (a) Proses pemilihan bambu, (b) Proses pengolahan bambu, (c) Proses pengirisan, (d) Proses pengecatan,(e) Proses menganyam (f) Proses pembuatan anakan tas, (g) Proses pembuatan tali, (4) Motif hias yang sering diterapkan (a) Motif hias bunga pihuntuan, (b) Motif hias pihuntuan tertutup, (c) Motif hias mata walik, (d) Motif hias kepang pihuntuan, (e) Motif hias bunga gambir, dan (f) Motif hias hiumpik. Kata Kunci : Kerajinan, Tas gegandek, Motif hias ABSTRACT This research aimed to describe (1) the materials and tools in producing gegandek bag at Loyok Village, Sikur, East Lombok, (2) the process of making gegandek bag at Loyok Village, Sikur, East Lombok, (3) the decorative motifs applied to gegandek bag crafts at Loyok Village, Sikur, East Lombok. The object of this research was the gegandek bag craft located at Loyok Village, Sikur, East Lombok. This was a descriptive-qualitative research. The data of this research were collected through observation, interview, and documentation techniques. The result of the research showed that (1) the materials used in producing gegandek bag were (a) bamboo string, (b) paint, (c) rattan string and nyilon, (2) the tools used in producing gegandek bag were, (a) saw, (b) machete, (c) maje, (d) pengkeres, (e) gauge, (f) paint brush. (3) the process of making gegandek bag were, (a) selection of bamboo, (b) bamboo processing, (c) slicing process, (d) painting process, (e) plaiting process, (f) the process of making bag till, (g) the process of making string. (4) the decorative motifs applied to gegandek bag crafts were (a) bunga pihuntuan motif, (b) pihuntuan tertutup motif, (c) mata walik motif, (d) kepang pihuntuan motif, (e) bunga gambar motif, dan (f) hiumpik motif. keyword : Craft, Gegandek Bag, Decorative Motifs

Descriptive Catalogue

2005 ◽  
Author(s):  
Roger Ling ◽  
Lesley Ling
Keyword(s):  
Base Line ◽  
Wall Paintings ◽  
Main Zone ◽  
White Line ◽  
Border Line ◽  
West Wall ◽  
Half Height ◽  
Decorative Motifs ◽  
The Right ◽  
Full Height

The pavement of room 1, like that of 3, is mortar (cocciopesto), containing isolated fragments of white and coloured marbles, including bardiglio scuro (or Hymettan?), giallo antico, and portasanta(?), amid a regular scatter of white chips, from 0.05 to 0.10 apart. A band of more closely spaced white tesserae, approx. d. 0.60 × w. 2.90 (tesserae from 0.005 to 0.008), marks the threshold between rooms 1 and 3. The three fragments of bardiglio scuro have maximum measurements of 0.20 × 0.125; 0.15 × 0.07; 0.06 × 0.065. Wall-paintings (Figs. 4, 5a; Pl. 133; Elia, 265; PPM ii. 231–2, figs. 2–4) State of preservation. The wall-paintings are late Third Style, with design and colours now damaged but with a few exceptions relatively easy to decipher. The W wall is the most complete, with plaster preserved to full height on the right, but dropping to just above the top of the dado near the left end before rising again to half-height in the SW angle. On the E wall, decorated only to the right of the doorway to room 2, the plaster is well preserved to mid-height. The S side of the room is open to room 3, but the shallow responds at each side retain plaster to mid-height. The N wall has no decoration other than fragments of a lararium painting to the right of the street entrance. The plaster overlaps the pavement. West wall. The DADO (ht. 0.82) is black with a delicate design of white and yellow lines, focused on a series of four little panels containing decorative motifs, one beneath each of the intervals of the main zone. Within an overall frame formed by a narrow white base-line (0.15 above the floor) and vertical white lines at each end (0.07 from the left angle, 0.19 from the right) the space is divided into five parts (w. resp. 0.70, 0.95, 1.17, 0.92, and 0.72) corresponding to the fivefold structure of the main zone. The two central divisions are each effected by a vertical white line interrupted at mid-height by a tiny square tilted at 45º; this is framed by the same white line, with an inner border-line in yellow, and contains a central rosette in white.

Polychrome Sculpture in Early Modern Spain

Art History ◽  
2020 ◽  
Author(s):  
Ilenia Colón Mendoza
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
17Th Century ◽  
Religious Art ◽  
Complete Control ◽  
Gold Silver ◽  
Decorative Motifs ◽  
Animal Hair ◽  
Architectural Framework ◽  
Polychrome Sculpture

Polychrome sculpture forms a cornerstone of the religious art produced in Spain in the early modern period. During the 16th century a single piece of wood was often used and during the 17th century wood sections were joined together with nails or dowels. The carved wood was covered by layers of gesso which was then painted. For areas of flesh the paint is done in encarnaciones or flesh tones in gloss or matte finish. For the dressed portions of the sculpture, bole was used to hold gold or silver leaf in place. On other occasions the artist tried to imitate quilted silk known as estofa through the estofado technique where paint was placed on top of the gold or silver leaf and the desired pattern was scratched out or punched. The use of glue-sized fabric or tela encolada was also prevelent and as the 17th century progressed the use of postizos such as cork, bull’s horn, and glass eyes increased. Glass and crystal were used to make eyes and teardrops, the polychrome cork for open wounds, human parts or animal bones were frequently used for making teeth and nails, human or animal hair for eyelashes and hair, and gold, silver, and gemstones to make jewelry. Some sculptures done in the round also had movable parts such as arms or legs and others could be dressed with fabric. The sculptures that are adorned with fabric are known as imagenes de vestir. Besides single figures for procession or worship large altarpieces were also produced in Spain. The retablo incorporates an architectural framework with sculpture and painting that can be traced from the Gothic to the late 17th century. The hierarchy of the sculpture workshop was divided into masters, officials, and apprentices. This hierarchy as well as the labor they practiced was often flexible. For example, we know of officials that were considered masters and of masters that completed all parts of the labor. In general, the labor in the sculpture workshop was divided into specialists such as entallador (carver specialized in decorative motifs), ensamblador (assemblyman), aparejador (preparer), dorador (guilder), estofador (decoration imitating textiles), encarnadores (painters of flesh tones), and lapidarios (gemworkers). Sculptors and painters collaborated on the production of these works. With time, sculptors took examinations in both disciplines to achieve complete control of their creations.

Decorative Motifs On Great Oasis Pottery

1969 ◽  
Vol 14 (46) ◽  
pp. 272-276
Author(s):  
Elden Johnson
Keyword(s):  
Decorative Motifs

Traditional ornaments of Świdermajers’ style windows in the town of Otwock

2019 ◽  
Vol 107 ◽  
pp. 84-103
Author(s):  
MARTA DWORNIK ◽  
ANNA ROŻAŃSKA ◽  
PIOTR BEER
Keyword(s):  
Main Part ◽  
Decorative Motifs ◽  
The Town

The paper provides an analysis of windows in antique Świdermajers’ style wooden buildings, located in Otwock. It has been discovered that many of them have been already replaced with new ones. Attention was paid to the traditional Polish casement window structure with transom and the main part below, additionally divided into smaller areas by wooden horizontal or vertical muntins. Analysis of traditional window carpentry elements such as shutters, window sills, cornices and batten frames was made together with their classification based on different kinds of decorative motifs.

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