TYPOLOGICAL, TECHNICAL AND TECHNOLOGICAL CHARACTERISTICS OF THE EARLY VOLOSOVO CERAMICS IN THE MARI VOLGA REGION

В статье представлены новые результаты изучения керамики волосовской культуры территории Среднего Поволжья. В ходе обобщающего исследования было выявлено, что в ранней волосовской керамике преобладают прямые и утолщенные венчики. Преимущественно прямая профилировка сосудов. Высок процент орнаментированной посуды, общая схема орнаментации горизонтальная и вертикальная. В качестве элемента орнамента превалируют оттиски гребенчатого штампа. При подсчете коэффициента сходства 9 рассмотренных в работе памятников, относящихся к ранней волосовской культуре, было выявлено, что наиболее высокие коэффициенты сходства получены при подсчете по формам венчиков и элементам орнамента. По результатам технико-технологического анализа также выражена стандартизация рассматриваемых материалов. The paper presents new results of study of ceramics from the Volosovo culture sites located in the Middle Volga region which is important for research of the Volosovo culture. This synthesis-oriented research has found that straight and thick rims predominate among the early Volosovo ceramics. Vessel profiling is predominantly straight. The ornamented vessels account for a large percentage share of the found vessels, the decoration pattern is organized horizontally and vertically. The comb stamp imprints predominate as a decorative element. The calculations of the similarity coefficient for nine sites attributed to the Early Volosovo culture demonstrate that the highest similarity coefficients have been obtained for rim shapes and decorative pattern elements. The results of the technical and technological analysis also demonstrate standardization of the analyzed materials.

Non-Destructive Analytical Investigation of Decorative Wallpapers Samples of the Nineteenth Century before Their Restoration

In this work, decorative wallpapers (19th century) from an historical palace located in Oiartzun (Basque Country, Spain) were analyzed before their restoration. Micro-energy dispersive X-ray fluorescence spectroscopy, Raman spectroscopy, and attenuated total reflectance infrared spectroscopy were used to investigate the elemental and molecular composition of pigments, the presence of binders, and the state of conservation of the paper support. The aim of the investigation was trying to understand the possible degradation pathways and identify the raw materials in order to choose the best restoration protocol according to the original aspect of wallpapers. As stated from both the elemental distribution and the identification of mineral phases by Raman spectroscopy, the most used pigment was lead chromate. It was mixed with other pigments such as ultramarine blue, zinc chromate, hematite, and atacamite among others to obtain different shades and they were applied mixed with an animal glue. Brass, identified thanks to elemental micro-EDXRF maps, was employed as a shiny decorative element. In addition, a partial degradation of cellulose was detected due to its natural ageing, the acidic nature of lignin, and to a phenomenon of humidity of the walls. Probably the deposition of black particulate matter was the cause of the darkening of the painting surfaces.

Coins as decoration and element of the Tatar traditional costume in the XIX – XX centuries

This article discusses the historical-culturological component of coins in jewelry and women's costume of the Volga Tatars in the XIX – XX centuries. The subject of this research is the coins of the tsarist, Soviet and modern Russian periods, which in one way or another were used as a decorative element in the Tatar national costume and jewelry. Research methodology is comprised of the general scientific and private scientific, such as culturological analysis, empirical experience of the author in jewelry restoration, and interview. The article relies on iconographic materials, jewelry, as well as essays and testimonies of the eyewitnesses. The scientific novelty lies in the thematic selection of sources and information, analysis and comparison of the facts. The author touches upon previously unstudied technical and technological aspects in preparation and processing of coins for their use as decoration. The article reveals the specificity of using coins for decorative purposes, provides information and hypotheses based on the sources that describe the use of coins in costume decoration. The author is first to carry out the classification of coins depending on the method of fixation, perforation and elements of the costume. The article describes the method of historical dating based on the technical and technological methods of processing of coins for application in jewelry.

The effect of dry demineralized whey (DDW) and coconut oil on the rheological characteristics of the legume butter

This article reveals the possibility of using legume butter to obtain a new combined product of increased quality. The technology of model compositions of finishing semi-finished products, in particular, confectionery legume butter with DDW, has been developed. The results of a study on optimizing the recipe composition of finishing semi-finished products made it possible to develop this technology of multifunctional confectionery butter with the desired (specified) organoleptic and structural and mechanical properties. The analysis of the formation of the structure of legume butter of oppositely directed processes in the enzymatic destruction of the residual cellular structure and spontaneous aggregation of protein particles into the spatial structure due to gradual dehydration of the system was carried out. It is noted that sugar plays the role of a plasticizer, reducing the rate of gelatinization of starch while reducing the viscosity peak. The use of dry demineralized whey (DDW) in legume butter technologies contributes to the formation of a stronger structure of the protein component and the development of a spatial structure, which gives it certain structural and mechanical properties. Three main directions of technological use of confectionery butter were established, which are based on structural characteristics of consistency: 1 – confectionery butter used to cover confectionery products and as a layer for them (CP – Confectionery Products), where the main indicator of consistency is extensibility; 2 – confectionery butter used for making flowers, as a decorative element for flour confectionery (SC – Sugar Confectionery)), where the main indicator of consistency is an equivalent ratio of extensibility and forming ability; 3 – confectionery butter used for modeling shaped products, as a decorative element for flour confectionery products, where the main indicator of consistency is the forming ability. The results of studies of the rheological characteristics of legume butter with dry demineralized whey (DDW) and coconut oil are presented. It was ascertained that DDW and coconut oil lead to changes in the state of legume butter, changing the values of rheological characteristics. The rational content of DDW and coconut oil in the composition of legume butter while ensuring high functional and technological properties was proved. The optimal ratios of components of the developed legume butter were mathematically grounded.

An Analysis on TunjukLangit (FINIALS): The Decorative Elements of the Kelantan Traditional Houses

Decorative elements are an important component in Malay traditional architecture. Apart from its unique construction technology and building form, decorative elements become the major factor contributes towards signifying the characteristics and identity of Malay traditional architecture. In Malaysia, every state has its own traditional house. The identification was based on roof design, spatial organisation and decorative elements. General study carried out by previous researcher indicates that there are at least 16 (sixteen) decorative elements in the traditional Malay architecture and it varies from every state. These decorative elements are none structure element of the house located at the roof, wall, doors and windows as “additional members” for aesthetic, functional and symbolic reasons. This paper discusses the analysis on one of themajordecorative elements that characterised the East Coast traditional houses which are the TunjukLangit or finials. Thirty-nine (39) selected houses from Kelantan were observed and investigated. Thirty-three (33) were found to have TunjukLangit as decorative element. Through visual data and verbal data collected, typological and chronological analysis were carried out. The study found that despite its similarity in design and form there are few types of TunjukLangit were identified. Those findings havebroadened up the discussion and debates on the theory of the traditional Malay architecture and can be used as guidelines by architects and designers.

ГЕОМЕТРИЧНИЙ ОРНАМЕНТ В ІСЛАМСЬКОМУ МИСТЕЦТВІ: ТРАДИЦІЇ, ОСОБЛИВОСТІ, СКЛАДОВІ

Purpose of the article аnalyze the features of Islamic geometric ornament as a historical and at the same time modern artistic phenomenon, its formation, development, traditional structural elements. Methodology. General scientific research methods, chronological and historical ‒ comparative, figurative-stylistic, semantic, and theoretical-art history analysis are applied. Results. The features of the historical development of geometric ornament in the countries of Islam, its national, historical, mental, figurative, artistic features are analyzed. Recognized in the world as a unique work of art, Islamic geometric ornament is known for its compositional construction which consists of simple elements (circle, square, triangle). Then by connecting and repeating the shapes according to a certain grid pattern, a complex pattern (hexagon, octagon, star pattern) is created. The richness of the artistic culture of Islam is embodied in the range of its variants. It was found that the geometric ornament, which is the main decorative element on numerous objects, embodies a deep spiritual content. Geometric Islamic ornament embodies thousands of years of creative practice that has become traditional in the Arab East. At the same time, in the modern world, Muslim ornamental traditions remain relevant and reveal opportunities for introducing the acquired artistic experience of the Arab countries into new creative practices, including graphic design. Scientific novelty consists in determining the place and significance of Islamic geometric ornament in modern cultural and historical processes, taking into account its traditional aesthetic, substantial, structural and compositional content. Practical significance. The proposed research expands the understanding of the possibilities of using the traditions of Islamic ornament in modern creative practices. The results can be used in design practice.

Parametric methods for constructing the Islamic ornament

The article discusses the method of algorithmic construction of Islamic ornaments, which can be used as a decorative element in architectural design. Two necessary stages are highlighted in the generation of an ornamental motif by means of algorithmic design – the first includes operations on a base mesh consisting of a combination of regular or semiregular cells, for example, drawing rays from the centers of the edges of the original lattice or rotating figures relative to its nodes; the second stage involves the creation of a basic pattern of the ornamental design that fits into a regular or semi-regular polygon, and the decorative motif in the figure is made up of a primitive that is symmetrically reflected relative to any lines, usually rays, emanating from opposite corners of the polygon. The paper analyses the traditional patterns of Islamic ornaments, on the basis of which new designs were built, using visual programming tools (Rhino and Grasshopper).

Особенности почерка и орфографии текста «Сутры Белого старца» (шифр В 228(1)) из собрания Института восточных рукописей РАН

Introduction. The manuscript of The Sutra of the White Old Man — call no. B 228(1) — in the collection of the Institute of Oriental Manuscripts (RAS) is written in the Oirat Clear Script. The manuscript was compiled during the period when the traditional rules of graphics and spelling were strongly influenced by the spoken language. Goals. The article aims at eliciting special features of the handwriting and spelling of this particular text of the Sutra. Results. If compared to the classical rules, the changes traced in the text affected both the graphics (letters and diacritic signs) and spelling of words. The spelling patterns in the manuscript reflect (although inconsistently and irregularly) some phonetic processes that took place in the spoken language, such as the development of diphthongs into long vowels, assimilation, insertion and reduction of vowels. The sign ‘udan’ denoting long vowels is used in the text only occasionally, and reduplication of labial vowels in the same function is only preserved in monosyllabic words and final syllables. The author speculates that the ‘udan’ sign could have lost its meaning to become a decorative element of the handwriting in certain positions. The paper transliterates the text and publishes a facsimile of the manuscript.

FORMATION OF THE FOLK DECOR IN THE TRADITIONAL RESIDENTIAL ARCHITECTURE OF THE SLAVIC AND ROMANIAN PEOPLES

Issues are discussed regarding the means of decorative and artistic expression in folk architecture (ornamental and plastic decor, artistic carving and painting, artistic forging), which are characterized by a certain symbolism that has developed in traditions. The type of the original form (natural, objective, constructive), which is the basis of the ideological and creative concept, is not always obvious, especially in geometrized, complexly stylized contours, that is why it is recognized only as a result of stage-by-stage research. The process of forming a decorative element is read through visual and morphological analysis. The author formulated the following research objectives: to discover the connection between the initial form and the final artistic image in the decor of traditional residential architecture; to identify the varieties of initial forms ‒ figurative prototypes; to reveal the course of compositional complication in the process of forming decorative means of expressiveness; provide relevant illustrative examples. The article examines the architectural decor used both on the residential building itself (wall planes, pediments, pilasters, etc.), and within the estate. Sometimes there are no analogues, and the creation of decorative furnishings is conditioned by a clear adherence to natural samples, and in some compositions there may be direct borrowings (citation) of stylistically established and well-known examples inherent in urban buildings. Comparing the samples of a certain ornamental motif, it is noticed that the drawn version can subsequently form the basis of the relief or sculptural variants, and the prototype shape predetermines the place (by the similarity of the contour features) for placing the decor. Hence - important observations about what kind of people may be inherent in the use of certain artistically designed architectural details. The table illustrates decorative elements of residential buildings and estates (stylization and transformation of the original form, the development of constructive and compositional design). Examples of the formation of folk decor in the traditional residential architecture of the Slavic and Romanic peoples (Ukrainians, Russians, Bulgarians, Moldavians, Romanians) are given. Conclusions are made and prospects for further research on this topic are highlighted.

ZIGZAG MOTIF ON THE BONE ARTIFACTS AT ZAMOSTJE 2 (LATE MESOLITHIC - EARLY NEOLITHIC): TECHNIQUES AND CONTEXT

Период позднего мезолита в Верхнем Поволжье характеризуется многочисленными свидетельствами изобразительной деятельности. По материалам многослойной стоянки Замостье 2 (Московская область) наибольший расцвет орнаментации костяного (рогового) инвентаря прослеживается во второй половине VII тыс. до н. э. (cal BC), а в раннем неолите резко идет на спад. Среди разных типов орнамента мотив зигзага является превалирующим. В статье предпринимается попытка определить его значение для местного населения на основе анализа контекста, т. е. связи с определенными типами орудий, типологии изображений и техник его нанесения. Зигзаг встречается на разных типах орудий, но наиболее четко проявляется его связь с остро-колющими предметами. В ряде случаев он является единственным элементом декора на изделии и выражен простой (сплошной или прерывистой) или сдвоенной линией; иногда зигзагообразный орнамент образован пучком параллельных царапин; реже он входит в сложные композиции. Как типы зигзага, так и способы нанесения (тонкая гравировка, скобление, объемная резьба и др.) не были регламентированы и очевидно выполняли разные функции в зависимости от композиционных характеристик и материала изготовления. The period of the Late Mesolithic in the Upper Volga region is characterized by numerous evidence of decorative art. According to the materials of the multi-layer lake settlement Zamostje 2 (Moscow region), the greatest flowering of ornamentation of bone (antler) tools can be traced in the second half of the VII mihe only decorative element on items and is expressed by a simple (solid or intermittent) or double line. Sometimes a zigzag ornament is formed by a bunch of parallel scratches; less often it is included in complex compositions. Both types of zigzag and manufacturing techniques (fine engraving, scraping, three-dimensional carving, etc.) were not regulated and obviously performed different functions depending on the compositional characteristics and type of raw material.