Decorative Arts Research Articles

Культурные реминисценции в современном авторском ювелирном искусстве России

The term «reminiscence» is rarely used in modern research on decorative art. An example of how he works in this field is given based on an analysis of the author’s jewelry art in Russia. The theoretical conceptualizations of the term proposed by various researchers and their propositions are compared with the unique works of leading jewelers of the 1930s-2020s. Using specific examples of borrowings, adhering to the established periodization and realities of the artistic and historical context, the manifestations of particular forms of reminiscences are analyzed: quoting – «verbatim» accuracy; replication – with changes; compilation – the use of parts to create a whole; variation – modification of elements; stylization – imitation of decorative effects. «Reminiscence» is considered as a tool of an artistjeweler, to which he resorts in solving specific creative tasks.

Integrando padrões tradicionais chineses à estética moderna: um estudo de teoria enraizada com base na “Coleção de Padrões Chineses”, de Pang Xunqin

Abstract: This study employs grounded theory methodology, utilizing open coding, axial coding, and selective coding techniques, to conduct a systematic analysis of Pang Xunqin’s “Chinese Decorative Pattern Collection.” A theoretical framework is constructed to explore the fusion of traditional Chinese patterns with modern decorative art design. As a pioneer in this domain, Pang Xunqin’s oeuvre not only bridges historical gaps in Chinese decorative arts, but also offers innovative insights for the progression of contemporary Chinese art and design. The coding analysis of the study reveals the adept integration of traditional patterns into modern design practices by Pang Xunqin, thereby enhancing cultural identity and artistic vigor. Additionally, a dynamic model is introduced, charting innovative pathways for the modern evolution of traditional patterns and fostering their global cultural dissemination and innovation. This model enriches our comprehension of the amalgamation of tradition and modernity and presents a novel perspective for the observation and application of traditional culture in contemporary settings.

Культурный код в пространстве современного человека, русский стиль — истоки дизайна

The study examines areas of modern design in which the traditions of Russian art are preserved — folk or national clothing, artistic crafts and analyzes ways of rethinking, transforming or using unchanged cut, ornament, painting, texture, related to the authentic characteristics and recognition of the Slavic or Russian style. The study relates to ways of preserving Russian traditions — in fashion, historical reconstruction, costume festivals and folklore groups. The paper provides links to the works of F.M. Parmon and showcases models of a collection of costumes from fashion shows and stage images by V.M. Zaitsev for folklore groups. The research highlights the works of some Russian and foreign clothing designers, inspired by examples of Russian art. The authors display examples of the use of paintings and decorative art in modern designer accessories, jewelry and household items and analyses the features of the approach to preserving historical samples — reconstruction, exact copying, repetition with minor differences or stylization as an authentic sample. The paper has studied approaches to the creation of modern accessories, involving the production of modern versions of original headdresses while maintaining the technological approach to manufacturing, yet with a slight variable change in shape and design. The study issued in thorough consideration of almost all existing options for the presence of Russian art in an unchanged or transformed form in the space of modern man.

ХУДОЖЕСТВЕННЫЕ ОСОБЕННОСТИ РОССИЙСКИХ ПРОМЫСЛОВ ЛАКОВОЙ МИНИАТЮРЫ В СОВРЕМЕННОМ ДЕКОРАТИВНОМ ИСКУССТВЕ И ДИЗАЙНЕ

This article examines the Russian crafts of lacquer miniature painting in the context of the manifestation of their artistic features in modern decorative and applied arts and design. The authors’ goal is to identify stylistic techniques of Russian varnishes and analyze the possibilities of using authentic characteristics of folk art in the author’s design of design objects and decorative arts. The article presents the general and specific in the visual arts and technologies of Fedoskino, Palekh, Kholuy and Mstera. It has been determined that Fedoskino has the artistic features of realistic oil painting, and Palekh, Kholui and Mstera, formed on the basis of icon painting, acquired the features of conventionally decorative painting with tempera paints. The article lists the specific artistic features of each of the declared crafts of lacquer miniatures. The authors come to the conclusion that the original Russian traditions of folk painting have recognizable traditions that have developed over decades, which may represent an “artistic code” of Russian culture. Using the wealth of artistic expressiveness of lacquer miniatures in our country, the opportunity has been formed to create modern works of art with decoding the source of inspiration in the process of designing new products of design and applied creativity.

Decorative arts to borrow at home: a unique story of a specialized collection of images in a French public art library

A Parisian public library specializing in decorative arts, the Bibliothèque Forney is considered one of the first public lending art libraries in France. From the library's opening in the nineteenth century to the year 2000, readers could borrow art images to use as models or sources of inspiration. Today a selection of art plates are still freely accessible. The history of this unique service highlights the librarians’ efforts to meet the evolving needs of researchers looking for easily accessible art; their work to keep up with modernity; and their efforts to add value for their users.

І знову до Біблії – першооснови в житті, літературі

The article analyses the issue of the entry of ancient literature, which is considered to be cult, to the educational programs of educational institutions of Ukraine. Such tasks have already been partially tackled by domestic scientists. However, it is not about the training manuals. Rather, it is about the preservation of national heritage. A century later, I. Ogienko in the book History of Ukrainian Printing (Lviv, 1925) collected and systematized a huge amount of source material, planning a multi-volume publication in the future which would present the history of Ukrainian books from the 15th to the 18th centuries, including a description of old printings, an album of photographs of their title pages, artistic decorations, etc., textbook materials on the history of Ukrainian bibliography, content of ancient books, their printing techniques, the history of engraving, censorship, etc. This means that the scope of the research was planned to be diverse. However, these plans of the scientist were not destined to come true. And to date, I. Ogienko’s tasks have not been fully implemented as he wanted them to be. Today, lack of such knowledge leads to dire consequences. Biblical texts should become the first series of tasks to correct this wrong policy of lack of knowledge and ignoring the canons of prehistoric times. Even the current war is one of those violations of the rules of life that were forcibly rejected by Marxist-Leninist ideology, militant atheism from Ukrainian families, from everyday life under the USSR.

Петровский «Аптекарский дом» в Китай-городе. Судьба исчезнувшего здания Москвы

The Moscow ensemble of the Main Pharmacy was built in the first decade of the 18th century and turned out to be one of the most remarkable buildings in Russia. The new construction attracted attention due to the location between the Nikolsky Gates of the Kremlin, the Resurrection Gates of Kitay-Gorod and the Berg Office of the Mint. The architecture of the building successfully combined the best traditions of ancient Russian architecture with the techniques of Western European building art and elements of oriental decoration. Polychrome volumetric tiles played special role in the design of the multi-tiered main facade. These ceramic inserts formed the platband frames, order details, friezes, cornices and other elements. According to the state programs of Peter I for the development of the pharmacy business, special attention was paid to the new building, and contemporaries called the erected Pharmacy “one of the best in the world”. The experience of creating the ensemble and the appearance of the building influenced the character of the new parade construction of the public architecture of St. Petersburg. This explains the interest in the study of the building, which was lost in 1874. In order to understand and visualize the changes in the state of the building, its graphic reconstructions of different historical stages were carried out. The presented digital models reflect not only the external solution of the facades, but also the arrangement of the internal layout.

Development of Creativity OF Children Aged 5-7 in Decorative and Applied Arts Clubs: Applied Aspect

Development of Creativity OF Children Aged 5-7 in Decorative and Applied Arts Clubs: Applied Aspect

THE RUSSIAN FOLK “EGYPTOLOGY”

The paper deals with Russian folk legends about “pharaohs” - mythical creatures with a human torso and a fish tail, who inhabited the water element. The legends reflected the oldest layer of folk knowledge about the ancient Egyptian history. These ideas go back to the biblical story about Pharaoh's army that drowned in the Red Sea during the exodus of the Jews from Egypt. In Old Russia, the title “Pharaoh” became a symbol of a proud and wicked ruler. The legend about the mythical water people was first recorded by Vasily Poznyakov, who travelled to Egypt in 1558. At the end of the 16th century, his story was used by Trifon Korobeynikov, who was on a pilgrimage to the East. Thanks to this work, “pharaohs” and “pharaonic women” were formed as negative characters of the Christian legend and in the 18th - 19th centuries were firmly incorporated into Russian folklore, while the image of the mythical people itself received an eschatological sound. Images of these creatures became one of the motifs of folk decorative art in Nizhny Novgorod province and neighboring counties of Kostroma province. It had a negative meaning, which derived from the “negativity” of the Old Testament character of the same name and was projected onto one of the repulsive features of the local character.

Имитация османских орнаментов в керамике Италии XIV–XX веков

This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament «tugrech». And finally, the third period fully reveals the imitation and copying of Ottoman products, which occurs due to industrialization, the emergence of museums of decorative arts and world exhibitions. In search of inspiration, ceramics such as Cantagalli, the artist Pio Fabri and his daughter Emma Fabri are at the forefront of the renaissance of the «Ottoman style» in ceramics.

Соціально-мистецький проєкт у Полтаві: історичні передумови та сучасне втілення

The article examines the prerequisites for the emergence of the artistic community of Poltava and the organization of the first socio-artistic projects in the city. An analogy is drawn with modern cultural and educational projects that have been implemented over the past 10 years, in particular, such as “Kadetarium”, “Poltava Art Territory”, “Local History Art Weekend”. The prerequisites for the formation of the artistic community in Poltava, the characteristic features of artistic groups and their influence on the further cultural context of the city are revealed. The background and factors that influenced the emergence of a modern artistic community in the city are analyzed. The spheres of interest of the artists of this community and the methods of their implementation are considered. The increasing of professional strengthening and acquisition of exhibition experience by students of the Faculty of Architecture of the Poltava National Technical University are described in detail. Attention is focused on the relationship between social events in Ukraine in 2013–2014 and the activation of exhibition projects of the Poltava community. It was determined that the key role was played by oneday exhibitions of modern art “Kadetariums”, which were actually large city festivals. They focused on saving an outstanding architectural monument – the building of the Cadet Corps. The diversity and democracy of these events had a significant social effect, which is why the term “social and artistic project” was born. The “Poltava Art Territory” movement was formed, based on these exhibitions, which was realized in subsequent festivals during 2016–2017 at a different location, but with the same emphasis on the value of the city’s architectural heritage. The department of fine art and decorative art of Taras Shevchenko Luhansk National University played a significant role in it. After a two-year break, an active public initiative created a new festival format “Local History Art Weekend”, which was embodied in four festivals in 2019, 2020, 2023 and 2024.

The significance of creating embroidery patterns from art decoration techniques in the field of sewing - knitting

The significance of creating embroidery patterns from art decoration techniques in the field of sewing - knitting

The Enlightenment of Bai Ethnic Residential Architecture Art Decoration on Modern Design under the Background of Multimedia Art

The Enlightenment of Bai Ethnic Residential Architecture Art Decoration on Modern Design under the Background of Multimedia Art

From Ruins to the Decorative and Applied Arts Museum

The paper “From Ruins to the Decorative and Applied Arts Museum” reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - “New Cavalry House”- designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content.The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here.The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.

DEVELOPMENT OF PROFESSIONAL CULTURE OF COLLEGE STUDENTS CULTURE AND ARTS WHEN STUDYING DISCIPLINES DECORATIVE AND APPLIED ARTS

Analysis of culture as an anthropological phenomenon shows that culture is congruent with human beings. Historically, the cultural phenomenon has always reflected processes related to education, enlightenment, formation, and development of a person. Without education and training, without the active transmission of new achievements of human culture to new generations, the movement of history would be impossible. Therefore, the article updates the expediency of using profile subjects from the specialty «Decorative and Applied Arts» as a component of attracting first-year students of art educational institutions to the formation of their own professional culture.
 The main art subjects and tasks (from simple to complex) are introduced into the educational context of future artist-decorative and applied arts teacher training are considered. Students are involved in working on the material together with the teacher. The student learns all the subtleties of mastery in practical work. In the mentioned direction, the concepts of «competence» and «mastery» are distinguished. It is stated that professional skill involves comprehensive knowledge of production or any other professional process, the ability to implement it, to set it in motion.
 Since the development of culture and education are processes that are carried out mainly in parallel, synchronously, and interconnected, the essence of the meaning of the technology of situational learning (case method), which consists in modeling a specific situation that occurs in regional professional practice, has been clarified. Based on that, a didactic package of tasks for solving a certain issue is developed. The case method for first-year students is specific learning situations that are specially developed based on actual material for further study in classes.

FORMATION OF THE ART DECORATION OF THE DUNGHUAN CAVES UNDER THE INFLUENCE OF EXTERNAL FACTORS

The influence of external factors on the formation of the figurative concept of Dunhuang wall paintings is analyzed. The purpose of the article is to highlight the processes of forming the artistic decoration of Dunhuang caves under the influence of external factors.
 The relevance of the research topic is due to the need to draw the attention of world scientists to the problem of research and preservation of the Dunhuang complex, since some of the frescoes are in a state of emergency and the exchange of experience of restorers from different countries is necessary for their preservation.
 The tasks of the study were to determine the role and significance of external factors in the activation or decline of the Dunhuang complex, and based on this to argue the dependence of the figurative concept of Dunhuang wall paintings on external factors (political, ideological, economic, social, natural and climatic).
 It is proved that the appearance of the Dunhuang Buddhist cave temple complex and the processes related to its construction were largely determined by external factors: at first, the commitment of the rulers of China to the new religion of Buddhism contributed to the activation of the process of creating new sanctuaries, and later under the influence of local philosophical and religious traditions as well as cultural and artistic preferences, there is a transformation of Buddhist fresco traditions borrowed from India, which acquires a local color in the conditions of China. It should be noted that while preserving the general canonicality of wall painting in the process of developing artistic skills, it acquires greater realism and the means of artistic expression are diversified with portraits of benefactors, scenes from their lives and landscape compositions.

Visualization of the Book: Graphic Metaphors in Art Decoration of Ukrainian Church Editions of the Baroque Epoque

The article considers the role of metaphor in the art decoration of 17th–18th centuries Ukrainian editions of church books. It claims that the book art of this period is marked by generous use of symbolic and allegoric visual images which play metaphorical role in general structure of the book. Structural-semiotical exploration of title pages, frontispieces, and illustration cycles in more than one hundred reeditions of Ukrainian church books of 17th–18th centuries enabled us to single out the main types of structure forming visual metaphors. All metaphorical visual images, used in decoration of the church books, transfer the meaning of the book through picturing its author, addressee, or the central theological concept. The image of the author in the tradition of the Ukrainian church book art decoration is inserted in the composition of the title page and frontispiece. It visually presents the church book as a creation of a saint person, inspired by God. The addressee is expressed both by the emblem of a patron, who supported book printing, and by an icon of a divine person to whom the prayer content of the book is addressed. The emblem of a patron is positioned on the title page and/or backside of the title page. It visually generalizes the image of the church book edition, printed due to support of notable person. The icons of a prayer addressee on the backside of the title page, on the frontispieces, or on in-text miniatures, reflect the conceptual idea of a church book as a tool for praying. The main idea of a church book is commonly expressed by symbolic and allegoric compositions. Such compositions, positioned on the title pages and frontispieces, summarize the content of the book by the most unexpected visual images. All the complexity of meanings expressed by images of author, addressee, and theological content, demonstrate the baroque means, which Ukrainian church book editors applied to visualize the church book essence.

Vienna 18th Century Rococo Ceremonial Carriages

The aim of this paper is to describe and review 18th century Viennese parade carriages from the point of view of arts and crafts. Carriages are a small architectural form and are “programme works”, examples of the synthesis of arts, harmoniously combining the principles of architecture, sculpture, painting, decorative art, carpentry, as well as the skills of carvers, gilders, bronzers, embroiderers. At the same time, carriages were an integral part of ceremonies and participated in the most important state ceremonies (coronations, weddings, funerals, baptism of heirs). Certain types of carriages, such as carousel chariots and masquerade sleighs, were used for court entertainments, festivals and games. Imperial ceremonial carriages of the 17th—18th centuries served to represent the monarch’s power on a par with the throne and regalia and were created as true works of art, using expensive materials and sophisticated decoration techniques.The research is based on the study of natural material — original carriages from the collection of the Wagenburg Museum (Schoenbrunn Palace, Vienna) and the Armoury Chamber of the State Historical and Cultural Museum-Reserve “Moscow Kremlin”, its tasks include determining the model range of actual forms and designs, identifying the characteristic artistic methods, techniques of execution and decorative motifs of rococo. For the first time it is proposed to consider carriages from Russian museum collections in the context of the European carriage school that created them, combining the knowledge of foreign and domestic researchers about carriages of the 18th century. A separate research task is the integration of Viennese carriages from the Armoury Chamber of the Moscow Kremlin into a single analogue series with models from Wagenburg, which allows to expand the understanding of the Viennese carriage school of the 18 century.A review of the main models of rococo parade carriages created in the Viennese royal workshops from the 1720s to the 1760s is made. They are considered from the point of view of artistic value of the carriages, emphasis is made on the description of objects, decorative techniques and methods of artistic work. The material is divided into groups according to the statuses of the carriages: ceremonial official gala carriages of the emperor, retinue carriages and running holiday carriages. The specimens are arranged in chronological order, which illustrates the development of carriage-making from the model of the large carriage to the more technically advanced Berlines. It is shown that Viennese carriages are masterpieces of decorative and applied art, combining the highest level of skill of the creators of carriage projects (architects, decorators) and performers (carpenters, carvers, gilders, painters, weavers, embroiderers, blacksmiths and foundry workers).

Ukrainian Vytynanka Art: Historical Perspective and Modernity

The purpose of the research is to highlight of the vytynanka art as an integral component of traditional Ukrainian culture. The research methodology is based on the application of a systemic approach and includes the following methods: analytical, comparative-historical, art history, cultural for comprehensive reflection of the outlined issues and the formulation of substantiated conclusions. The scientific novelty consists in an attempt to comprehensively consider the art of vytynanka in historical retrospect; the periodisation of traditional Ukrainian vytynanka art was presented; the main trends of the folk vytynanka development are defined; the types of paper ornaments as well as the technique of their manufacture, their typology and motifs of ornaments, tools and materials for the manufacture are revealed. Conclusions. Ukrainian vytynanka is a traditional type of decoration characteristic of Ukrainian culture. This art consists in creating patterns and images by cutting motifs out of paper. Vytynanka has deep historical and symbolic roots, associated with Ukrainian national identity. The main elements of Ukrainian vytynanka are geometric shapes, flowers, animals, birds, symbols and motifs from nature. The ears of corn, the sun, roosters and other symbols are popular motifs, because they have a deep cultural and symbolic meaning. It is often associated with holidays, especially spring and summer, when decorations from vytynanka are used to decorate houses and attributes of festive events. Thus, Ukrainian vytynanka is a beautiful form of decorative art, as well as the important symbol of Ukrainian culture and national identity, passing on heritage and traditions from generation to generation.
 Keywords: Ukrainian vytynanka, traditional culture, symbols, ornaments.

If Looks Could Quill

Porcupine quillwork has long been practiced as a form of self-adornment by the Mi’kmaq peoples. The Mi’kmaq peoples reside on the unceded territory of Mi’kma’ki, the region spanning across what is now known as Nova Scotia, New Brunswick, and Prince Edward Island, as well as parts of Québec, Newfoundland, and Maine. Following the arrival of colonial settlers, this decorative art form was redirected toward the production of souvenirs and became a highly tradable commodity, appearing on household objects such as chair backs, straight razor covers, and, most commonly, trinket boxes. Thanks to the tireless efforts of several Mi’kmaq artists, quillwork has been revitalized and reimagined, thus affirming its place within the contemporary art world.