Decorative Arts Research Articles

Between Death and Rebirth: Visual and Religious Intermediates in Chinese Ten Kings of Hell Paintings

In some schools of Chinese Buddhism, it was believed that after death, the deceased passed through the courts of the Ten Kings of Hell before being reborn. Paintings depicting this theme act as manifestations of the kings’ courts, instilling fear in the viewer through their vivid depictions of the king as a judge overseeing the torture of the deceased. Existing scholarship on the Ten Kings focuses on the iconography and style of Tang (618-907) and Song (960-1279) dynasty examples, emphasizing a compositional evolution from the iconographic and narrative, scripture-based modes, to the hanging scroll format, where each king is represented in his own court. However, limited surviving paintings from the Ming dynasty (1368-1644) leave a gap in the understanding of the Ten Kings and Buddhist hell during this time period.
 Using a five Ming dynasty Ten Kings of Hell scrolls at the Harvard Art Museums, I argue that religious contexts, visual characteristics, and intermedial references within these paintings embody the notion of the intermediate. Hell in Chinese Buddhism is a state of intermediate existence; I first discuss the ritual contexts and religious iconographies of these paintings as visualizing the passage between death and rebirth. Next, I analyze the visual and stylistic characteristics of the Harvard set, assessing how pictorial motifs are arranged and recycled throughout the set in a formula that allows the paintings to convey the notion of a liminal, intermediate space. Finally, I discuss how the pigments in the Harvard set perform reference textiles and decorative arts of the Ming dynasty; these period-specific references mediate the experience of the viewer by creating a convincing and comprehensible vision of hell.

Avant-Garde Inspirations in the Art of Ukrainian Monumentalists of the 1960-70s:

The purpose of the research is to introduce into scientific circulation the results of documentary reconstruction and art analysis of the lost monumental panel, which was created by a tandem of talented artists in the Palace of Culture of the BilotserkivMAZ plant in Bila Tserkva. The research methods involve a combination of art analysis with methods of documentary reconstruction and interviews with the author of the studied artifacts. Scientific novelty consists in the introduction into scientific circulation of a previously undescribed and destroyed monument of monumental art – a panel in the Palace of Culture of the BilotserkivMAZ plant in Bila Tserkva. For the first time, the stylistics of the execution of an unexplored object of monumental and decorative art were analyzed. Through a personal interview with Oleg Yerzhikivskyi, a direct participant in the process, the circumstances of the order and execution of the work were recorded. For the first time, a photo from a private family archive was made public, and an attempt was made to reconstruct the panels based on individual photos. Conclusions. As a result of the artistic analysis of the work, the ideological inspirations that manifested themselves during the execution of the large-scale panel were established. Despite the isolation of the Soviet artistic environment from world artistic currents, the dosage of information coming from the West was enough for Ukrainian artists to create their own interpretations of seen foreign or banned domestic samples. Sensing this on an intuitive level rather than being in the full context of theoretical and art history discourse, the best representatives of the process managed to create a work of decent quality, the execution of which was financed by the state of that time. Despite the presence of Soviet symbols in the work (as a tribute to the totalitarian system for the opportunity to work in the field of art at all), the monumental panel is made at a high artistic level and is valuable for its innovative approach. As it follows from the results of the research, the effort to adapt samples of Western European art to the realities of the orders of the Art Fund of the Ukrainian SSR was not the least important in this process. This became possible thanks to the high level of specialized art education in higher educational institutions, as well as the personal self-improvement of each author-performer and his personal giftedness. In addition, the mentioned works were created by Ukrainian artists on Ukrainian territory and they are far from glorifying the regime.

Innovative Application and Design of Smocking Technology in Local Chinese Clothing Brands

Abstract This study explores the innovative application and design of smocking technology in local Chinese clothing brands, emphasizing the technique’s evolution from a functional necessity to a decorative art form. It delves into the integration of smocking with modern fashion design, highlighting its significance in enhancing fabric texture, silhouette, and overall aesthetic appeal. Through comprehensive analyses of case studies and craft types, the paper reveals how local brands creatively adapt smocking, merging traditional craftsmanship with contemporary design principles. The findings suggest that smocking technology not only enriches the textile design repertoire but also contributes to the global identity and innovation of local Chinese clothing brands, bridging heritage crafts with modern design innovations.

The carpet industry and its impact on the Iranian economy During the Qajar period (1796-1899)

The topic of this research is considered one of the important historical subjects; its significance lies in the fact that carpet weaving is an industry that enjoys a special status compared to common industries, crafts, and known artistic specializations. The use of various artistic decorations and patterns on carpets has added charm and beauty to this industry, making it an active attraction for European tourists and foreign investors at the time. In our research, we have chosen to address the development of this industry and how it transformed from a craft practiced in homes and villages to an important urban industry, whose products formed the largest portion of the country’s exports. We shed light on the role of kings in establishing and developing carpet weaving workshops, especially those established in royal palaces and mosques. We also highlighted the contribution of the wealthy and courtiers in this field, and the extent of the connection that art of painting had with this industry, after weavers introduced silk flowers they wove using hand looms. In addition, we focused on the intellectual and cultural atmosphere that surrounded the artists during that era, their influence by Western culture, and its reflection on the carpet industry in particular, and on architecture and other arts in general. Thus, our research includes a brief study of the topic, with an analysis of some related details, relying on numerous Persian sources.

From Du Sommerard to Poldi Pezzoli

Abstract During the Bourbon Restoration (1814–30), Alexandre Du Sommerard started collecting antiquarian objects, mainly dating from the medieval period. In 1833 he settled in the Hôtel de Cluny, where he displayed the collection in an imaginative way that aimed to recreate historical installations. Its success was such that, after the death of Du Sommerard in 1842, the hôtel and the collection of decorative arts were bought by the state and opened to the public as the Musée de Cluny in 1844. This new kind of museum offered an influential model for connoisseurs and collectors, among them Gian Giacomo Poldi Pezzoli.

The monument to V.I. Lenin on the Amur Cliff in Khabarovsk (a hypothesis of authorship)

The article is devoted to the history of one of the monuments to V.I. Lenin in Khabarovsk. Based on a study of the recently discovered archive of the forgotten decorative artist M.A. Genendlis and analysis of historical photographs of Lenin monuments, a hypothesis of the authorship of the monument to V.I. Lenin on the Amur Cliff is proposed. To our knowledge, this is the first publication on the biography and sculptural works of M.A. Genendlis made by him during his residence in the Far East. These materials make it possible to preserve the memory and visual representation of the monument, which stood for about half a century on one of the most important historical sites in the territory of Khabarovsk.

Modelling Chinese contemporary calligraphy: the WRITE data model

Abstract This article presents the WRITE data model and dataset, a comprehensive collection of Chinese contemporary calligraphic data, utilizing Linked Open Data (LOD) principles. Calligraphy plays a pivotal role in Chinese culture, reflecting national identity and cultural transformations. The objective of this study is to enhance understanding and provide new tools for exploring Chinese contemporary calligraphy through LOD. The WRITE data model comprises artistic, linguistic, and socio-political-economic aspects. The WRITE data model, developed collaboratively with domain specialists, represents four collections: Contemporary Visual Art, Performance, Graffiti, and Decorative and Applied Arts. Metadata describing the artworks is structured by reusing and extending the Wikidata model. Complex relations are established between artworks and contextual elements, (e.g. people, exhibition history, organizations, and literary works). The artistic and linguistic metadata recorded over the ‘calli-writing units’ provide insights into shared and diverging characteristics with traditional calligraphy. Traditional and contemporary calligraphy practices are compared, highlighting how contemporary calligraphy challenges traditional rules. Two case studies demonstrate the formalization of specific items in the WRITE collection, showcasing the study of graffiti art’s socio-political meaning in China and the multidimensional nature of musicalligraphy performance. The WRITE dataset and data model contribute to advancing knowledge and understanding of Chinese contemporary calligraphy, offering valuable resources for artistic analysis and interdisciplinary research.

Pengaruh Perkembangan Seni Kaligrafi Arab Terhadap Budaya di Indonesia

This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values ​​and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.

Obsidian-tipped Spears from the Admiralty Islands in the Oceania Collection of the Museum of Ethnography in Budapest

The authors studied 36 obsidian-tipped spears in the Oceania collection of the Museum of Ethnography in Budapest. In addition to describing the objects from the Admiralty Islands collected before 1897, the paper provides a summary of the related ethnographic information, including the technological and technical details of spear point making and the characterisation of the obsidian raw material used.The blades used for making the obsidian points presented in this study showed no sign of standardisation (an indicator of advanced blade technology) in the spear point-making process. According to 19th-century ethnographic sources, the functional part of the points was the most important, and much time and effort were invested in ensuring that the blades were effective weapons. Later, as a sign of decline, primary production of obsidian blades ceased, and manufacturers started scavenging old artefacts and utilising waste and by-products. As a result, the blades decreased in size and became more irregular, and an increasingly large number included parts of the cortex, the crust of obsidian. After 1911, the relative importance of decoration increased, and the type became more standardised.The irregular shape of the spear points presented in the study and the thin, weak shafts with an awkward curvature raise questions about whether the spears were actual weapons. At the same time, the artistic decoration of the mounting sockets and ethnographic parallels suggest that the pieces in the collection were likely status objects instead.

Elements of Bantenese, Javanese And Balinese Art Carved on Lawangkori Gedongwani in East Lampung, Indonesia

This research aims to reveal the Lawang Kori Gedongwani carving art in East Lampung, one of the areas in South Sumatra which since the early 17th century was the territory of the Banten Sultanate. Based on its current appearance, Lawang Kori is carved in the typical Bantenese art style that dominantly decorates pottery shards and tombstones at Banten Lama urban site. However, in certain details Lawang Kori also showed the influence of art from other regions in Java and Bali. To determine the existence of these artistic elements, research will focus on the forms and types of ornaments that were manifested in the Lawang Kori carvings, both in whole and in part. Therefore, direct observations were carried out in Gedongwani Village, Mergo Tigo District, East Lampung Regency, where Lawangkori was found. Identification of shapes and decorations produces very diverse decorative patterns. By focusing on the analysis on structure, construction and decorative elements in the form of geometric, floral and figurative motifs, Lawang Kori presented the characteristics strongly influenced by the decorative arts of Banten, East Java and Bali. Islamic art itself was the result of modifications from the Hindu-Buddhist period. Referring to historical sources and oral traditions, the Lawang Kori gate was probably made in the late 17th and early 18th centuries. The growth of port cities under the rule of the Javanese-Islamic polity stimulated the development of decorative arts in their area of influence. Islamic works of art themselves were the result of modifications from the Hindu-Buddhist period. In this case, Banten was an agent for the spread of Islamic art in the Lampung region, from its golden age to its decline in the early 19th century.

A Comparative Study of Chinese and Western Garden Culture: From the Perspective of Garden Elements

Gardens refer to natural environments and places where people play through certain artistic design methods. There are completely different concepts and expressions in gardening methods between China and the West. This article mainly conducts an in-depth comparative study of Chinese and Western garden culture from the perspective of garden elements. The article first outlines the development process of Chinese and Western garden culture and analyzes the influence of multiple factors such as historical development and ideological culture on its style formation. Then, by comparing and analyzing the landscape elements of Chinese and Western gardens, the article reveals the differences and characteristics between the two in design concepts, spatial layout, artistic decoration, and other aspects. Finally, based on existing literature, the article summarizes the phenomenon of the integration of Chinese and Western garden cultures and explores the trend of how Chinese and Western garden cultures can learn from each other, integrate, and innovate in the context of globalization.

Scythian–Sarmatian art as part of the cultural landscape of Crimea

The subject of the study is Scythian–Sarmatian art in the cultural landscape of Crimea, expressed in sculpture, monumental and decorative arts. The object of the study is the Crimean artifacts of the Scythian–Sarmatian culture (details of jewelry, weapons, sculpture, vase painting) in comparison with similar objects from other regions of settlement of the Scythian–Sarmatian nomadic peoples. The author pays special attention to the identification of the main distinctive features of the Scythian and Sarmatian culture, which is complicated by how much mixed culture develops in the Northern Black Sea region and transformations of the animal style of the Scythian–Sarmatian culture in the Crimean diaspora associated with the influence of ancient culture and Near Asian civilizations. The use of the animal style as part of all subsequent styles, including the Crimean Art Nouveau, which is a reflection of the synthesis of cultures of the multiethnic cultural landscape of Crimea, is also traced. The article uses the method of historicism in retrospect of Scythian–Sarmatian art in the cultural landscape of the Crimea, the comparative method in the comparative analysis of artifacts of the Crimea and the entire territory of Scythia, the method of stylistic analysis in the decorative and applied arts of the Crimea. The main conclusions of the study are: 1. The Crimean cultural landscape is diverse due to the historical polyethnicity of the region, associated with its geographical location and a unique natural complex, which has become a place of numerous ethnic migrations throughout history. This is also connected with the appearance of the Scythian–Sarmatian culture in the Crimea in the ancient era, which left a significant mark on the peninsula. 2. The characteristic features of the Scythian – Sarmatian animal style are simplification of form, linearity and geometrization, which harmoniously fits into the classical anthropomorphic proportions in sculpture, wall painting, vase painting of ancient art. The constructive expediency, conciseness and harmony inherent in the Scythian–Sarmatian animal style through the prism of ancient art became the reason for the global introduction into subsequent architectural and artistic styles, up to the present time. 3. The Scythian–Sarmatian art in the Crimean cultural landscape is unique in that it embodies the original style of the Scythian–Sarmatian people.

Pola Frieze dan Pola Kertas Dinding pada Masjid Istiqlal

The beauty of Istiqlal Mosque is reflected through its architectural design. The decorative arts that adorn this mosque are generally found in elements such as doors, windows, walls, gates, and vents, which show special patterns. Such patterns can be identified through the concept of geometric symmetry, specifically Frieze Patterns and Wallpaper Patterns. The Frieze pattern is a subgroup within a symmetry group formed through one-way translation, creating a linear pattern that repeats in one direction. There are seven types of frieze patterns, each formed through a combination of specific isometries. Along with that, there are also other geometric patterns known as wallpaper patterns. Wallpaper patterns analyze patterns based on transformations on a flat plane and have seventeen types. This study aims to explore and explain geometric patterns based on Frieze Patterns and Wallpaper Patterns contained in the decorative arts of Istiqlal Mosque. Data collection methods involve observation and documentation. The results showed that there are certain frieze patterns in the Istiqlal Mosque, such as the type . Meanwhile, the wallpaper patterns identified in the design of the Istiqlal Mosque are type pmm and pmg. It is important to note that not all designs in the decorative arts of Istiqlal Mosque can be categorized into seven frieze patterns as well as seventeen wallpaper patterns.

Astoņstaru zvaigznes Niklāva Strunkes grāmatmākslā

Representations of the eight-pointed star have played an important role in the history of Latvian culture. They were present during the national revival movement at the end of the 19th century and the beginning of the 20th century, widely represented in the visual art of the first half of the 20th century and played an important role during the Third Awakening in the late 1980s. By analysing the depictions of the eight-pointed star using the historical method, comparative analysis, and connecting the images with the text, it is possible to create a context-based interpretation of the depictions and to express insights about the role of ethnographic ornament elements in interwar Latvian culture. The eight-pointed star appears in many of Niklāvs Strunke’s (1894–1966) illustrations and on covers of books, periodicals, and other printed editions. The meanings of the eight-pointed star in his work vary: it can be a symbolic representation of a celestial body or Latvian ornament, a decoration of the palaces of ancient Latvian rulers, or reflect the “star ornamented blanket” found in folk songs. Strunke’s book art is always related to the text, deriving from it, but also giving additional connotations to the text itself. In Strunke’s book graphics, the eight-pointed star is considered an expression of Latvian style, which appears to be a creative use of ethnographic ornaments in the context of decorative art and indicates the Latvian position of the author of the text or the national nature of the publication. The depictions of the eight-pointed star, which played a prominent role in Strunke’s book art, are part of wider cultural processes in interwar Latvia. These processes involve the new nation differentiating itself from previously dominant cultures, strengthening its myth of shared history, supporting the idea of national awakening, and bringing to life the symbolism characterising national identity in everyday life.

CULTURAL HERITAGE PRESERVATION: THE ART OF TRADITIONAL WEAVING IS APPLIED NOT ONLY IN CLOTHING

Traditional weaving has long been an integral part of Indonesia's cultural heritage. However, over the years, this art form has not only been used to make traditional clothing. However, it has also been applied in various other fields. This research aims to understand the history and cultural context of the art of weaving, examine the techniques and materials used, encourage sustainable use, bridge between generations, and identify threats and challenges facing the preservation of traditional weaving arts. The method used in this research is qualitative research, where the author observes local weavers at Penenun. The ages of these weavers range from teenagers to adults. This is then continued with a study of social theory and a literacy study of related phenomena regarding traditional weaving arts which are applied not only to clothing as part of efforts to preserve the nation's cultural heritage. This article analyzes how weaving can be applied in various fields, such as decorative arts, interior design and other products. This shows the flexibility and relevance of weaving in a modern context. The conclusion of this article reflects hope for the future of traditional weaving arts.

The noble character-based learning in the ornaments of Kraton Yogyakarta: A visual analysis of Javanese cultural heritage

In the context of art as a language, ornament also functions as a visual language, because in Javanese culture there is a tradition to express an idea, expression, and moral message containing learning about noble morals through ornamentation. This paper aims to analyze what are the noble moral-based learning contained in ornaments in Kraton Yogyakarta and what influenced them. Data were obtained through field observation, interviews, and literature studies. The results showed that the decorative figural art and ornamentation in Javanese culture are not only visually captivating but also convey profound cultural, religious, and moral meanings, making them an essential part of the Javanese cultural heritage. The visual narrative of ornaments was mainly influenced by cultural acculturation in Javanese society, while noble character-based learning was the result of religious syncretism and belief in Javanese culture.

EIGHT-POINTED STAR: IMAGES AND MEANINGS DURING FORMATION OF LATVIAN STATE (1905-1920)

Images of eight-pointed star (regular octagram) play an essential role in history of Latvian culture. Eight-pointed star visual representations appeared during national awakening in late 19th and early 20th century, as it was extensively used in visual and decorative art in between wars, also it played a role in exile and restoring national independence in 1980s. In the formation of the State of Latvia ethnographic ornaments became widely used by many artists, so, as early as in the beginning of 20th century, eight-pointed star was perceived as Latvian ornament of importance. The star was represented visually, also attained a meaning in textual comments or in visual and cultural context. Thus symbolic meaning of eight-pointed star in Latvia was expanded and following meanings emerged: “typical Latvian ornament”, “ancient Latvian rituals” in J.Rozentāls wall mural “Spēks” (Power), “historical, true Latvian style” in J.Kuga’s scenography for J.Rainis “Uguns un nakts” (Fire and Night), “national-patriotic” in A.Cirulis Latvian Riflemen battalions flags and “Latvian historic regions” in A.Cirulis version of Latvian flag.

Defining Digital Design in the National Collection

As the national design collection of the United States, Cooper Hewitt, Smithsonian Design Museum in New York City is dedicated to historical and contemporary design with a collection of over 215,000 objects. Since its founding in 1897 as the Cooper Union Museum for the Arts of Decoration, its collection departments have been defined taxonomically by materials. In 2022, the museum created a new collecting department for the first time in its history, acknowledging that Digital collections represent a separate “material.” The introduction of a Digital department stakes a claim that digital design is itself a separate discipline with its own needs of collections management, curation, and conservation. Digital design as both process and product is now pervasive throughout design fields and the collection will continue to grow as the museum strives to represent contemporary design practice. While the museum’s early digital collecting came from a lineage of graphic design and typography, this article discusses the challenges inherent in developing new taxonomies, typologies, classifications, and collections management and preservation processes.

Decorative Arts for International Cultural Exchange in the Information Age: Implications for Global Art Education and Identity Formation

Abstract Using the “One Belt, One Road” initiative, the study constructs a model of decorative arts to promote international cultural exchanges, and analyzes its role in promoting the principles of harmony, tolerance and mutual benefit. Using principal component analysis and PLS-SEM model, the study focuses on the specific impact of decorative arts in four aspects: international cultural exchange concept, resource conditions, organizational structure and international cultural education. The study results show that decorative arts significantly promote the idea of international cultural exchange, optimize resource conditions, build an effective organizational structure and advance international cultural education. Specific data show that the impact coefficient of decorative arts in promoting the concept of international cultural exchange on global art education and identity shaping is 0.726, the impact coefficient of resource guarantee is 0.714, the impact coefficient of social organization is 0.788, and the indirect impact coefficient of international cultural education is 0.685.This indicates that decorative arts have an essential position in international cultural exchange and have a global art education and identity shaping has a significant favorable influence. The study highlights the critical role of decorative arts in the era of globalization, provides new perspectives for a deeper understanding of their role in international cultural exchange, and offers essential references for developing strategies to promote global arts education and identity shaping.

Peculiarities of Formation of Key Competences in Students of Higher Education Institutions for the Purpose of Preparing Future Teachers to Teach the Subject “Fine and Decorative Arts

Peculiarities of Formation of Key Competences in Students of Higher Education Institutions for the Purpose of Preparing Future Teachers to Teach the Subject “Fine and Decorative Arts