Memphis patterns in graphic design

The purpose of this work is to study the theory of Memphis patterns use, as well as the use of elements of ornamental art in graphic design, which are extremely relevant in modern design. The Memphis pattern trend in modern graphic design requires in-depth analysis. Why is the specificity of the means of expressing Memphis patterns associated with the requirements of today’s effective communication? This study examines the techniques of the artistic language of the Memphis pattern and its expressive means. The analysis of the used ornamental elements is carried out. The connection between the Memphis and the neo-geo styles of their artistic techniques, which are based on the ornaments of the past, is outlined. The study notes that a person at all times is connected with their past and their ideas about beauty are returning today in new forms of digital technologies. The provisions of the study are of methodological value for understanding the current trends in graphic design.

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

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.

The quatrefoil motif and its probable origins in Sakha folk ornamental art

The quatrefoil motif is a popular ornament in Sakha decorative and folk arts and crafts. It is popular not only in Yakutia, but all over the world. Until now, however, there have been no generalized works on this ornamental motif. Its symbolic signs have not been studied. Our study has revealed that the quatrefoil motif in ornamentation and decorative art dates back to the Neolithic period in the Halaf culture of Mesopotamia around 5765 BC. A number of researchers believe that this motif was a symbol of male fertility. We hypothesized that the quatrefoil motif probably appeared in the seals of Caucasian persimmon merchants and depicted the quatrefoil of its calyx. Thanks to the growing influence of trade, this motif has spread around the world. The oriental persimmon, as an important product for the well-being of the ancient Chinese population, became an image of the quatrefoil motif, which was adopted by the Xiongnu as a symbol of protection and resurrection. From them, the motif probably spread widely among the Turkic peoples. The Sakha apparently borrowed this motif from the Xiongnu, as indicated by the abundance of ornamental forms and the presence of archaeological, anthropological, and genetic data, which show the existence of sufficiently close links with the Xiongnu culture. The quatrefoil motif similar to the decorative forms of Gothic cathedrals was probably introduced to the Middle Lena by representatives of the Chaatas and Tyukhtyat cultures in Khakassia.

The Magic of Patterns: Ornamental Art of the South-East Asia

An overview of the exhibition «The Magic of Patterns. Ornamental Art of the South-East Asia» which took place from March 23 to June 24, 2021, at the Novosibirsk State Art Museum provides a description of the main types of arts and crafts in Southeast Asia — textiles, weapons, jewellery and toreutics, theatre puppets, adorned by intricate decor. The article is illustrated with examples from the Moscow State Museum of Oriental Art, which were shown at the exhibition.

Medieval Islamic Stucco Décor vs. Soviet Architecture of Uzbekistan

This is a review of what is termed ‘twentieth-century Central Asian national style’. It aims to answer the question of how the twentieth century treated the heritage of early Islamic ornamental art. My research uses the example of carved stucco architectural décor in Uzbekistan. This technique was traditional in both the early Islamic period and the twentieth and twenty-first centuries. Uzbekistan was chosen because it possesses the most representative examples of architecture, illustrating common processes for all of Central Asia. I raise the questions of adoptions and rejections in stylisation, review the stages of reinterpretation and reconsideration, and finally propose my own periodisation.

Folk Ornament is One of the Means of Pedagogical Education

Decorative and applied arts as a spiritual culture of society developed over the centuries, achieving the spread of real folk traditions and customs, which at certain stages of historical development formed its moral culture. The study of ornament is a means of achieving certain results in the development of creative activity of future teachers of fine arts. The article reveals the aspects and functions of ornamental art which makes it possible to apply its study in the educational process of pedagogical universities as an effective way to build a complete picture of the world and the development of students’ artistic and creative activity. This paper is devoted to folk ornaments as multifunctional phenomenon of folk culture. Its potential is seen by the authors as a source of reserve and worldview, values, moral, artistic, aesthetic and educational means. Definitions of the most important aspect in ornamental art are given.

Semantics of Tatar ornamental motives

The decorative and applied art of the Kazan Tatars includes ornamental motives which are studied in the article from the point of view of the art semiotics. The relevance of the work is associated with realization of the relationship between the formation of ornamental elements with gesture and sound which in the process of evolution promoted to the creation of a pictorial language. The detected interaction is revealed through the description and ornamentation analysis method in all its forms: geometric outline, zoomorphic, plant, combined, religious, epigraphic, heraldic embodied by the Kazan Tatars in the objects of decorative and applied art. A review of the museum and collection base exhibits of ornamental art objects helped to classify them according to the types of ornamentation: visual, combined and non-visual. The aim of the paper was to analyze the ethno cultural features of Tatar art through the semantics of ornamental motives.