Floral Motifs Research Articles

The Cultural Significance of Malay Woodcarving Motifs: A Case Study of Rumah Warisan Hajah Kundur

This study examined the Malay woodcarving motifs displayed at Rumah Warisan Hajah Kundur, a distinguished Malay heritage house currently located in Politeknik Port Dickson, Negeri Sembilan, Malaysia. The study utilised qualitative research methods such as site observations, photographic recording, and analysis of secondary data to document and assess the wood carving motifs found on the wooden structure. The house had been moved and restored in order to preserve its cultural significance. The investigation uncovered that the woodcarvings of Rumah Warisan Hajah Kundur prominently featured floral motifs, with geometric and combination designs also being prominent. This study not only recorded the visual qualities of the carvings but also analysed their symbolic meaning, revealing the interdependent relationship between artistic representation and cultural heritage in the practice of Malay woodcarving. Concentrating on this singular, historically significant residence of Rumah Warisan Hajah Kundur, the study underscored the significance of Malay woodcarving in vernacular architecture in Negeri Sembilan. It emphasised the imperative for continuous documentation and conservation of the intangible cultural heritage represented by Malay woodcarving motifs and Malay traditional houses.

Karakteristik Fisik Arsitektur Islam pada Bangunan Masjid di Kecamatan Curup Tengah Kabupaten Rejang Lebong

This study explores the characteristics of Islamic architecture in Curup Tengah, an area with geographic, cultural, and traditional contexts distinct from the origins of Islamic architecture in Arabia. This study focuses on the adaptation of Islamic architecture to local contexts and community needs, as well as its influence on the appication of Islamic architectural elements in mosques. This study aimed to analyze and describe the characteristics and implementation of Islamic architectural elements, including domes, minarets, calligraphy, geometry, floral motifs, prayer halls, mihrabs, pulpits, porticos, ablution areas, study spaces, ventilation and natural lighting. The methodology employed is qualitative research with a descriptive comparative approach, utilizing data collection through observations, interviews, questionnaires, and relevant literature reviews. The finding indicate that mosques in Curup Tengah generally lack minarets and instead optimize doors and windows for natural ventilation, avoiding the use of artificial cooling systems. The application of Islamic architectural elements in these mosques remains limited, with only eight to twelve of the total thirteen elements being implemented. This research enhances the understanding of how Islamic architectural elements are applied and offers valuable insights for future mosque design in Curup.

Exploration of floral motifs for modular textile and apparel design

Exploration of floral motifs for modular textile and apparel design

“Floral Ornament of Reality”: Flowers in Worldview of E. T. A. Hoffmann and N. A. Polevoy

The relevance of this study is grounded in the scholarly significance of the issue of Russian-German literary connections as a crucial factor in intercultural interaction. This article analyzes works in which the authors articulate a mystical sense of nature, based on the natural philosophical ideas of F. Schelling. The focus of the investigation is the national distinctiveness of Romanticism, manifested in the peculiarities of nature perception, particularly floral imagery. It is demonstrated that the Romantic writers of Germany and Russia perceived love, within the value-emotional framework of the Romantic universe, as a mystical feeling that enables one to penetrate the mysterious forces of nature. The floral motifs within the works contribute an additional allegorical meaning to the artistic worlds of E. T. A. Hoffmann and N. A. Polevoy. The “floral background” of the characters in the analyzed texts (the tulip Gamachea, the thistle Pepush, the bride Tis — Little Rose; Emma — cornflower; Italy — “poor forget-me-not,” among others) establishes a symbolic language of nature. Attention is also given to motifs traditional to German literature: yearning, soul affinity, reminiscence of a “different world,” and the union of lovers in death, which are reflected in the examined works of Russian literature. The novelty of this research lies in its consideration of N. A. Polevoy’s dialogue with the German literary tradition represented by E. T. A. Hoffmann as a result of his philosophical and poetic explorations.

Gaya Arsitektur Rumah Istri Sultan Amaluddin Tengku Khalijah di Kota Maksum

Kota Maksum is an elite area that was once the residence of the nobles of the Deli Sultanate since the royal family moved from the palace in Labuhan to the Maimun Palace in 1891. The development of Kota Maksum was inseparable from the collaboration between the kingdom and the Dutch colonialists at that time so that the buildings of the Sultanate Many Delis were built by Dutch architects, including the Kota Maksum area. One proof of the legacy of the residence of the Deli nobles in Maksum City today is the house of Sultan Amaluddin Tengku Khalijah's wife. This house is the residence of Tengku Khalijah, the wife of Sultan Amaluddin Sani Perkasa Alamsyah, located in Maksum City. What's unique is that this house still stands strong today, even though it looks like the house is not very well maintained. In this way, the author immediately plunged into the field to see the house. This research aims to reveal the architectural style and ornaments used in the house of Sultan Amaluddin Tengku Khalijah's wife in Maksum City. The research method used in this research is a historical approach using data collection techniques through field observations, direct interviews with Tengku Khalijah's descendants, and literature study. The findings from this research show that Tengku Khalijah's house is structurally styled using Dutch colonial architecture which can be seen in elements such as stiles, doors, windows, dormer roofs, roof peak decoration and the use of the dominant color white in the house which is generally also used. on Other Colonial houses. Several typical Malay ornaments with floral motifs are also used in this house.

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.

Symbolism and Aesthetics: Analyzing Mughal Motifs in Art and Architecture

Spanning from 16th to 18th of imperial rule in the Indian subcontinent, the Mughal Empire is an indelible mark on artistic expression through its meticulous cultivation of motifs in various mediums, including art, architecture, manuscript illumination, textiles and decorative arts. This paper examined the symbolism reflected in the Mughal art and architecture. Through a multidisciplinary approach drawing from art history, cultural studies and material culture analysis, this study examined the diverse typologies of Mughal motifs, which included the study of flora and fauna imagery on Mughal monuments, illustrated manuscripts, textile and costumes. By analyzing their aesthetic qualities, symbolic meanings attributed to floral motifs and historical contexts, this research seeks to unravel the complex layers of cultural synthesis and exchange that characterize Mughal art. Through a comprehensive exploration of primary sources, scholarly literature and visual analysis, this paper examined the motifs in shaping the artistic identities, cultural narratives and aesthetic sensibilities in the Mughal Empire and beyond.

Non-Verbal Communication Aspect in Paper Umbrella Craft as Intangible Cultural Heritage in Malang

Paper umbrellas are one of the crafts included in the intangible cultural heritage of Malang, East Java. Currently, it is known that there is only one group of craftsmen who still produce this paper umbrella craft. Although not many of them, this paper umbrella craft still exists among people who like traditional handicrafts. This is evident from how often paper umbrella crafts appear at craft exhibitions in cities in Indonesia. Consequently, there is a pressing need for in-depth research on paper umbrella craftsmanship in Malang City. A valuable avenue for exploration is the examination of non-verbal communication aspects inherent in paper umbrella craftsmanship. This study aimed to determine the non-verbal communication aspects contained in paper umbrella crafts. The research employs a descriptive qualitative approach, focusing on analyzing non-verbal communication aspects. Data was collected using unstructured interview methods, documentation, and field surveys. The collected data was reduced for analysis using nonverbal communication theory. The study findings are presented descriptively, detailing the observed non-verbal communication aspects. The findings reveal three distinct categories of non-verbal communication aspects in paper umbrella craftsmanship: fixed features, semi-fixed features, and non-fixed features. Fixed features include shapes depicted on the umbrella. Semi fixed feature is a choice of material used to make paper umbrellas, colors, and motifs. The materials used are bamboo and paper. The colors of the umbrellas are red and green. The motif drawn on the umbrella is a floral motif. Flowers are present because they are the favorite shapes of the craftsmen who make umbrellas. Non-fixed features encompass the entire process of crafting paper umbrellas, from material preparation to final finishing touches. Keywords: umbrella paper, craft, tangible cultural heritage

Bandolier Bags and Indigenous Modernism

This is a material culture-based case study of two bandolier bags dated to the late nineteenth or early twentieth century in the Agnes Etherington Art Center collection in Kingston, Canada. The floral motifs that decorate these two bags are not made from porcupine quills, nor are all of them bilaterally symmetrical as in “traditional” Indigenous art. Instead, they are made from glass beads, and most of the floral designs are asymmetrical. The bags’ surface patterns and materials were made possible through international trade, which facilitated the merging of European and other global designs, materials, and forms with Indigenous visual and material culture. Contemporary Western anthropological discourse framed these Indigenous objects as “hybrids” and alleged that they distorted the original meaning of such styles in a European context while simultaneously “corrupting” traditional Indigenous art and culture. Such art forms were denied a place in modernity due to their supposed inauthenticity. Ironically, “authentic” Indigenous art and material culture was likewise barred from being considered “modern” due to its hand-made, “preindustrial” nature. Connecting North American historical developments with discourse on Indigenous modernisms, I argue that on the contrary, these bags evince their makers’ conscientious engagement with modernity and can be considered modern Indigenous art.

Prenses Bilge’nin Türbesindeki Yazıt Üzerine Bir Değerlendirme

In the tomb of Princess Bilgä, who held a prominent position in the Second Turkic Khaganate, an extraordinary inscription spanning 23 lines, each containing 23 characters, extolled her beauty and wisdom. This monumental inscription, measuring 7.5 cm in thickness and 60 x 60 cm in dimensions, is adorned with intricate floral motifs on all four sides. Discovered in 1983 within the residence of a local farmer residing in the town of Luozhou, located in the Fujou district of China’s Fujian province, known as Dayan Qian, this historical artifact is now carefully preserved within the Fujou County Museum. Remarkably, the inscription concludes with a dedication, etched in bold characters, declaring it as the “Memorial Stone of Jichu (激秋) Palace, distinguished for its exquisite calligraphy and artistic significance.” Researchers have subsequently affirmed that this marks the ownership of Chen Chenshi, the father of Chen Bao Chen, who was a mentor to Puyi Emperor. In this comprehensive study, our aim is to shed light on the significant historical narrative encapsulated within the monumental inscription found in the tomb of Princess Bilgä of the Second Turkic Khaganate. We also endeavor to translate this inscription into Old Turkic and present it to the global scientific community, contributing to our collective understanding of this remarkable historical artifact.

INNOVATIVE FABRIC DESIGN OF THE VIENNA WORKSHOPS

The Vienna Workshops is an artistic and industrial association founded in 1903 by architect J. Hoffman, artist K. Moser and industrialist F. Werndorfer, who made a significant contribution to the development of textile ornamentation. J. Hoffman (who was influenced by the Scottish architect C.R. Mackintosh) continued his bold experiments in the use of smooth planes and volumes in architectural structures. J. Hoffman was a follower of the Gesamtkunstwerk concept and he paid special attention to the textile ornamentation which should be reflected in a single style set by architectural forms. In the initial period of activity of the Vienna workshops from 1903 to 1910, the artists of the association developed a special type of geometric ornaments, which were distinguished by the innovative ways of building rapport compositions using the simplest shapes: squares, rectangles, ovals, rhombuses, etc. The new structures of the ornamental motifs had a striking individual manner and were used in a variety of products of the Viennese workshops. The article introduces for the first time into scientific circulation sketches and a book of samples of textile products for 1908 of a French enterprise supposedly owned by C. Steiner, with geometric patterns by Viennese workshops. These rare materials were provided by a private collector from St. Petersburg. The next important stage in the association’s activities began after the opening of the textile department in 1910 and was associated with the development of stylized floral motifs in a primitive manner. Following the artists of Munich, the Viennese workshops turned to the folklore tradition and proposed new textile designs with large floral and foliage forms. They were characterized by a planar image of elements, the use of graphic possibilities of lines, spots and shading of local colors. The fabrics of the Viennese workshops were a great success with contemporaries and were used to create women’s outfits and in interior design. Innovative geometric and floral patterns of fabrics in a primitive manner had a noticeable impact on the products of textile factories in Europe in the first decades of the 20th century.

Application of Motifs Woodcarving in Preserving Its Authenticity in Istana Balai Besar, Kota Bharu Kelantan

A palace is the legitimate house of a noble monarchy or excessive dignitary. The palaces of the Malay Kings are derived from the architecture of the Malay houses but in a larger scale.However, since it was a government palace, its structure had to be changed to accommodate its dual functional structure. In addition to accommodating the king, the palace also functions as a hub for administrative work.Therefore, traditional Malay royal palaces were decorated with carved decorative elements depicting intricate carvings in specific patterns, shapes, sizes and arrangements. Various sculptural elements with specific characteristics were created depending on their location and the shape of the palace. The woodcarving as embellishment was created at the palace to symbolize the king's status. Motifs are considered one of the primary elements behind the creation of woodcarving and is visually incorporated into various arts and crafts categories. Motifs also plays an important role in a woodcarving composition. Therefore, this study aimed to present a research to explore the visual forms of motifs of the carved component in Istana Balai Besar, Kota Bharu, Kelantan. A qualitative research approach was used to collect data through an analytical review of measured drawings and reports of the Istana Balai Besar from the architecture gallery at the Universiti Malaysia Kelantan (UMK), interviews with previous local woodcarvers and site visits to the selected palace. The final model confirmed that there were four types of motifs, namely flora, geometry, cosmos features, and Arabic calligraphy carved in two and three compositions together with perforated and embossed types of forms and it can be concluded that the floral motifs are the types of motifs that dominated the woodcarving at Istana Balai Besar.

Metropolitan Sanat Müzesi Örneğinde Türk Hat Sanatında Şeyh Hamdullah Ekolü

The art of calligraphy, also known as "hüsn-i hat" in Islamic culture, involves writing Islamic script in accordance with aesthetic principles. Executed using Arabic letters, this art form emphasizes the aesthetics and meaning of writing. The calligraphers, known as "hattat," adhere to rules to create Imagely pleasing scripts. The essence of calligraphy lies in expressing the aesthetics and essence of writing. Influenced by Islam's emphasis on writing and avoidance of imagery, calligraphy has become one of the most valued forms of Islamic art. This study aims to examine the contributions of the prominent Calligrapher Shaikh Hamdullah, a pioneer of Turkish Calligraphy, to the art through the example of a " thuluth and naskh hadith and poetry panel." Conducted through a literature review, this research delves into the Ottoman calligraphy, aklâm-ı sitte(six scripts), and the Shaikh Hamdullah school, focusing on his muraqqa at the Metropolitan Museum of Art. During the Ottoman era, aklâm-ı sitte styles like thuluth and naskh; muhaqqaq and rihani; tawqi and riq'a, evolved under Hamdullah's influence. His style of naskh calligraphy became the preferred method for transcribing the Quran across the Islamic world, giving rise to the Shaikh Hamdullah School. His contributions encompass Qur'an manuscripts, calligraphic panels, and muraqqas, held in prestigious collections worldwide. The tradition of granting, or certification, has preserved Shaikh's style, allowing his teachings to endure. The discussed artwork, a part of Shaikh's muraqqa album, features thuluth headings and naskh text lines drawn with ink and reed pen on marbled paper. The calligraphy is characterized by its harmonious thuluth and naskh styles, with minimal gold-painted floral motifs and borders. This study provides insights into the Shykh Hamdullah School and its impact on Turkish Calligraphy.

Chempaka: A Flora Motif as Design Identity in Batik Chempaka, PPDK Merbok

Batik Malaysia refers to the traditional Malaysian art of batik-making which includes the application of wax and dyes to cloth to produce elaborate patterns and design. Batik has a long history in Malaysia and is a key part of the country’s cultural legacy, representing its identity and customs. This paper discusses the floral motif as design identity and production of the Chempaka flower motif. It explores the history and cultural significance of the Chempaka flower motif in batik making and how it has been adapted to create modern design. Overall, the paper concludes with the importance of the Cempaka flower motif as a design identity and the need to preserve its cultural significance in the batik industry.

Application Of Neuron Anatomy As A Source Of Inspiration Batik Design

Batik is one of the creations of the Indonesian nation which has an aesthetic value that needs to be preserved and developed. The neuron batik design visualizes the beautiful and complex shapes and structures of neurons combined with floral motifs. Batik design inspiration can be found through anything. In creating this neuron batik design, inspiration was obtained during the learning process. In the science of physiotherapy, neurons are important structures that are studied and interrelated. The research was carried out using the method of literature study and exploration. The manufacturing process begins with making an initial sketch using a sketchbook and drawing pen which is done manually then developed and transferred to digital media with Corel Draw. The final stage of making this design is giving the base color and pattern color to be used. The motive elements contained in this Neuron batik have meaning and value in life, which is hoped that later people will be able to remember and practice through this batik.

STUDY OF FUNCTIONS, MOTIFS, AND SYMBOLIC MEANINGS OF TOBA BATAK ULOS SADUM WOVEN FABRICS IN NORTH SUMATRA

Abstract. Ulos sadum is a Batak woven fabric that was originally known in Angkola/South Tapanuli as a symbol of joy with its characteristic red color and festive floral motifs that have cultural significance through the Batak tradition, and can contain magical, religious, love, unity and prayer values. The development of the times has an impact on the ulos phenomenon is not used in accordance with the function, motifs and meaning of ulos because it is starting to erode and can threaten the extinction of the ulos which makes people worry, especially for the Toba Batak sphere. This study aims to examine the functions, motifs, and symbolic meanings contained in the Toba Batak ulos sadum. This research is a type of qualitative research. The approach used is semiotics. The sources of data in this study were ulos weavers, experts in the field of ulos (ulos observers, ulos business actors, lecturers of cultural studies), literature, and ulos. Data collection techniques used are literature studies, observations, interviews, and documentation. The data analysis technique used is the theoretical data analysis of Miles and Huberman namely data reduction, data presentation and conclusion/verification. The results showed that the function of the Toba Batak personal sadum was to be used by women as ulos holong (love), a symbol of joy and prayer for the wearer or daughters who are currently married, and to show the beauty of women from their work. The physical function is for scarves, long cloths/slings, back cover and gifts. The social function is for happy and sad events such as mangulosi , house inauguration, baptisms, child births, church birthdays and funerals. The function of the community in the past was that it was used for daily activities, scarves and traditional events. The function in today's society is still the same as before but has been modernized, namely the development of sadum patterned fabrics into souvenirs such as wall hangings, tablecloths, bags, clothing, skirts, accessories and others. Some sadum motifs come from Dutch and India acculturation. The motifs describe animals and nature in the Batak land. The distribution of motifs on the Toba Batak ulos sadum is Toba Silindung, Toba Samosir, Toba Holbung/Uluan and Toba Sitolu Huta. The overall symbolic meaning contained in the Toba Batak ulos sadum, namely the joy and social relations of humans and the surrounding nature is translated from the meaning contained in each motif that forms a single unit. This cloth in custom is called ulos holong (love), which expresses affection, joy and prayer to give dynamism to the community.

Ingenuity Incision in Traditional Malay Wood Carving Calligraphy Motif

Malay woodcarvings are an ornament that symbolizes the identity and creativity of the Malay community at the house or palace. The difference will be in the design complexity and the number of ornaments used to decorate the palaces. Motif is considered one of the primary elements behind the creation of woodcarving and is included visually in various arts and crafts categories. Thus, the purpose of this study was to present an analytical study to investigate the visual forms of calligraphy motifs on the ornamentation wood carving at Istana Tengku Long, Terengganu. The study utilized the qualitative methodology in collecting data besides the field study at the selected palace and in-depth interviews with related persons. The Fractal Dimension Analysis (FDA) was applied to measure the complexity of the intricacy of the calligraphy panel. The finding indicated that the Islamic belief in the daily activities and local culture has assimilated to produce such intricate calligraphy motifs in Istana Tengku Long. The combination was carved in two compositions together with relief which, non-relief forms and floral motifs were the types of motifs that dominated the woodcarving at Istana Tengku Long. The Quranic verse of the calligraphy motifs gives the implied meaning to the royalty status and socio-culture of the Malay during that period. The knowledge gained from the study presents the Malay royalty's belief that the verses would influence their daily life and the palace as a place of residence. This study will contribute to the understanding of cultural assimilation and its impact on the architectural component revolution, specifically the ornamentation of the building. Preserving the calligraphy motif with indigenous incision shows the sustainability of Malay craftsmanship in wood carving. It emphasizes the inheritance of the aesthetic ornamentation in the traditional timber palaces in Malaysia that potentially involved heritage tourism and education prospects.

Seeing the Peony in Early Qing-Dynasty Art: An Embodiment of Individual Identity

Within the context of the Manchurians’ conquest of the Ming dynasty and their subsequent establishment of a new imperial rule, the intricate symbolic systems embodied in floral imagery, particularly the peony flowers, instilled a profound sense of insecurity in the nascent Qing court. Despite the government’s strict scrutiny of the visual and literary works of literati, as well as the imperial authority’s monopolization of peony portrayals, Yun Shouping and Gao Fenghan’s paintings of peonies exude an air of innocence and purity. However, beneath their seemingly tranquil facade lay internal struggles with themselves in the context of the era, along with a subtle defiance towards the new governing regime. This study examines how the two artists transcended the constraints of traditional depictions and aesthetic conventions surrounding peonies dictated by the highest social class, by analyzing the visual aspects of their peony paintings in conjunction with their biographical accounts, thus individualizing the floral motif with distinctive artistic languages. It exemplifies the reclamation of Yun and Gao’s dominion over each visual realm, wherein they assert their autonomous authority in shaping the conveyed information and emotions through the blossoms, while also finding security and solace in redefining and recontextualizing the subject matter whose symbolic significance has endured for millennia.

Eufloria: An Exquisite Jewelry Brand Embracing Floral-tree Motif

The current study introduces a new jewelry brand Eufloria which is highly inspired by the combination of special floral-tree structure and Mughal era. The researchers’ designs infuse trees in the jewelry with a texture and color tones of Pakistani Mughal era into it. The current study is under the deep influence of Japanese culture and also aims to incorporate its fashion trends into it as well. The motive and objective behind these new designs of jewelry is to meet the demands of entire fashion industry of the current era. Jewelry has the ability to highlight women personality and bring out her best persona if a right jewelry is chosen for the right occasion. Today, the fashion industry is at its peak as the female models wear ornaments of variant styles on different events. These ornaments and their style are adopted by the modern-day women as they idolized celebrities. Furthermore, this study focuses on trending floral jewelry designs that are being appreciated by the younger generation, for instance, cherry blossom in shades of baby pink and ivory. In addition, we aim to design catalogues with its first collection along with inlays; and we will promote this vision via e-marketing platforms for which we shall create an Instagram and Facebook business page. These pages further include practice of a researcher’s designing skills for social media designing. This research work also reflects light on the package design for the products. Hence, it covers the entire graphic designing skills. In addition, online surveys will be conducted in order to determine the desirability of the project in this research.
 Index terms: Eufloria, fashion ornaments, floral motifs, jewelry, Mughal era.

Herbas kilmingos XVII–XVIII a. Lietuvos Didžiosios Kunigaikštystės moters gyvenime – svarbi identiteto dalis

The Coat of Arms in the Life of a Noblewoman in The Seventeenth-Eighteenth Century Grand Duchy of Lithuania: An Important Part of Identity Heraldry and its research have deep traditions in Europe. In Lithuania, interest in this field is a more recent phenomenon. The late beginning of heraldry research was partly influenced by the loss of Lithuania’s independence. At present, researchers’ attention is focused mainly on the periods of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth, also looking at Lithuanian heraldry of the twentieth and the twenty-first centuries, and conducting thorough research into the coats of arms of the state, its cities, and towns. Research on the heraldry of the nobility, such as the heraldry of the political elite in the Grand Duchy of Lithuania – the families of Goštautas, Pacas, Radvila, Sapiega, and others – is also conducted. The heraldry of the noblewomen of the Grand Duchy of Lithuania has received less attention. This article focuses on the heraldry of the noblewomen of the Grand Duchy of Lithuania in the seventeenth and eighteenth centuries. It lso aims to discuss the significance of the coat of arms in the noblewoman’s life in the Grand Duchy of Lithuania during that period and to introduce the traditions of heraldry, the formation and use of noblewomen’s coats of arms in the Grand Duchy of Lithuania. Analysis of the heraldic sources related to noblewomen revealed that the coats of arms of the noblewomen of the Grand Duchy of Lithuania appeared in seals, literature, portraits, tombstones, etc. The coats of arms were often oval or traditional shield-shaped. Also, very often the noblewomen of the Grand Duchy of Lithuania used shields with a crest. In various cases, compared to men’s coats of arms, women’s coats of arms are more decorative, embellished with plant and floral motifs. Over the course of time, the noblewomen’s coats of arms became a unique means of representation and an important part of identity. Keywords: heraldry, coat of arms, seal, noblewoman, Grand Duchy of Lithuania.