Principles of obtaining light permeable conglomerate materials based on wood filler

Recently, the world has seen a demand for transparent or translucent concrete, capable of performing both, structural functions and decorative - design tasks. Such concrete use opens up new opportunities for the creative searches of designers, allows inclusion of new materials in those elements of decorating the internal and external of buildings, structures, large and small architectural forms. The research results on obtaining a new translucent material in the form of wood concrete (arbolite), which makes it possible to introduce previously unused wood processing waste of low-value wood species - birch and aspen into the technological process are presented in the article. The primary results open up new possibilities for light-conducting concretes at significantly low economic costs of their production. The results allows us to conclude about the complexity and ambiguity of wood bleaching processes and the need to strictly follow optimal formulations, modes and compositions at all stages of production.

Amniotic Band Sequence Syndrome – A Rare Disorder

Amniotic bands sequence is a inherited diseases distinguished by craniofacial, body wall, and limb oddities that may be in relation with foetal-placental fibrous bands. Its pervasiveness has been delineated to range from 0.19 to 8.1 per 10 000 births [1]. It is a customary state prospectively alike with a variety of different confinements’ disability. The deformities arise in the wake of the pompous bodily part have formed usually in early evolution. The required cause of amniotic disruption complex is undisclosed .The three most usual decorative design are constriction ring syndrome signalized by one or more limbs being high-flown; the limb-body- wall complex; and amniotic band syndrome characterized by abnormalities of the head and face (craniofacial abnormalities), inadequacies of the brain and genuine deformation of the appendages [2]. The condition in few cases might be considered prior to nativity (antepartum), unlikely to change upon the sequels of explicit detailed imaging practices, like fetal USG, which may give away the feature inadequacies [3]. Here we present a case of pregnant woman admitted in our Obstetrics and gynecological department with her ultrasonography report indicative of amniotic band and further discussed about antenatal diagnosis, diagnostic and therapeutic approach, prognosis and genetic counselling of amniotic disruption complex.

Symbolism of decorative design of ancient Chinese bronzes

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

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.

Folk arts and crafts of the Oirats of Mongolia: to the formulation of the problem of study

Народное декоративно-прикладное творчество ойратов Монголии выражает этническую ментальность в системе культуры как своеобразную, во многом уникальную форму осмысления мира. Оно формирует традиционное мироощущение номадов, претворяемое в декоративном оформлении произведений прикладного творчества. Здесь фиксируются общее и этнические особенности народной эстетики, образного мировидения монгольских народов. В анализе орнаментального декора предметной среды важно исходить из знаковой сути культурного наследия номадов, концентрируемого в тамговом комплексе, народном костюме и орнаментике. В художественной форме пластического фольклора, передаваемого из поколения в поколение, сохраняются древние архетипы мышления предков, проецируемые во взаимосвязях духовного и материального бытия номадов. Выявление их дает возможность осмыслить декоративно-прикладное искусство ойратов Монголии в традициях, основополагающих для изучения пластического фольклора калмыков России. Folk arts and crafts of the Oirats of Mongolia expresses the ethnic mentality of culture as a kind, in many ways a unique form of understanding the world. It forms the traditional attitude of the nomads, embodied in the decorative design of works of applied art. Here the general and ethnic features of the folk aesthetics, the figurative worldview of the Mongolian peoples are recorded. In the analysis of the ornamental decor of the subject environment, it is important to proceed from the symbolic essence of the cultural heritage of the nomads, concentrated in the tamga complex, folk costume and ornamentation. In the artistic form of plastic folklore, passed down from generation to generation, the ancient archetypes of the ancestors' thinking are preserved, projected in the interconnections of the spiritual and material life of the nomads. Their identification makes it possible to comprehend the decorative and applied art of the Oirats of Mongolia in the traditions that are fundamental for the study of the plastic folklore of the Kalmyks of Russia.

Features of the formation of floral and decorative design of urban spaces in the central part of Ust-Kamenogorsk

The article presents the results of studying the features of the formation and analysis of the current state of floral and decorative design of public urban spaces in the central part of Ust-Kamenogorsk on the example of one of the main thoroughfares of the city - Kazakhstan Street. Recommendations for improving the architectural and landscape environment of the city center are proposed.

The Frit Ceramic from the Tsarevskoye Settlement in Storage of the State Historical Museum

The article contains the results of analysis of frit ceramic and tiles, originating from the excavation and collections from the Tsarevskoye settlement, which are stored in the Golden Horde stock of the State Historical Museum. The accumulation of the materials occurred from the second half of 19th century until the second half of 20th century. There are gifts of local residents, purchases of the famous collectors of that time, items from the excavations of A.V. Tereshchenko and the materials of the Volga archaeological expedition. The main idea of this work is to bring together all frit ceramic of different time collections and analyze from the point of view of technological, morphological and decorative features of its production. It is necessary to consider how the composition of the frit dough affected the decorative design of the surface and the shape of the vessel, to identify the most stable combinations between the composition of the dough, the type and color of the covering glaze and decor. It is necessary to track the frequency of use of transparent and opaque glazes, their correlation with overglaze or underglaze decor or lack of it, to identify the most characteristic colors of glazes for the monument and ways to apply them. For this goal, all items were collected in a common database, where all the features were entered and a step-by-step analysis of each fragment was performed from at least eight positions.

MAUSOLEUM AND MONUMENTS OF ANCIENT CEMETERY IN AGLOBI VILLAGE (TYPOLOGY, EPIGRAPHY, DECOR)

The article presents the results of a comprehensive study of the monuments of the old cemetery in the Dagestan village of Aglobi. These sites were hardly studied before. The central place in the cemetery is occupied by a large domed mausoleum with a burial inside. Unlike the vast majority of other Dagestani mausoleums, the building in Aglobi is made of bricks. In our opinion, the mausoleum was originally built in the late Middle Ages (XV-XVI centuries), and at the very beginning of the XVIII century. it was repaired, as evidenced by an inscription dated 1114 / 1702–03. The study of the epigraphy of the mausoleum made it possible to establish both the name of the person buried in it, who was a Sufi (feast), and the name of the organizer of the repair and restoration work. The latter is marked with the social term mujavir, which was first recorded in the epigraphy of Dagestan. The carried out analysis of the grave monuments indicates that the formation of the cemetery took place over several centuries. The old grave monuments of the cemetery chronologically cover the period from the Late Middle Ages to the middle of the 19th century. The study of the monuments includes an analysis of their typology (sarcophagi, rectangular-vertical steles), decorative elements. For the first time, the Arabic-language epigraphy of the Aglobi monuments is introduced into scientific circulation. It was established that the style of the epitaphs, the external appearance and decorative design of the grave monuments of the cemetery have direct analogies with the monuments of the Derbent zone, the historical regions of South Dagestan, and also Shirvan.

A Study on the Application of Code Theory in the Decorative Design of Taiwan Bamboo Tube Furniture

Taiwan has an abundance of the environmentally-friendly resource bamboo, as well as long-standing Chinese bamboo customs and culture. As a result, modest bamboo furniture accompanies the simple life of Taiwan’s residents. However, as people prosper, consumers are beginning to choose bamboo furniture for its decorative design and style more than for its practicality. Therefore, the symbolic application of decorative art is worthy of research and discussion. The purpose of this research is to use codes to explore the decorative design of bamboo tube furniture and enlighten Taiwan’s new direction of bamboo furniture design in the future. Through literature content analysis, field expert interviews, and practical experience participation methods, in addition to using function codes, emotion codes, transmission codes, and identification codes to interpret the Han Dynasty’s Liushu and Chinese bamboo cultural content, we verify the relevance of the code and bamboo furniture decoration and provide interactive new thinking and creative products.