Decorative Patterns Research Articles

Romanesque Prague Monuments – Dimension Stone and Its Cutting

The study of building stone cutting is still a new discipline, which is currently based on evolving methods of mechanoscopy and analytical trasology. The presented article is an extract of a study that systematically maps the stone-cutting work in the territory of Prague from the oldest buildings to the present day. The most used dimension stone of Romanesque Prague is “opoka”. Although the opoka also occurs in other countries, its use as a predominant building material of monuments of this age is most common, especially in Prague. The systematic research of historic building stone cutting in the historic centre of Prague reveals the world of stonework from the earliest time. Individual traces of tools may be considered a historical source. Each work has its own unique pattern and bears traces of individual stonemason workshops, traditions, and training of the craftsman’s predecessors. Stonework in 9th century Prague was gradually evolving from simple stone block modelling to sophisticated cutting of blocks in the 12th century. For the distinctive work of Prague, stonemasons rock face cutting was typical, which means they gradually obliquely cut the areas from the corners to the centre of the block. However, they did not use various decorative patterns so typical for European work. In Western Europe, the aim was to use innovative tooth tools that were highly effective in working with stone; nevertheless, in Prague, these tools did not become popular, although they were sporadically used as European craftsmen arrived in Prague. When studying the stone surface, the latest 3D modelling technology was used, and consequently, the models were used to create mechanoscopic analyses using Global Mapper software. Based on the identified traces and their shapes in connection with the dynamics of the hits, the tools used could be reconstructed.

Position-Sensitive Bulk and Surface Element Analysis of Decorated Porcelain Artifacts.

Non-destructive characterization of decorated porcelain artifacts requires the joint use of surface-analytical methods for the decorative surface pattern and methods of high penetration depth for bulk-representative chemical composition. In this research, we used position-sensitive X-ray Fluorescence Spectrometry (XRF) and Prompt-gamma activation analysis (PGAA) for these purposes, assisted by 3D structured-light optical scanning and dual-energy X-ray radiography. The proper combination of the near-surface and bulk element composition data can shed light on raw material use and manufacturing technology of ceramics.

Ritualization of Space and Body in Mithila Folk Arts

This paper revisits the process of formation and ritualistic differentiation of the space of Kohbar and Aripana patterns traditionally painted on the mud walls of honeymoon chamber and the yards for pujas respectively. Kohbar and Aripana are the most celebrated folk art performances in the Mithila region of Nepal (and also in the Madhuvani District of Northern India). Kohbars are the ritualistic invocation through painted diagrams of kamala daha (seven-lotus pond motif) and several symbols of fertility and auspiciousness that are supposed to invite conjugal happiness and fertility power especially for newly married couple. Kohbars are often associated with Tantrism and procreative intercourse of opposite sex. Similarly, Aripanas are intricately designed decorative patterns performed on the sacred floor or yards especially during pujas and other auspicious occasions. The study of ritualization of space is relevant and important while studying folk art forms like Kohbar, Aripana, Ashtimki, etc. because ordinary spaces like yards, walls and floors are given special significance during such performances. These spots become sacred spaces for drawing some divine patterns and installing paraphernalia for specials rituals or pujas. The study basically incorporates Catherine Bell’s ideas on ‘Ritualization of Spaces’ and ‘Improvisation of Rituals’. The method of the study is based on the close observation of selected Kohbar and Aripana paintings as cultural texts. The critical analysis of the contents and performative details is expected to derive some cogent conclusion. This study attempts to pave the way for further studies on a number of similar folk art forms.

형상 문법(shape grammar) 규칙에 기반한 한화상석(漢畵像石) 테두리 장식 문양 활용 연구

The border decorative patterns of Hanwha Sangseok is usually engraved on the edge of the painting in the form of a band, and it can be said to be the same as the frame of the picture screen. The existence of the border decorative patterns meets the decorative demand of Hanwha Sangseok and at the same time harmonizes with the main designs of Hanwha Sangseok to give artistry to the picture screen. The decorative patterns of Hanwha Sangseok forms an art element with very distinct ethnic characteristics through its own unique expression method and implements excellent innovation and value in use. With the application of Hanwha Sangseok border decoration patterns as the research topic, this paper organizes border decoration patterns by pattern type and explores the aesthetic significance of Hanwha Sangseok border decoration patterns from an aesthetic and humanistic perspective. In addition, by extracting the elements of the border decoration pattern, a new pattern is created and applied to the design of daily necessities through combination with the shape grammar system. The decorative pattern created using the rules of shape grammar is not too bound by the typical frame of the original decorative pattern while making use of the art elements of the Hanwha Sangseok border decorative pattern. This study more effectively implements the ethnicity and redesign potential of decorative patterns by seeking a contact point between decorative patterns with ethnic characteristics and modern design through the combination of shape grammar systems and Hanwha Sangseok border decorative patterns.

Analysis and research of Tibetan pattern in cultural creation design

In recent years, with the development of social economy, cultural productivity has become more and more important in China's overall economic pattern. Tibetan has a long history, has a unique natural resources and cultural resources, is a product development provides an important material, on the other hand due to their own culture, the thought of aesthetic and improve, a single, homogeneous product on the market can't meet the demand of people, be badly in need of new design ideas to develop Tibetan gen products, The topic will be studied from the perspective of practical application. This paper focuses on the research of Tibetan local cultural and creative industry. Firstly, a large number of Tibet-related domestic and foreign literature are consulted to understand the current situation of tibet-related research. On this basis, the development trend of cultural and creative industry and successful cases related to cultural and creative products are analyzed and studied, providing ideas for the following product design. Secondly, in the study of Tibetan culture, the historical culture, geographical environment and artistic characteristics of The Tibetan are introduced. Through the analysis of Tibetan decorative arts, color patterns and other related cultural and creative case experience, the cultural and creative products of the Tibetan are designed. Finally, based on the analysis of relevant elements of Tibetan decorative art, Tibetan colors and patterns are extracted and summarized to achieve the combination of ethnic decorative art and modern design concepts, and the new design mode is integrated into Tibetan cultural and creative product design. This paper hopes to promote the inheritance of national culture and the development of Tibetan cultural industry through this design research.

Discussion on the modeling and decorative design principle of jade sword in Han Dynasty

Ancient China was the age of cold weapons, in which the sword was an important component. With the development of society, the sword has evolved from a simple and sharp tool to a function of decorating identity. The change of function also brings about the follow-up in form. At this time, the sword has derived the form of jade sword. Through the study of jade sword, it is found that as a practical and decorative tool, because it has both functions and aesthetic significance, its shape and materials are limited to a certain extent. With the fixation of its shape, the decorative patterns on it also show aesthetic laws. In addition to the modern characteristics, these patterns are more important to the aesthetic laws under their patterns: overall unity, decoration follows the physical characteristics, and decoration follows the function, Balanced change of decoration rhythm.

Inheritance and Development of Jingchu Dancer Patterns

in the development of ancient Chinese culture and art, the state of Chu occupies a position that cannot be ignored. In its splendid cultural and historical process, many magnificent and fantastic works of art have emerged, which are closely related to the life experience and aesthetic thoughts of this country and nation. Inseparable, the aesthetic tastes and preferences of the Chu people were partly inherited from the historical and cultural customs of their predecessors, which further influenced the artistic development of later generations. This paper analyzes the modeling characteristics and cultural connotation of the dancer's animal brocade in Chu State. On this basis, it further summarizes and studies the development and artistic characteristics of the dancer's decorative patterns in different historical periods.

Research on the application of water pattern in modern home textile design

As an important branch of traditional culture, decoration has important artistic value in reflecting national characteristics and cultural connotation. Among them, water pattern, as one of the typical representatives of traditional Chinese patterns, has thousands of years of development history, has distinct aesthetic characteristics, carries the essence of Chinese traditional culture, and is an indispensable part of Chinese art museums and culture. Based on traditional Chinese decorative water patterns. This paper deeply analyzes the application, development and design method of water pattern, and inherits and innovates it in the form of home textile design.

Phrygia Hierapolisi’nde Helenistik ve Roma İmparatorluk Dönemleri İon Mimarisi: Mimari modeller, şemalar ve stiller

The article offers a summary of the recent monographic study on the Ionic architecture of Hierapolis of Phrygia (S. Bozza, Architettura ionica a Hierapolis di Frigia, Hierapolis di Frigia XIV, Istanbul, 2020), analysed in the context of imperial architecture of Asia Minor. In the first part, the article gives a brief account of the main Ionic monuments of the city in a chronological order. Then, a description of the diachronic evolution of the Ionic architecture of Hierapolis is provided from the point of view of the iconographic schemes and the use of decorative patterns, with special attention to the Ionic capitals. In the third part, I propose some reflections on the development of local formal language and on the role of marble workshops; specifically, I analyse some iconographic and stylistic features of the Ionic architecture of Hierapolis, especially focusing of the capitals, the workmanship of the echinus and the canalis of the volute. Lastly, in the fourth section, the article offers some remarks on the architectural layout and the symbolic values of the monuments, emphasising that the Ionic order represented a distinctive feature of both sacred architecture and public monuments of Hierapolis throughout the imperial period, as a powerful symbol of the local identity, since it was inspired by the most ancient urban landscapes of the Microasiatic cities.

Innovative Application of Nano-Organic Photochromic New Materials in Hakka Traditional Decorative Pattern Design

Hakka traditional decorative patterns are the epitome of local life and production customs, politics and economy, culture and art and other history and culture. The themes of Hakka traditional decorative patterns come from the real world or the imaginary world, expressing the expectation and beautiful vision of life. At the same time, it is also the essence of artists accumulated through life in the past dynasties, which has a certain impact on the integration of modern art design and traditional culture. Photochromic materials have the characteristics of reversible color change under the action of light. They have relevant applications in many fields, such as architecture, currency anti-counterfeiting, clothing decoration and so on. Firstly, this paper briefly expounds the Hakka traditional culture. According to the introduction of Hakka traditional culture, this paper leads to the design of Hakka traditional decorative patterns based on Hakka traditional culture, and discusses the decorative technology, decorative parts, application scope and development history of Hakka traditional decorative patterns. Secondly, this paper briefly summarizes the photochromic materials, and leads to the category, principle and mechanism of organic photochromic materials. In this paper, electrospinning technology is introduced, and relevant experiments are designed. The results show that the composites with MAPE have better flexural, compressive and impact strength when the length of carbon nanofibers changes consistently. In the bending performance comparison experiment, the experimental data show that the lowest value of the group with MAPE is 15MPa higher than the highest value without MAPE. In the comparative test of compressive properties, the experimental data show that there is a difference of 30MPa between the composites with MAPE and those without MAPE. Moreover, when the length of carbon nanofibers is 40um, the overall performance of the composites is the best. This paper takes the design of Hakka traditional architectural decoration pattern with nano organic photochromic new materials as an experiment. Experiments show that nano organic photochromic new materials have better properties than traditional building materials in flexural modulus, compressive modulus and thermal stability.

A LATE HELLADIC IIIC EARLY DEPOSIT FROM KOKOTSIKA PLOT IN KASTRO/PALAIA (VOLOS)

This article presents a Late Helladic IIIC Early deposit of pottery and small finds deriving from rescue excavations at the Kokotsika plot in Kastro/Palaia, within the modern city of Volos. It is the first systematically published deposit from that site, providing data on stratigraphy, small finds, pottery typology, decoration, fabrics and use-wear patterns, supplemented with detailed statistics. A particular feature of the recovered assemblage is the comparatively high frequency of Handmade Burnished Ware, as well as the presence of Grey Ware, both seen as products of people deriving from the Italian peninsula. The presented deposit provides valuable new data both for the site of Kastro/Palaia, as well as for the region of coastal Thessaly. The revealed remains and stratigraphy might be related to the structures exposed in nearby plots by earlier excavation campaigns of D. Theocharis. The deposit documents most likely a slightly later stage of Late Helladic IIIC Early compared to what is present at the abandonment deposits at Dimini and Pefkakia. As such it provides new clues for the reconstruction of regional history, confirming earlier views that Kastro/Palaia attracted people who left other habitation sites in the area.

Application of Intelligent Technology in Facade Style Recognition of Harbin Modern Architecture

The judgment of facade styles is an important part of the sustainable utilization and restorative process of historical architectures. Contemporary Harbin needs the help of modern architectural facade forms in the planning of the famous historic city, especially with the facade renovation of old architectures with non-cultural heritage. This paper discusses the possibility of applying advanced image recognition algorithms to the classification of the modern Harbin architectural facade styles and argues that the keys to the classification and positioning of the styles are the forms, the details, and the decorative patterns of the architectural facades, together with the deformation and the quantitative variation factors of the facade decoration symbols. Based on the conventional classification method, the facade styles of Harbin modern architecture were divided into 12 categories after data analysis. To better capture the overall structure information and the style features of the local components in the architectural images, the group convolution and the dilated convolution were added into the ResNet model, and then, the improved channel attention mechanism was introduced to construct a novel CA-MSResNet model. The CA-MSResNet model could more accurately identify the morphological elements and the style categories of the architectures, and the average accuracy reached 87.5%. These techniques, with their promising results, are expected to be further applied in the future research on the sustainable utilization and renovation of Harbin modern architecture.

Bukhara and its neighborhood. Reassessing the cultural links of the oasis from new ceramic evidence

Ceramic assemblages from the Bukhara Oasis show an interesting mix of vessel forms and decorative styles, specifically in pre-Islamic times. Some elements of the tableware bear resemblance to material from adjacent regions in the south-west and south-east, including Margiana and Bactria, while others, specifically the storage vessels, appear to be inspired by the north-west or eastern areas, such as Khoresm and Chach. Surface coatings and slip paint proved to be highly significant in identifying these distinct cultural links.Drawing upon samples from the recent excavations by the MAFOUB project, this paper will trace the various cultural strains through analyzing the use of slip and slip-paint as an exemplary feature in the ceramic assemblages of the Bukhara Oasis from antiquity to the early Islamic period. Individual decorative patterns appear to be restricted to certain parts of the vessel repertoire. While coated vessels firmly belong to the tableware inventory, cursory applied slip paint with drizzling effects is mostly observed on containers and storage jars. Some slip painted decorations illustrate the considerable variation this technique enjoyed within the Bukhara Oasis.Our diachronic study highlights these diversities and follows the implied cultural alliances to shed light on Bukhara's position and role within the Central Asian neighborhood.

Study of Dali-Sukhothai Cross-cultural Ceramic Art Creation

This article is a part of the study entitled The Dali-Sukhothai Cross-Cultural Art Creation of "Thai Dragon Pattern". In the Dali-Sukhothai cross-cultural art creation study, ceramics were involved in both architectural decorative art and ceramic art, which implied the importance of ceramic art in the cross-cultural relationship between Dali and Sukhothai. This study focused on the cross-cultural relationship between Dali and Sukhothai ceramics and conducted a field study of the ceramic art at Dali Fengyi Jingtian Village and Sukhothai Sri Satchannalai No.61 kiln site. The study compared and analyzed the ceramics of both places at the perspective of: 1) firing technique, 2) production process and 3) decorative patterns, and extracted the artistic elements for art creation.

Parametric tools for Majolica Domes Modelling

This paper presents some results of research aimed at defining a parametric tool for modelling complex decorative apparatuses of domes based on geometric rules definition and building techniques. MaTiDo, Majolica Tiles on Domes, is an adaptive tool that allows a user to place “fish scale” on revolution domes and oval or elliptical ones, on domes with ribs and domes without ribs. MaTiDo can be used to reproduce the look of the real domes and virtually reconstruct domes modified or destroyed. These ideal models are suitable for different uses, for Cultural Heritage dissemination or in HBIM process. The main geometric problem to address is how to evenly distribute on doubly curvature surfaces flat tiles that are all the same size. MaTiDo is being developed for colour automatic distribution on tiles in order to generate different decorative patterns on extrados dome surfaces.

Stamping colors with solid-state superionic stamping (S4)

Traditional top-down approaches to producing metallic nanostructures are usually indirect; involve ultra-high vacuum processing steps and deep sub-micron lithography such as electron-beam lithography (EBL). Therefore, such pathways are difficult to scale up to high production rates. Additionally, they are too expensive to deploy in the production of single-use, low-cost products like plasmonic biological or chemical sensors, security tags or decorative patterns, all of which involve metallic nanopatterns. Hence, there is a need for more scalable and affordable manufacturing pathways for producing metallic nanostructures. In this work, we demonstrate a scalable manufacturing pathway for patterning silver nanostructures for plasmonic color generation. The pathway begins with the production of a single master pattern. We use commercially available Two-Photon Lithography (TPL) to direct-write a mask on a silicon substrate. Shallow etching of the silicon substrate with this mask by the Reactive Ion Etching (RIE) process (or Deep Reactive-Ion Etching for deeper patterns) produces a silicon master mold with the desired pattern. This master is used for hot embossing AgI-AgPO3 glass, a chemically stable, pure Ag-ion conductor with a low glass transition temperature (of about 100 °C, depending on its stoichiometry), into a stamp. This glass stamp, in turn, is used in the Solid-State Superionic Stamping (S4) process to electrochemically imprint the desired pattern into several substrates. Here, with this direct, facile, and efficient process, we report that a single nano-patterned stamp is capable of producing several high-fidelity replicas of the master.

KHOREZM CULTURAL SCHOOLS AND TRADITIONAL CRITERIA

This article is devoted to the development of national crafts in the country, including ceramics, the history of the development of ceramics in the Khorezm oasis, hearths, traditional criteria and features, technologies, centers of ancient pottery "Old Urgench", "Kattabog", "Madir". The well-known potters Eshmurad Sapoev, Raiymberdi Matchonov, Sultan Otajonov and their students are considered and some of their works are analyzed. The similarities and differences of decorative patterns in the ceramics of these three schools are highlighted. There is a discussion about the technology of glazed and embroidered tiles, dishes with a blue pattern, the production of various ceramics, cast iron (sage) flowers used in Khorezm pottery. Information is provided on the activities of potters who continue ancient traditions today, their participation in competitions and exhibitions, the use of tiles in the decoration of modern buildings.

Architectural Decorations of The Mosques of Barqah (Eastern Libya)

A group of ancient mosques dating back to the Fatimid period were discovered in the Libyan region of Barqah, when examining its ruins, it became clear the extent of care in their architecture and decoration. The importance of the article lies in its interest in the architecture of the early Fatimid mosques in the province of Barqah, and its tracing of many of the discovered decorative patterns, trying to employ them, and making the necessary comparisons that help in dating them. The main question here is limited to how to identify the decorative artistic methods that surrounded the Fatimid mosques discovered in Barqah. Thus, the study aims to introduce the Fatimid Barqah mosques, and to highlight and analyze their decorative features. Perhaps what gives this study its original character is that it follows a group of decorative samples in some local and international museums, and subject it to study and analysis by following some research methods such as the historical, descriptive and comparative analytical method, in addition to the archaeological research method and its applied methods in the study of archaeological samples, and relying on field visits. Enables the study to sort out some of the features of the architectural decoration that characterized the architecture of the early Fatimid mosques in the province of Barqah by studying some of the decorative samples from them, its showed that there is a specific artistic style that appeared in many of the decorative examples discovered in Barqah, and it showed how consistent it was with the artistic styles coming from the mosques of Tunisia and Egypt. With regard to future studies, the study emphasizes the need to pay more attention to conducting more research on other samples that the researcher could not access due to some security conditions that the study area is going through.

Architectural Polychromy on the Athenian Acropolis: An In Situ Non-Invasive Analytical Investigation of the Colour Remains

The preservation of the Athenian Acropolis monuments constitutes an ongoing top-priority national project of global significance and impact. The project concerning the analytical investigation of the polychromy of the Acropolis monuments presented in this paper was part of the Acropolis Restoration Service (YSMA) program (2011–2015), regarding the restoration of the two corners of the west entablature of the Parthenon, which exhibited severe static damage, and a parallel restoration program of the Propylaea. The scope of this research was to investigate the materials in the paint decoration remains on the monuments by applying, entirely in situ, numerous non-invasive techniques on selected architectural members of the Parthenon and the Propylaea. The research focused, mainly, on surfaces where traces of colour or decoration patterns were visible to the naked eye. Furthermore, surfaces that are referred to in the literature as decorated but that are currently covered with weathering crusts (of white or black colour) and/or layers of patina (of yellowish and orange-brown hue), were also examined. The techniques applied in situ on the Acropolis monuments were X-ray fluorescence, micro-Raman, and Fourier Transform InfraRed (FTIR) spectroscopic techniques, conducted with the use of handheld or portable instruments. The scientific data gathered in situ are discussed in this paper to enhance our knowledge of the architectural polychromy of the classical period. Further investigation by applying analytical techniques on a few selected micro-samples would be highly complementary to this present work.

Effect of Decoration on Windshield Impact Resistance and Novel Decoration Solution Compatible with Chemical Strengthening

<div class="section abstract"><div class="htmlview paragraph">Vehicle windshields typically include a black decorative pattern around their periphery and other regions. Examination of field failed parts has shown that windshields often break from impacts in these decoration zones; often with the fracture initiating from the decoration material itself.</div><div class="htmlview paragraph">In this work, the effect of different glazing decoration materials on glass strength and laminate impact resistance was evaluated. The decoration materials investigated included traditional inorganic enamel frit, an organic ink, and a new enamel frit that is compatible with glass chemical strengthening.</div><div class="htmlview paragraph">Ring-on-Ring strength tests were conducted and showed that inorganic enamel frit reduces strength of glass by over 50% compared to undecorated glass, while organic inks do not adversely affect strength. Tests of a newly developed decoration frit material, compatible for chemical strengthening processes, showed strength levels that were on par with undecorated, unstrengthened glass.</div><div class="htmlview paragraph">Ball bearing impact tests were performed on conventional laminates (comprising two plies of annealed soda-lime glass (ASLG) bonded together with a resin inter-layer, typically of 0.8 mm poly-vinyl butyral (PVB)) incorporating the different decoration materials to quantify the effect of these materials and their relative location in the laminate stack on impact resistance. Results showed that laminates made with inorganic enamel decoration frit experienced a local decrease in impact performance when compared to undecorated laminates. Additionally, it was found that the surface on which the enamel frit was deposited, significantly affected impact durability. Laminates with enamel frit on Surface 3, significantly outperformed laminates that had enamel on Surfaces 2 or 4; with the Surface 2 location being the lowest performer with a degradation in impact resistance of ~50% relative to undecorated parts. Furthermore, it was found that laminates made with an organic ink decoration, do not suffer a reduction in impact performance relative to undecorated laminates.</div><div class="htmlview paragraph">Lastly, thin, light weight hybrid laminates (comprising of a standard annealed outer-ply with a thin, chemically strengthened inner-ply) that incorporate the newly developed decoration frit material, compatible with chemical strengthening processes, resulted in local impact resistance levels that exceeded the performance of the undecorated regions of standard laminates. Notably, these hybrid laminates exhibited local impact durability of more than double that of conventional laminates with inorganic enamel frits on surface 2.</div></div>