Decorative Objects Research Articles

Жылтырауық жармасқының (Teratoscincus scincus Schlegel,1858) Кербұлақ жазығының құмдарындағы сан мөлшерінің ауытқуы

the article presents data on the population dynamics of the Plate-tailed Gecko (Teratoscincus scincus Schlegel, 1858) in the Sands of the Kerbulak plain (Northern part of the ili province). The article is based on the results of research conducted in 2007-2019 using one of the methods of accounting for the number of nocturnal animals — accounting using the light of a headlight (lantern). The research was conducted in semi-fixed (with open areas) and fixed bumpy Sands on permanent routes, mainly in the first half of June. The results of night accounting show that the number of Plate-tailed Gecko in various biotopes varies very widely (by 16.6 times). On semi-fixed Sands, these indicators averaged 2.8 — 20.0 per 1 ha, and 1.2 — 11.6 individuals on fixed Sands. Population fluctuations are influenced by annual and seasonal weather conditions, the use of these biotopes in all seasons as pastures by large and small cattle (sheep and goats), as well as the capture in large numbers of this Gecko as a decorative object for keeping in a terrarium. The daily activity, especially the time of its exit from the burrow, of the Plate-tailed Gecko in may-July is not subject to much change: in may, the time of exit from the burrow is 21 hours 25 minutes, in June-21 hours 15 minutes, in July-21 hours 30 minutes. Plate-tailed Gecko as one of the most important biological species in order to find out the number in the territories of its habitat, it is necessary to conduct constant Herpetological studies and to preserve the population, conduct propaganda work among the population.

The origin of Shinarump wonderstone, Hildale, Washington County

Southern Utah’s “wonderstone” is Shinarump sandstone, variably cemented and stained with iron oxide, forming intricate patterns reminiscent of landscapes. It is cut and sold as absorbent drink coasters and decorative objects, and is seen in rock shops across the country. The wonderstone pattern comprises thick bandsof iron oxide mineralization that fills pore space (referred to as iron oxide cement or IOC) and more delicate bands of iron oxide mineralization that coats sand grains but does not fill pore space (referred to as iron oxide stain or IOS).

Scenography as a Design Component of Presentation spaces for Fashion Shows

Competition for the attention of consumers in the modern fashion industry makes the problem of finding new effective means of marketing communications a topical issue. Fashion designers are interested in creating conditions of high quality for a vivid demonstration of new collections, it enables to increase the popularity of the brand, to strengthen the prestige on the market, to attract the attention of potential customers to the products. Modern trends demonstrate how often designers prefer original and unusual locations for defile, which are oriented on maximally spectacular design planning of the presentation space, in order to stand out against the background of the general information flow in any way. Various studies were devoted to this problem directly or indirectly, its various aspects were studied in many papers, but the peculiarities of forming scenography for fashion defile in different types of locations were not brought together as one of the design planning problems, which determined the topic of the study. The purpose of the article is to demonstrate the significance of scenography in modern design planning of demonstration spaces, to reveal the peculiarities of the monumental and decorative design of fashion shows. The article deals with the main types of scenery for outdoor and indoor location: interior, landscape, special and project ones. It has been defined what kind of differences exist between the scenery for fashion shows and theatrical and cinematic scenery. It has been determined under which principles the decorative design of presentation spaces is formed. • The scenery on the demonstration site shall look flawless, since the audience often stands very close and interacts with objects, unlike theatrical stage or cinema, where it may look “conditional”. And there is, also, photo and video shooting. Thus, performance, use of materials and detalization of decoration require high quality. • Additional equipment, namely stage structures, illumination systems, sound equipment, is visually open to the audience on the fashion shows and it also requires a comprehensive approach with decorative design. In the cinema and theater, these things remain off screen, are not visually active. • Installation and disassembly of scenery in a short time frame, since it is installed only for the duration of the show, often in the leased spaces. It is usually one-time. • Scenery at the outdoor locations in the open air on fashion shows requires special decorative objects, scale observed towards space, and professional illumination, due to photo and video shooting. • Objective decorative filling shall provide ecological, functional and aesthetic comfortability, these factors determine the general comfort. Hence, the decorative design of the environment facilitates the disclosure of the main theme of the collection, the concept as a whole, provides performance with a certain form, enhances the impact of the show on the audience, determines the style of the performance. It is an indisputable fact that the decorative design, created by highly skilled experts for fashion shows, does not cease to astonish and captivate. Theatricalization of fashion shows and the development of modern technologies have led to the creative search and implementation of the most unexpected ideas of scenery, stage-properties and props. This article opens the following prospects in the study of the design of demonstration spaces: to study the specifics of use of new technologies in modern scenography and their influence on the formation of the artistic image of Ukrainian fashion defile.

Kierunki rozwoju we wzornictwie fajansu włocławskiego w latach 1945-1991

The article is an attempt to summarize the history of the faience industry in Wloclawek, which goes back to 1873 and ends in 1991. Before WW II the city had a few main factories active, most significant of them being ‘Teichfeld and Asterblum’ and ‘Leopold Czamański’. The war took its toll on the faience industry: after 1945 significant efforts were made to revive it after a long break. It was then that the Polish Institute of Industrial Design decided to start its cooperation with artists in an attempt to revive Polish craftsmanship and industrial design, sending artists to work at the factories and cooperate with industrial specialists. This resulted in a series of courses conducted for the factory painters in Wloclawek, led by Antoni Buszek and later Helena and Lech Grzeskiewicz; the artists taught the often highly-specialised in their craft painters the basics of composition, encouraging them to compose their own decorations based on the newly-acquired knowledge as well as their previous experience. The courses brought very good results and were a step on the way to revive the unique style of Wloclawek’s faience. It is only after WW II that the Włocławek faience gained autonomy as its own product, without trying to mimic (in terms of design) porcelain, which at the time had already dominated the market as a more durable and ‘noble’ material. Władysław Bortnowski, who was at the time the factory’s artistic director, decided that the only way to stay on the market was to make unique, hand-painted products which had different assets than porcelain. His idea was to bring back the hand-painted flower patterns that had been used in Wloclawek during the interwar period, and that many of the older workers could remember and recreate. The new ways of thinking about creative processes in Polish industrial design also inspired some new trends; one of them being the so-called ‘new-look’, a style that had successfully made its way to Włocławek’s factories as well. Even though the modern-type faience was produced for a little over a decade, it is considered to be a significant milestone in the factory’s development. The article underlines the importance of that strategic decision in the later development of the well-known style, which makes the factory’s products recognizable even today. The author also writes about the so-called faience Biennale, officially called that since 1973: the date marking the 100th anniversary of the faience industry in Wloclawek. 1973 was also the year of changes in the board structures of the factory. Working conditions were said to have worsened gradually, resulting in poorer quality products being released to the market. The period 1970–1980 also brought changes to the range of products sold, shifting the focus from table sets to decorative objects, such as figurines and vases etc. In the final pages the author tries to answer some questions, such as why the flower-patterned faience gained such popularity and what made the faience factory in Włocławek survive and flourish after WW II.

Antiquity, Exoticism, and Nature in Gold “Lotus and Dragon-fly” Comb with Cyprian Glass Fragment

In this paper, I aim to reconstruct the life of Ornamental Comb, with emphasis on its materiality. I argue that the centerpiece of ancient glass, framed in Art Nouveau ornamentation, transforms into a modern jewel in accordance with avant-garde notions of looking to the past to create something new. Finally, I will contend that decorative art objects, like the CMA’s Ornamental Comb, disrupt the perceived hierarchy between what is deemed “high” and “low” art at the fin-de-siècle.

El neo-rococó en la creación de la(s) Nación(es)

El Rococó vio un renacimiento en el siglo XIX y se convirtió, junto con otros estilos del Antiguo Régimen, en una referencia para las élites (antiguas y emergentes) en ambos lados del Atlántico. Este artículo pretende mostrar cómo interiores y muebles, a primera vista objetos sobre todo decorativos, adquirieron en el pasaje del siglo XIX al XX distintos sentidos semánticos en el marco del ser nacional, a la par de la formación de las narrativas históricas de los estados-nación. Partiendo de un conjunto de muebles realizados en Prusia se explica cómo estos artefactos se convirtieron en armas ideológicas en la batalla por la hegemonía de la cultura entre Francia y el Imperio alemán durante la Exposición Universal de París de 1900.

‘Made of English Thread’

This article examines The Fabric of India Exhibition which took place at The Victoria & Albert Museum (V&A), London, from 3 October 2015 to 10 January 2016. The exhibition explored the expansive global history of Indian handmade textiles with a lavish display of splendid and decorative objects. The fulcrum of the exhibition was the complex story of the struggle for Indian Independence and the role of fabric within that, told through a few simple utilitarian objects. Two-thirds of the objects on display were selected from the V&A’s colonial-era collection. This article argues that it is possible to integrate uncomfortable histories into a grand and otherwise celebratory narrative to convey a strong political and emotional sub-narrative, and that key to this is an understanding of the collecting history of the objects. Furthermore, it contends that this colonial-era collection can be revitalised to bring the Indian voice onto the exhibition platform.

Performance of local fly ash geopolymers under different types of acids

A new class of ceramic materials, known as geopolymers, possess comparable or even higher mechanical and chemical properties than ordinary Portland cement-based materials. Because geopolymers can be used in a wide variety of areas, from civil engineering applications to decorative objects manufacturing, they can get in contact with different types of acidic corrosive substances. The degradation degree depends mostly on the acidic solution concentration and the exposure time. Due to the interaction between the geopolymer compounds, Al, Si and Fe ions solubility and the corrosive environment substance, there may follow severe consequences on the material mechanical properties. These consequences are highly related to the geopolymers three-dimensional structure degeopolymerization. The performance of geopolymers under severe environmental condition depends on the raw material, mineralogical composition and activation method. The aim of this paper is to present the effects of nitric acid, sulfuric acid and hydrochloric acid exposure on the local fly ash geopolymers compressive strength and microstructure.

Nontargeted Pattern Recognition in the Search for Pyrolysis Gas Chromatography/Mass Spectrometry Resin Markers in Historic Lacquered Objects.

A differential expression analysis technology developed for linear modeling of gene expression data was used in combination with thermally assisted hydrolysis and methylation gas chromatography/mass spectrometry (THM-GC/MS) to support the analysis of lacquers and varnishes on historical objects. Exudates from tropical trees, such as Manila copal, sandarac, South American copal, and Congo copal, which were frequently used in finishing layers on decorative objects up to the early 20th century, were compared through this approach. Highly discriminating features indicate biomarkers that can help to identify copals in resinous lacquers. The approach allows new, more systematic ways for finding biomarkers in the analysis of lacquered objects of art and varnishes.

Bamboo Metallization for Aesthetic Finishing of Furniture and Wood Decorative Objects by An Electroless/Electrolytic Process

This work aims to propose and describe bamboo metallizing, in part or totally, for furniture or aesthetical decorations. Bamboo provides a diverse metallic appearance; however, its use with real metal, already conferred to plastics, may increase the chance of use of this green material. The furniture industry requires sustainable options for both the base material for manufacturing of many pieces of furniture with a useful purpose, and surfaces finished with high quality and variety in their aesthetic appearance. This includes bamboo ornaments, which are useful to complement interior decoration. The coatings obtained include copper, silver, nickel, brass, and tin, each of which had some variants in luster. The main change incorporated into the process for metallizing nonconducting surfaces was the introduction of a common base for all surfaces, regardless of its roughness, shape, size, or other surface conditions. Then, this base was taken through an electroless process followed by electrolytic stages. Modification of the current process prevents the need for an initial stage of etching to increase chemical conditioning and roughness. The obtained metallic luster was that intended for decorative applications.

Editor's Introduction

It sounds like a setup, but it is adult film history: three women filmmakers meet in an adult novelty store in Coconut Grove, Florida. The year is 1994. One is Peggy Ahwesh, the New York–based avant-garde filmmaker. In works like Martina's Playhouse (1989), The Scary Movie (1993), and The Deadman (1989), her feminist, sexually provocative, Bataillean, punk-inflected cinema embraces bricolage, found footage, performance, and portraiture, often of women in states of abandon, refusal, and jouissance . With her is M. M. Serra, experimental filmmaker, curator, teacher, director of the Film-Makers' Cooperative, and advocate of and pedagogue on the cinematic possibilities of female sexuality. They are there to see the third: sexploitation auteur Doris Wishman, then a historical novelty for a coterie of cult video collectors. Wishman had been profiled in the RE/Search book Incredibly Strange Films (1986) and was one of few women working in the largely male-helmed cottage industry of New York–based sexploitation production in the 1960s.1 Beginning with a copious string of nudist-camp romance films in the early 1960s, Wishman steadily proceeded to make sex melodramas with the quotients of nudity that sexploitation's box-office formula required, yet infused them with her own preoccupations and sensibilities, delighting in the promise of a unique title, premise, or gimmick. Her films often featured women trapped in scenarios of maddeningly patriarchal design, taken to dysphoric, absurdist extremes. Swirling, spiraling camerawork; a copious array of women sporting black lace undergarments; cutaways to shoes, stockings, and marginal decorative objects; and loose post-synching produced films with great dynamism and a touch of delirium. Wishman's works were testimony to the ways women's bodies and spirits were shaped by the demands of a rigid patriarchal order, internalized as ineluctable law. Over the course of the next four decades Wishman produced thirty sex films, varying across genres …

The Tale of Genji: A Japanese Classic Illuminated

A comprehensive exploration of the rich visual culture inspired by the exceptional 11th-century literary masterpiece, from early screen paintings through contemporary manga With its vivid descriptions of imperial society, gardens, and architecture in early 11th-century Japan, The Tale of Genji-recognized as the world's first psychological novel-has captivated audiences around the globe and inspired artistic traditions for 1,000 years. This handsomely designed and illustrated book explores the outstanding art associated with Genji through in-depth essays and discussions of nearly 120 works. TheTale of Genji has influenced all forms of Japanese artistic expression, from intimately scaled albums and fans to boldly designed hanging scrolls and screen paintings by the most esteemed artists and calligraphers of every school and era. Scenes from the tale adorn decorative objects used in everyday life, including robes, lacquer boxes, containers for grooming tools and writing implements, incense burners, and even palanquins for transporting young brides to their new homes. The authors, both art historians and Genji scholars, discuss the tale's transmission and reception over the centuries; illuminate its place within the history of Japanese literature and calligraphy; highlight its key episodes and characters; and explore its wide-ranging influence on Japanese culture, design, and aesthetics into the modern era.

Evaluation of vaccination rooms in primary health care units

Objective: to evaluate the vaccination rooms of primary health care units. Methods: evaluative research, in which the Structure and Process in 89 vaccination rooms of six Regional Health Coordination Centers were evaluated through supervision of vaccine rooms of the Ministry of Health of Brazil. Results: most of the professionals were nursing technicians (76.4%) without training in vaccination (31.5%). In the Evaluation of General Aspects/Technical Procedures, decoration objects (43.8%), absence of bench (22.5%), and insufficient number of vaccines (41.6%) were observed. In the evaluation of the Cold Chain, inadequate cleaning of refrigerators (71.9%) and inappropriate temperatures (48.8%) were found. Conclusion: the evaluation of vaccine rooms showed that the structure of the General Aspects/Technical Procedures and Cold Chain components presented good classification, while the evaluation of the process of these components indicated a regular classification.

MİMAR VEDAD (TEK), RESSAM İZZET ZİYA VE SEDEFKÂR VASIF BEYLERİN ORTAK BİR ÇALIŞMASI: 1914 TARİHLİ III. SELİM TABLOSU İLE ÇERÇEVESİ

At the beginning of the 19th century, Selim III gave a painting which had himself as its subject, as a gift to the French Embassy In 1913, a large fire broke out at the Embassy of France in Tarabya and the painting was destroyed. After the Ambassador of France, Louis-Maurice Bompard, conveyed his sadness over the matter to Mehmed Resad V, the Emperor decided to have a copy of Kapidagli Konstantin’s painting made and gift it to the Embassy of France again. The court painter of the period, Izzet Ziya Bey, was commissioned to paint, the court architect Vedad Bey was assigned to design the frame, and Sedefkâr Vasif Bey was to create the nacre inlay on the frame. The production process of the 1914 painting of Selim III and its frame, provides ideas regarding the working conditions of the court painter and architect during the II. Constitutional Period. The frame, which shows influences of Orientalism and National Architecture movements, hasn’t been explored in any publication on Vedad Bey as of yet, and it serves as a significant example of his work in areas outside architecture. Furthermore, the frame in question allows a discussion on how the National Architecture movement was reflected in the design of decorative objects during the II. Constitutional Period. The aim of this study is to present the production process of the painting and the production process of the frame along with its stylistic features, with the support of documents from the Ottoman Archives of the Prime Minister’s Office, and the Vedad Tek family archives.

The Middle-Upper Paleolithic transition in Northwest Italy: new evidence from Riparo Bombrini (Balzi Rossi, Liguria, Italy)

We report here preliminary results from four seasons of excavation at the rockshelter of Riparo Bombrini (2002–2005). Three markedly separate horizons were uncovered: the deepest, comprising Levels M1-7, yielded abundant Mousterian lithics and faunal remains. A second macro-unit, corresponding to Levels MS1-2, is only a few decimeters thick and is characterized by the presence of large limestone blocks from partial collapse of the shelter's vault. The scarcity of material and presence of carnivore coprolites suggest sporadic human occupation. The third macro-unit, constituted by Levels A1-3 and following immediately above Levels MS1-2, contains a rich Proto-Aurignacian industry, including Dufour bladelets, bone tools, abundant ochre, numerous decorative objects (mainly perforated shells) and widespread use of exotic raw material. New AMS dates and stratigraphic and sedimentological evidence indicate that the appearance of the Proto-Aurignacian at Bombrini dates to around 41 ky cal BP, in a phase of climatic degradation, paralleling the conditions observed for the transition at other northern Italian sites. While preliminary faunal analysis suggests little change in site use over time, the composition of the lithic assemblages point to a marked technological discontinuity between the two time periods. Riparo Bombrini's stratigraphic sequence affords important details about the environmental and cultural dynamics that marked the expansion of modern humans into Europe and the disappearance of Neandertals in that region during OIS 3. The association of a rich Proto-Aurignacian complex with an anatomically modern deciduous human tooth enhances further its importance for understanding early Upper Paleolithic in Italy.

Obsidian in the prehistoric Aegean: Trade and uses

This paper studies the prehistoric use of obsidian quarries in the Aegean. Obsidian sources in the eastern Mediterranean have been traced on certain islands of the Aegean: Melos, Antiparos and Giali. Due to its hardness, this material was already being used by the end of the Upper Palaeolithic to produce blades with sharp edges to serve as knives, scrapers and razors, arrowheads and spears, axes, saws and mattocks. This naturally occurring glass was also used for ornamental purposes. During the Late and the Final Neolithic Period (ca. 5300-3200 B.C.), when the systematic habitation of the Cyclades developed, the transportation of obsidian was incorporated in the gradually developing trade networks of the Aegean. The material was much in demand in the early Bronze Age. During the later Bronze Age its use declined and by the classical period it seems to have been replaced by metal. Around 1100 B.C. the use of obsidian was discontinued because of the increasing popularity of metals. During the Roman period obsidian, was used in the manufacture of mosaics and decorative objects, such as mirrors

Personal adornments in the Romanian Eneolithic: Local versus exotic raw materials

Prehistoric personal adornments have benefited from detailed studies because they are an inexhaustible source of reflection. From these objects can be identified the symbolic and religious behaviour of prehistoric groups; they may also reflect the socio-economic aspects of these communities and may even serve as markers of cultural boundaries and exchange networks in prehistory. Appreciating the considerable potential of personal adornments, the central purpose of this study is to analyse and compare the types of ornaments used by Eneolithic communities (c. 5000-3500 BC) in the area to the north of the Danube, to provide an integrated image on the ways in which the use of certain types of ornaments had socio-economic effects. Among local species, the shells of Lithoglyphus sp. gastropod were used to make bracelets and necklaces and the valves of Unio sp. were processed into small circular beads. Alsoidentified were beads made of Cyprinus carpio opercular bones, a unique find for this stage of European prehistory. Exotic raw materials are represented by various forms of Spondylus adornments, bracelets of Glycymeris valve or tubular beads of scaphopod shells. While in the first case, we have identified pieces in various processing stages, from entire valves, shells or bones, simply perforated, and irregular fragments, to finished beads, used as decorative objects – certainly processed in situ; the artefacts of exotic raw materials arrived at the communities north of the Danube in a finished form, as a result of inter-community exchanges. Very interesting is the fact that the ornaments of exotic raw materials (e. g., Spondylus sp., Glycymeris sp., Antalis sp.) were identified mainly in funerary contexts and less in settlements, proving they were prestige goods and accompanying the deceased to "the other world". Therefore, it seems, apparently depending on the local or exotic origin of the raw material, that these personal adorments had differing socio-economic meanings.

Colonizing through Clay: A Case Study of the Pineapple in British Material Culture

Appealing to notions of exoticism, the pineapple fruit secured a stronghold on the eighteenth-century British imagination. I analyze the ways in which British subjects understood the pineapple, as both a natural product and a decorative motif. I focus on a particularly popular example of pineapple cream-ware, a Staffordshire coffee-pot, as a way to explore the multifaceted implications of the fruit and its role in empire, and to identify the paradoxical symbolism of the pineapple. Today, many individuals understand the fruit as a symbol of polite hospitality; I complicate this notion, turning to horti culture dictionaries and natural histories in order to reconstruct the eighteenth-century British fascination with this Caribbean fruit, arguing that the pineapple—as a fruit and a decorative object—also embodied notions of empire and difference.

Woodworking sites from the Late Paleolithic of South Arabia: Functional and technological analysis of burins from Dhofar, Oman

Burins are a geographic and time-transgressive tool type, found in lithic industries throughout the world. The defining feature of a burin is the administration of a precisely placed blow (i.e., burin blow) on a natural or prepared striking platform at the edge of a blank. Burins were used for various activities, such as fashioning hunting equipment, figurines, musical instruments, or other decorative objects manufactured from wood, antler, or bone. In other settings, researchers have observed burins that were also used as cores, demonstrating the flexibility and utility of this tool type. Here we present the results of technological, typological and functional analyses of three burin assemblages from the Late Paleolithic of Dhofar, southern Arabia. Technological analysis indicates a significant degree of standardized production. Functional analysis suggests that these tools have been used in woodworking activities. Traceological studies suggest that the function of the burin blow was not the creation of an active working face, as often seen in the Southwest Asian and European Upper Paleolithic; rather, the burin blow functioned to stabilize the truncation and working edge of the tool. Traces of use have been identified mainly on the wide truncations, indicating that the artifacts were likely used to plane broad wooden surfaces. From these observations, we infer that woodworking was a significant component of Late Paleolithic human activity in Dhofar.

Fluids Demonstrations: Trailing Vortices, Plateau Border, Angle of Repose, and Flow Instability

Demonstrations of physics phenomena via relatively simple devices and toys have been around for a long time. Because of the pedagogical value of demonstrations, this journal and other periodicals have published papers on the subject of classroom demonstrations including those related to fluid mechanics. Four new, low-cost apparatuses that demonstrate a variety of fluid mechanics phenomena are presented in this paper. The apparatuses are self-contained, instantly set up, require no electric power for operation, and are maintenance free. They can be used as demonstration tools to enhance classroom lectures and outreach activities. Alternatively, these apparatuses can be assigned as projects for students to construct and test. Further involvement, from an aesthetic point of view, might be to construct variations of them as decorative objects by collaborating with students/teachers in visual arts. Features of the apparatuses are presented first, followed by notes on fabrication to enable interested readers to replicate them.