Decorative Arts Research Articles

DIDACTIC OPPORTUNITIES FOR TEACHING APPLIED DECORATIVE ART IN SPECIALIZED SCHOOLS

The article discusses key aspects of teaching applied decorative art in specialized schools. Specifically, it identifies the didactic opportunities and methods for fostering students' artistic and aesthetic development through applied decorative art. The article studies the didactic conditions for teaching folk decorative art in specialized schools. Additionally, the author examines scientific research by various scholars on this topic, analyzes these works, and assesses the real conditions of the local environment.

Silk road heritage: The artistic representation of port trading culture in the images of characters in Qing Dynasty Guangzhou export paintings.

As customized artistic commodities, export paintings mirrored Guangzhou's unique overseas trade culture and social power in a microscopic view, nevertheless, few researchers have delved into the cultural relationship between the use of the painting techniques and the characters of the export paintings. Based on an iconographic approach, this article aims to analyze the historical iconography information of the Qing dynasty export paintings from the perspective of the trade development and cultural exchange between the East and West during the 18th century by the study of the export paintings' characters expressions and costumes colors, providing insights into the exploration of the value of tangible cultural heritage. In the process of our research, shows that: 1) the dominant laboring characters in the export paintings present standing postures, and most of them demonstrate negative emotions; 2) many of the characters of the export paintings show high similarities due to the assembly-line mode of painting during manufacture; 3) the portrayal of the characters in the export paintings reflects a return of a sense of humanity. This is evident in the fact that the subject of the paintings abounds in the scenes showing local folklore, working views, and daily life in Guangzhou. Meanwhile, the characters in the painting are vividly portrayed in a realistic style. The use of mixed colors on the costumes of different characters reflects a universal value of having regard for the equality of all men; 4) Guangzhou export painting decorative art evolution of the development of the dual development of Chinese and Western fusion of veins. Guangzhou export paintings of the Qing dynasty satisfied the customers' reverie for 'Oriental Civilization' and their purpose of seeking novelty of foreign cultures. It also revealed the subtle dynamics of the interplay between Guangzhou's social power, trading capital, and blending art.

Representations of Music and the Dance in Late Roman Art

Music and the dance are an important theme represented in various artistic media of the Late Roman and Early Byzantine periods, including mosaic pavements and decorative arts such as silver metalwork, woven textiles, and carved ivories. A popular aspect of this theme is imagery of the Dionysiac thiasos, with members of the wine god’s entourage making merry by dancing and sounding crotala or cymbal tongs, as we see in a fragmentary mosaic from the House of the Dionysiac Thiasos at Augusta Traiana – Beroe. A similar effect occurs in either an expanded or a somewhat reduced format in pavements from Argos and Madaba. Besides mosaics, this subject also appears on Late Antique silver plate made for display, such as objects in the Mildenhall Treasure from Roman Britain and related works. Coptic textiles used to ornament private houses as colorful wall hangings feature lively dancers and musicians, and these figures may or may not have a mythological identity. Other non-mythological representations of music and the dance appeared in domestic and public settings. An outstanding example is the well-preserved Mosaic of Female Musicians that decorated a house in Mariamin, Syria, and that assembles an impressive group of instrumentalists and a dancer. One observes a pipe organ (hydraulis) along with a cithara, an aulos, and an acetabulum, consisting of a series of metal bowls struck with a baton. Elsewhere there are depicted a pantomime performance with an organ accompaniment, visible in a mosaic from Noheda, Spain, as well as music-making and dancing in the context of the circus. The latter subject appears on a consular diptych, and on the base of the Obelisk of Theodosius in Constantinople. We finally note that the pipe organ was later adopted for use in the church liturgy, reflected in an illustration in the Utrecht Psalter of 9th-century date. If the latter work of art is a copy of a Late Antique manuscript, as some scholars believe, then the pipe organ’s adoption for Christian ceremonial practice should be dated earlier than originally thought.

THE STUDY OF TEACHING APPLIED DECORATIVE ARTS IN HIGHER EDUCATION INSTITUTIONS THROUGH SOFTWARE SOLUTIONS: A REVIEW OF METHODOLOGICAL LITERATURE

This article discusses the challenges of teaching applied decorative arts through software tools in higher education institutions. It examines the degree to which pedagogical, psychological, and methodological literature has studied these challenges and analyzes the current state of the subject within the higher education system. The paper emphasizes the importance of using digital resources and educational technologies to enhance learning outcomes, improve teaching quality, and align with international standards.

Cultural rituality and heritage revitalization values of ancestral temple architecture painting art from the perspective of relational sociology theory

Recent research has primarily focused on the genealogical relationship between ancestral temple painting and its spatial carriers, highlighting a shift in perspective from artistry to symbolism to kinship. While some scholars have noted the influence of ritual culture on architectural painting, few have explored its kinship relationship with architectural carriers. By incorporating relational sociology theory, this study chronologically reviews events influencing the formation of ancestral temple ritual culture, constructs a developmental model, and conducts case studies on the ethicality of architectural painting art, thus establishing a relational sociology analysis framework. Findings: (1) Ancestral temple architectural painting exhibits the ethicality and educational value inherent in Confucian concepts; (2) Themes such as immortal life, literati and scholars, and common folk simplicity highlight the spiritual and material kinship of ancestral temple painting. The vocabulary used in titles such as "He (rapprochement-和)", "He (reunification-合)", "wealth (财)", "happiness (乐)", "blessing (福)", and "longevity (寿)" reveals a positive transmission of Confucian values; (3) The five main artistic expressions of ancestral temple painting are metaphor through objects (借物喻意), the personification of events (以人喻事), using the past to illuminate the present (借古喻今), expressing aspirations through objects (托物喻志), and pun-based symbolism (谐音寓意); (4) The decorative elements of ancestral temples correspond to the forms of their painting art, with the former extending the space of the tomb sacrificial system and the latter representing artistic inheritance. The development of ancestral temple architecture has formed dual developmental contexts centered on ritual culture and supplemented by academic dissemination, fluctuating with the status of Confucianism. The relational sociology model shows that the political aspects of ancestral temples form a sub-lineage of their ritual culture, closely linked to reforms in the educational system and transformations in building functions, further influencing architectural form and decorative art.

Su Furniture of the Ming Dynasty in the History of Chinese Furniture Art. Characteristics of Furniture in the Jiangsu and Zhejiang Regions

The article considers Su-style furniture in the history of Chinese decorative arts, its design, decorative and stylistic features in the context of the philosophical concepts of the Ming Dynasty.

Synthesis in Alexander Matveyev’s Creative Work

Alexander Matveyev (1878-1960) was an outstanding Russian Soviet sculptor and talented teacher who formed the neoclassical school of Russian sculpture. The amazing integrity and consistency of the master’s creative searches led him to the creation of the clearest and most precise plastic system, distinguished by the striking stylistic unity of the artistic language, internal content, and emotional structure of his images. At the same time, the sculptor’s plastic system was initially devoid of any compromise - it very quickly acquired the features of a qualitatively new phenomenon. While preserving the achievements of impressionism in developing the problem of interaction between sculpture and the light and air environment, Matveyev constantly paid great attention to direct work with material. Alexander Matveyev’s creative work is typologically exceptionally diverse. In monumental and decorative plastic art, the master made a name for himself when designing the Golden Fleece Salon exhibition back in 1902. He also gained experience in the genre of portrait bust, two-figure composition, and relief of various types. Internally, his creative method was determined by the figurative and poetic structure that is so characteristic of Matveyev's works and, in general, of the masters of his circle. It was these characteristics of the sculptor's talent that allowed him to say a fundamentally new word in the sphere of synthesis of sculpture and the enclosing landscape - both urban and natural, both in the sphere of symbolic composition and in the genre of tombstones. The tombstone of his friend and mentor, Viktor Borisov-Musatov, the outstanding painter of the early 20th century, was a true masterpiece of this genre and truly innovative in its figurative structure. His ensemble of New Kuchuk-Koy became an especially outstanding achievement in park sculpture new spatial design. In these compositions, the sculptor practically developed a fundamentally new language of park sculpture and achieved an amazing unity of his creations with the surrounding natural and architectural landscape. The monumental group October and the project of the monument to the soldiers of the Far Eastern Army in Dauriya demonstrate the process of evolution of the master’s own style along the line of developing an increasingly laconic design and moving away from attaching details to a general form and symbolic expressiveness of sculptures. At the same time, Alexander Matveyev’s legacy consists of a huge number of sketches of unrealised monuments to V. Lenin, M. Gorky, M. Lermontov, A. Chekhov, and others.

Manufactured Goods on Display: Japanese Woodblock Prints at the National Industrial Exhibitions of 1877 and 1881

Abstract This article examines the presence of Japanese woodblock prints within the context of state-sponsored exhibitions during the Meiji era (1868–1912). Although the Meiji government organized five National Industrial Exhibitions at irregular intervals, woodblock prints were exclusively showcased at those organized in 1877 and 1881. This article identifies the woodblock prints wherever possible, and addresses questions relating to their role in advancing (Western) exhibition culture, the emergence of modern education, and the growing concern over the impact of popular prints on the future and the reputation of Japanese fine and decorative art.

Studying the quality indicators of acrylic paints with suede effect decorated in youth clothing

The article provides a comparative analysis of the types of national patterns in the formation and decoration of modern youth clothing. In the preparation of modern youth clothing, the structure and use of “tórt qulaq,” “qus qanaty,” and “óńirjıek” ornaments among the national ornaments of the Kazakh people were substantiated. According to the analysis results, the study used the methods of artistic decoration of national elements with volumetric acrylic paints, decorating with an artistic painting of ornaments of a collection of modern youth clothing formed. We studied the influence of dyeing textile materials of mixed composition with acrylic paints and the quality indicators of test samples decoratively decorated with acrylic paints on textile materials. When decoratively finishing brushed “poker with fleece” fabric with “Decola” acrylic paint, applying the paint to the test sample created difficulties. As a result, we discovered that the paint did not lie smoothly on the fabric’s surface. Test samples of the “milana” suit fabric and raincoat material using “Pebeo acrylic paint with suede effect” acquired a 3D volume. We studied the color fastness of washing test samples, and high-quality indicators of color fastness with artistic ornamental finishing in 3D volumes were obtained for the material “raincoat” and the suiting fabric “milana.” When studying the performance of test samples in terms of hygroscopic properties, the raincoat material had a higher waterproof rating, and the “milana” suit fabric had a lower waterproof rating. As a result of the hygroscopic properties of materials, in the manufacture of a collection of youth clothing, “milana” suit fabric was used, and the decorative detail of the “back yoke” was made of raincoat material with a high waterproof rating. As a result of the study, the ornaments will be decorated with artistic painting with “Pebeo acrylic paint suede effect” with 3D volume and made of “rain-coat” material and suiting fabric “milana” to create a collection of modern youth clothing. The artistic and decorative design of the clothing collection with 3D volumetric ornaments was formed, and modern clothing models that meet the tastes of youth, fashion trends, and market requirements were developed.

The Possibility of Adapting Patchwork Techniques to Achieve Sustainable Development of Artworks Using Traditional Artistic Decorations in the Asir Region and Benefiting from them in the Field of Small Projects

Small projects are among the most important projects that bring economic benefit to societies, especially developing societies, because of their effective role in training young people, investing in their energies, and urging them to establish their own small production units, which contributes to eliminating the phenomenon of the unemployment problem. The current research aims to design works of art using Asiri art motifs by recycling scraps of fabric, ready-made clothes, and furnishings using a patchwork method. This has led to an interest in teaching industrial designers how to draw inspiration from Asiri art motifs and the different types that this art includes, whether geometric or floral, as a source of innovative and sustainable design in the field of artistic works using leftover factory fabrics. This is done through designs characterized by aesthetic and artistic values. Therefore, we made several designs suitable for use in artwork, inspired by the decorations of Asiri art in an abstract style, using the experimental descriptive approach. The research was based on three main axes: the axis of patchwork art techniques and the axis of sustainable development of the artwork. Focusing on Saudi traditional artistic decorations and combining them to develop small projects. The results of the research showed the possibility of utilizing leftover fabrics using the patchwork method to achieve sustainable development of artistic works derived from the decorations of Saudi Asiri art, benefiting from them in the field of small projects and employing them in innovative plastic compositions. Which combines simplicity and modernity, both in terms of design and performance.

Bidirectional Transmission Mapping of Architectural Styles of Tibetan Buddhist Temples in China from the 7th to the 18th Century

Architecture is the stone book of history, and the evolution of architectural styles showcases a non-verbal history constructed through images. As an important part of China’s historical and cultural heritage, the architectural forms and styles of Tibetan Buddhist temples were initially modeled on Tang dynasty temple architecture and gradually evolved into the most significant architectural types in regions such as Tibet and Qinghai in China. Religious architecture has also played a significant role in shaping regional cultural landscapes. Existing research on Tibetan Buddhist temples is primarily focused on qualitative studies of individual temple buildings. This research takes the spatiotemporal evolution of architectural styles of Tibetan Buddhist temples as an entry point and, for the first time, employs ArcGIS technology to visualize the spatial and geographical distribution of Tibetan Buddhist temples from the 7th to the 18th century, establishing a comprehensive academic vision that encompasses both historical stratification and cross-regional spatial correlations. By analyzing the cultural symbolic features embodied in the construction styles of Tibetan Buddhist temples and the visual characteristics reflected in their decorative arts, we propose two spatiotemporal dimensions for the formation and transmission of Tibetan Buddhist temple architectural styles: “Westward Transmission” and “Eastward Diffusion”. Firstly, from the 7th to the 9th centuries, the architectural style and construction techniques of Tang dynasty Buddhist temples were transmitted westward along the Tang–Tibet ancient road, integrating with local Tibetan elements to form the Tubo architectural style, which was further refined into the “Sino–Tibetan Combined Style” with strong visual characteristics around the 13th century. Subsequently, along with the spread of Tibetan Buddhism, this temple architectural style underwent an eastward diffusion from the 13th to the 18th century, reaching regions, such as Sichuan, Qinghai, Gansu, Inner Mongolia, Hebei, and Beijing, presenting a spatial gradient from west to east in the geographical dimension. On this basis, in this research, we construct a historical evolution mapping of Tibetan Buddhist temple architectural styles based on bidirectional transmission, attempting to elucidate that the intrinsic driving forces are religious and the cultural identity that guided the bidirectional transmission mechanism of these architectural styles under the historical context of the formation and dissemination of Tibetan Buddhism from the 7th to the 18th century.

THE ORIGINS OF GANCH COMPOSITIONS WITH OYNAVAND-O’UMA IN THE INTERIORS OF UZBEKISTAN AND GEORGIA

Ganch (fired clay ceramics with gypsum) has long been an integral part of the interior and exterior decoration for appropriate buildings to make them stand out. First of all, these are classy palaces, Buddhist traditional harem-type buildings in Western and Central Asia and other mosques, madrasas, mausoleums and minarets in some Oriental cultures associated with Islam. In particular, in the territories of Khorasan (now a part of modern Uzbekistan, was Iran, referred to as some kingdoms sort of the Bukhara emirate). The goal is to establish the origins of oynavand-o’uma, (stucco network decorations made of alumina with coloured powders and shiny pearl or mirror elements), which are genetically related to monuments in Uzbekistan and Georgia of the 5th/7th–19th centuries. The following methods were used in this study: analysis, generalisation and systematisation. The study highlighted that in the pre-Arabic period of the Iranian-speaking tribes of the Eftalites and Bukharhudates, who were simultaneously influenced by Buddhist and Greco-Byzantine cultures, the phenomenon of a local plastic canon was formed, which laid the foundation for the development of carved alabaster and plaster, which further developed without a figurative component during the Muslim era and spread to Asian lands until the time of the Turkic-Persian Qajar dynasty, reaching not only Uzbekistan and Tajikistan, but also Georgia. The study also discussed the specific features of art education in the context of preserving and developing the cultural heritage of the regions. The findings of this study can be used by specialists in the field of studying the evolution of the plastic canon of monumental and decorative art of certain Eastern countries, experts in the scientific restoration and reconstruction of oriental visions of the synthesis of painting with ganch and mirrors, as well as teachers of the history of oriental culture.

The building system and modeling evolution characteristics from the stacked patios to the pingqi of the grotto

ABSTRACT This paper takes the cave top Pingqi as the breakthrough point, discusses the relationship between the building system and the shape evolution from the lantern roof in the dwellings of Central Asia to the caisery in the grottoes of Xinjiang and then to the Dunhuang cave top Pingqi, discusses and analyzes the process of the integration and mutual learning, absorption and tolerance, innovation and development of Chinese and western cultures in the process, and combines them. Through the comparative analysis of the historical background, structural characteristics and spatial layout of various types of architectural forms, as well as the investigation of their evolution from focusing on functional needs to focusing on decorative art in different periods, we strive to sort out the origin and evolution of the decorative style of cave top Pingqi. The final conclusions of the study are as follows: Dunhuang Mogao Grottoe-roof decoration has experienced the imitation, inheritance, reference and innovation of the architectural style of the roof of Central Asia, Xinjiang and the Central Plains. It can be traced back to the wooden architectural style of “lantern well” in India and Central Asia, as well as the basic functional style of “chimney” in the early Central Plains. The evolution process of roof decoration in different periods is completely preserved in the existing grottoes. Showing the overall evolution process of “chimney”, “lantern well”, “stacked patios”, “sculpture Pingqi” and “drawing Pingqi”, the style of Pingqi in Mogao Grottle-No. 428 has become a typical representative of the evolution of “drawing Pingqi” in the Northern Dynasty, highlighting the deep integration of Chinese and western culture and architectural art, which is of great significance to the study of Chinese traditional architectural history and grotle-decorative art.

Study on the Characteristics and Causes of Ceramic Decoration Art of Jiexiu Kiln in Song and Jin Dynasties

Jiexiu kiln is located in the city of Jiexiu, Shanxi, is one of the important kilns in Shanxi and even the entire northern region, with a long history and unique cultural connotations. In the Song and Jin dynasties, jiexiu kiln ceramics production of a wide variety, in the unique regional environment and cultural atmosphere, jiexiu kiln ceramic decoration of the subject matter, layout and aesthetic style show obvious regional characteristics, through the analysis of jiexiu kiln ceramic decorative art characteristics, it is not difficult to find that jiexiu kiln ceramic decorative art by the social customs of that time, the other art disciplines and fashionable aesthetic ideas of the influence of the different degrees Through the analysis of the characteristics of jiexiu kiln ceramic decorative art, it is easy to find that jiexiu kiln ceramic decorative art was influenced by the social customs of the time, other art disciplines and fashionable aesthetic ideas to varying degrees, which formed a practical, elegant, dynamic, free, bright and simple decorative style, leaving a valuable treasure for future generations.

Eat, Drink, and Be Merry: coping with zoonotic spillovers and climate injustice

ABSTRACT This art installation centers on then-recent outbreaks of rabies and Nipah viruses in India and Bangladesh, and reveals unexpected connections between vultures, fruit bats, and humans. Using Victorian and Dutch decorative arts from time periods in which England and the Netherlands were connected to these contemporary outbreak sites through colonization, the installation highlights the way climate injustice influences which humans and animals bear the most risk in disease spillovers. Using work by cultural anthropologist Ernest Becker, the installation also considers how culture (particularly art) functions as a psychological mechanism for coping with death anxiety.

Study on Decorative Art of Temple of Arrondissement in Zhangzhou Area

The purpose of this thesis is to make an in-depth study of the decorative arts in Zhangzhou. As an important part of the traditional culture in Zhangzhou, the decorative art carries rich humanistic connotation and unique artistic style. By discussing the history and development of Zhangzhou decorative arts, traditional decorative arts, the relationship between decorative arts and cultural traditions, as well as modern development and innovation, we can better understand the role of Zhangzhou decorative arts in local cultural inheritance and its role in promoting local economy and tourism.

Application and Exploration of Baoxiang Flower in Ceramic Incense Burner Design

Traditional Chinese decorative patterns are often based on animal and geometric elements. However, since the introduction of Buddhism during the Wei, Jin, and Northern and Southern Dynasties, plant and floral motifs have gradually emerged. During the flourishing period of Buddhist culture in the Tang Dynasty, plant-based decorative patterns were widely integrated into ceramics, metalware, and decorative arts. During this period, the Baoxiang flower pattern, influenced by foreign cultures, evolved into one of the distinctive traditional Chinese motifs. This study focuses on the artistic exploration of combining traditional floral patterns with the design and creativity of ceramic incense burners. By systematically analyzing the application of Baoxiang flower in ceramic incense burner design, through in-depth analysis of its historical evolution, cultural connotation, and artistic characteristics, and integrating modern design concepts and aesthetic trends, the innovative application of Baoxiang flower in ceramic incense burner design is explored. The research shows that the Baoxiang flower, with its unique artistic charm and profound cultural connotation, injects new inspiration and insights into ceramic incense burner design, enhancing its practicality, aesthetic appeal, cultural connotation, and artistic value.

Integrating Sustainability into Contemporary Art and Design: An Interdisciplinary Approach

This study confronts the ambiguous concept of sustainability within contemporary art and design, seeking to define and operationalize it through an interdisciplinary lens. By synthesizing philosophical, technological, and artistic methodologies, this research utilizes qualitative analysis and detailed case studies to evaluate the sustainable attributes of modern decorative arts. Focusing on the integration of nature and technology, the investigation spans various artistic disciplines, critically assessing their contributions to sustainable practices. The results indicate that an innovative use of materials and avant-garde design approaches significantly advance sustainability, highlighting the role of contemporary art in promoting environmental consciousness and sustainability in policy-making. Conclusively, in this paper, a paradigm shift in art and design education and policy is argued for, advocating for a proactive engagement with sustainability that extends beyond traditional artistic boundaries, thus providing a framework for future sustainable development strategies in the arts. This study offers a comprehensive model for understanding and implementing sustainability that could influence future artistic and educational practices globally.

ST. VITUS CATHEDRAL AT PRAGUE CASTLE DURING THE PERIOD OF NORMALIZATION

This paper deals with the building modifications in the building of the Cathedral of St. Vitus, St. Wenceslas, St. Adalbert and St. Mary during the period of normalization - the 1970s and 1980s. This period has so far been neglected by researchers, although many articles and publications have been written about the history, development and artistic decoration of the cathedral. Normalization, like the entire period of communist rule in Czechoslovakia, meant the oppression of church leaders, the suppression of sacred themes in religious buildings and in everyday life. Nevertheless, the cathedral was the scene of necessary reconstruction works, as well as modifications aimed at improving the use of space and interventions based on the change of the Roman Catholic liturgy. St. Vitus Cathedral is the most important Catholic church in the Czech Republic, formerly in Czechoslovakia, and even earlier in the Czech Kingdom. Its construction, spanning almost 700 years, demonstrates the development in culture, technical possibilities, architectural and building art. The cathedral is an essential part of the Prague Castle complex and the Hradčany panorama. Prague Castle was and still is the center of secular and ecclesiastical power. This connection was symbolically fulfilled by the most important ruler ceremonies (coronations, funerals, marriages, christenings), which took place in the cathedral. One of the most beautiful and most photographed views of Hradčany is dominated by the silhouette of Prague Castle and especially the cathedral. The St. Vitus Cathedral rises from the base formed by the uniform design of the facades of Prague Castle, which was created during the reign of Empress Maria Theresa. For a long time the cathedral itself looked like a torso, as only the bell tower with a Renaissance and later Baroque helmet was built. The transept and the towers in the facade were not completed until the late 19th and early 20th centuries. On the basis of archival research, interviews with witnesses and the study of specialist literature, the reader is introduced to the interventions in St. Vitus Cathedral and the associated change in the space for the celebration of the liturgy, as well as the space for ordinary visitors to this church during the period under study. Further attention is given to the unrealised designs and other sacred buildings in the grounds of the Castle.

The Guidelines for Enhancing Knowledge and Proficiency in Food Decoration Skills: RMUTP

The purpose of this study was to examine the level of knowledge and skills related to food decoration, and to identify consistent study activities for each academic year in the food service industry's student program through correspondence analysis. The population was 304 people. The results demonstrated a high level of knowledge and behavioral learning in the area of artistic skills. An analysis of the correlation between the academic year and activities aimed at enhancing knowledge, skills, and creativity in the art of food decoration revealed that the 1st year students engaged in activities related to analyzing food decoration design, the 2nd year students focused on the fundamentals of food decoration, the 3rd year students explored visual elements and art principles in food design and decoration, and the 4th year students assessed their ability to design food decorations before class. Activities to enhance art skills involved 1st year students participating in exhibitions, 2nd year students participating in artificial decoration activities, and 3rd and 4th year students participating in culinary workshops and learning about food decoration techniques. Activities to enhance creativity involved the 1st and 2nd students creating images from points, the 3rd students participating in art camp activities, and the 4th students learning how to add value to food through plating and photography.