Floral Decoration Research Articles

A CLASSIC OF RESHETYLIVKA CARPET WEAVING LEONID SAMIILOVYCH TOVSTUKHA: A COMBINATION OF NEW WAYS AND FOLK TRADITIONS

The article examines the famous master of Ukrainian carpet weaving Leonid Tovstukha’s life and creative activity features; his contribution as a People’s Artist of Ukraine in the development of carpet weaving in Reshetylivka region and its popularization in Ukraine and abroad is analyzed. A wide range of opportunities to use the master’s achievements in the process of future labor education and technology teacher training are revealed. 
 It is noted that the artist most vividly demonstrated his talent in thematic works at the beginning of his creative activity. These are carpets with an organic combination of portrait images with traditional floral ornaments. During his life, L. Tovstukha created about one and a half hundred carpets, real masterpieces, and a number of mass works. It is proved that Leonid Tovstukha sought his new ways in carpet weaving but always followed the basics and folk traditions.
 The article examines Leonid Tovstukha’s career from the head of the carpet shop, an artist, a chief engineer, to the head of Klara Zetkin Art Products Factory. It is noted that along with creative and administrative work Leonid Tovstukha was active in public life. Leonid Tovstukhas’ creative work and life as the People’s Artist of Ukraine, winner of the Taras Shevchenko National Prize, longtime head of the Klara Zetkin Art Products Factory, Honorary Citizen of Reshetylivka is characterized by the importance of achievements and significant personal contribution to Ukraine’s development and contribution to the world. It is proved that Leonid Tovstukha, preserving the traditions, said a fundamentally new word in art, which is valuable in the process of professional teacher training.

Elite Military Belts of the 8th – 9th Centuries from the Stavropol State Museum Reserve Funds

Introduction. The article is devoted to the typological and chronological analysis of the details of three prestigious belt sets stored in the funds of the G.N. Prozritelev and G.K. Prave Stavropol State History, Culture and Natural Landscape Reserve Museum. Methods and materials. The comparative typological method is used as a working one. It is based on the classification by material, processing method, shape, ornament, as well as on the selection and study of the types of buckles and waist plaques. The comparative analysis of the decor of belt parts from the Stavropol Museum and the like found in the Don region, Prikamye and on the territory of Hungary allows us to characterize the technology for producing a belt headset in the region in the 8th – 9th centuries. Analysis. The composition of the belt headset of the first belt found in a rich burial in Sadovoye, Arzgirsky District, Stavropol Krai, includes an iron buckle with an oval-triangular frame and a rectangular shield with a zavovanny edge, a belt tip, a clip, and a buckle. Every item is inlaid with thin gold plates. On the flap buckle and clip they are laid out in the form of a spiral. On every detail of the girdle, the gold foil is decorated with floral ornaments: five-beam rosettes, heraldic lilies (they even adorn the buckle frame), shoots with buds and leaves. Belt no. 2 found in 1969 in the rich burial 2 of Eshkakon burial ground no. 3, most likely, consisted of a belt and harness belts. The girdle set includes 10 heart-shaped patches (plaques), 4 elongated pads with rectangular slots, 9 round-triangular plaques with suspended movable rings (three rings are missing) and an oval-triangular buckle (rectangular shield is lost). Every listed item is made of white metal (silver). A floral ornament consisting of shamrocks (lotuses) is applied on the front side of all the buckles. Belt no. 3, which is also found in one of the Eshkakon burial grounds, consists of a buckle with a triangular frame and a pentagonal shield and 10 plaques of rounded triangular shape with suspended movable rings. Every item is made of bronze. Results. The rich funerary inventory of the burials in which the belts were found and their comparison with complexes that include a similar belt headset from other regions, indicate that all three belts from the Stavropol State Museum-Reserve are attributes of the military aristocracy of the second half of the 8th – 9th centuries. Chronologically, belt no. 1 is the earliest. Belt no. 2 should be considered close in time. The latest is belt no. 3.

Malatya Kırklar Mezarlığı Mezar – Mezar Taşlarında Bezeme

312 inventory tomb-tombstones pieces were determined during the 2011-2012 excavations at the Kirklar Cemetery in Malatya. Including 14 decorated pieces, which doesn’t give any clues for the tomb or tombstone type, this number increases to 326, and the ornaments on these pieces are studied. There are four types of ornaments floral, geometric, with objects and with figures. The floral ornaments appear on 30 samples. There are two main and three sub types of it. They are composed of the repetitive units of rumi, palmette, and lotuses in vertical and horizontal axes. Two of them are dated to 14th century. The remaining others might have been made in 14th-15th centuries. Geometric decoration has 17 main, 5 sub types. 18 out of 111 samples with dates are from 14th century. The 25 samples decorated with an object have oil lamp and candlestick motifs. 4 of the samples are from 14th century, and one has the date of 1436. We date the others to 14th- 15th centuries. No samples with figures were found during the excavation. The 3 samples formerly published are lost today, and on one of them there are fish, Capricorn, and bull figures which are associated with zodiac signs, while one has a human face. The third one is a human statue.

TRADITIONAL UKRAINIAN PEOPLE CLOTHING AS A MARK OF ETHNIC IDENTITY OF THE END OF THE XIX – EARLY OF THE XX CENTURY (ON THE EXAMPLE OF THE ZALISHCHYSKY PODNISTROVYA)

Summary. The purpose of the study is to uncover the features of traditional folk clothing, including the embroidery of the Zalishchysky Podnistrovya, and to establish its influence on the ethnic identity, identity, and consciousness of the end of the XIX ‒ early of the XX century. The research methodology is based on the principles of historicity, systematicity, and objectivity. The interdisciplinary nature of the research has led to the use of a whole range of general scientific, philosophical and special historical methods, among which it is expedient to distinguish the following: field, historical, selective survey, observation, etc.The scientific novelty of the research is conditioned by the analysis of the stock collections of the Zalishchyk Museum of Local History, field materials, and the available theoretical base, which made it possible to distinguish the basic structural and artistic features of menʼs and womenʼs folk clothing (embroideries) of one of the Ternopil regions and to establish their influence on the place originality. The main methods of embroidering are analyzed separately: nyz, lyshtva, zanyzuvannya. The influence of traditional clothing and embroidery ornament on the contemporary culture and consciousness of Ukrainians is determined.Conclusions. It is established that for the territory of the Zalishchysky Podnistrovya of the end of the XIX ‒ early of the XX century the characteristic division of clothing by gender, age, function, and the style of ornament. Womenʼs clothing, except for the upper, was more diverse than menʼs. The traditional embroidery of geometric and floral ornaments was the dominant element of the decoration. The variety of Ukrainian traditional clothing and the meaningful filling of the embroidery has a significant influence on the ethnic mentality and consciousness of the Ukrainians of today and is manifested in the revitalization of national memory, adherence to traditions, the transformation of the embroidery from the element of decoration of casual clothes into sacred and festive.

Anadolu Selçuklu Taçkapılarında Ana Bordür Tasarımları

Anadolu Selçuklu taçkapılarının özellikle kavsara kemeri üzerindeki bölümlerinin yıkılması nedeniyle bu bölümdeki süslemelerin ne şekilde oldukları hakkındaki bilgiler sınırlı kalmaktadır. Bazı taçkapı ana bordürlerinde de görülebileceği üzere taçkapıların ana bordürlerinde her zaman düşeyde düzenlenen kompozisyonla yatayda düzenlenen kompozisyonun raport özellikleri aynı değildir. Araştırmada ana bordürlerdeki kompozisyonların çokgen ve raport özelliklerine de yer verilmiş ve üst bölümü yıkılan bu taçkapıların ne şekilde restitüsyonlarının yapılacağına dair öneriler sunulmuştur.Geometrik süslemeye sahip ana bordürlerin süslemelerinde çokgenlerin kenar sayılarının kronolojik olarak arttığı izlenebilmektedir. İlk yapılarda genel olarak sekiz veya on olan kenar sayıları zamanla onikiye, onaltıya çıkmıştır. Bu artış ana bordür genişliklerinin artmasını da beraberinde getirmiştir. Geometrik kompozisyonlar içerisinde kullanılan bitkisel süsleme, Anadolu Selçuklu sanatında az sayıdaki iki eksenli sonsuz karakterli bitkisel süsleme örneklerini bünyesinde barındırması nedeniyle özel bir konuma sahiptir. 13. yüzyıl sonuna doğru yapılan yapıların ana bordürlerinde ise sınırlı veya tek eksenli sonsuz karakterli bitkisel kompozisyonlar tercih edilmiştir. Anadolu Selçuklu yapılarında taçkapılar, beden duvarlarından dışa taşkın ve yapıyı aşan ölçüleri, geometrik ve bitkisel süslemeli bordürleriyle dikkati çekmektedir. Taçkapı yüzeyinin üç tarafını çeviren bordürler farklı genişlikte tasarlanmışlar ve üzerlerine çok çeşitli süslemeler yapılmıştır. Bu bordürlerin en büyük ve en dikkat çekeni ana bordürdür. Bordür bezemelerinde 13. yüzyıl ilk yarısına kadar geometrik süsleme kullanılmıştır. 13. yüzyıl ikinci yarısından itibaren geometrik ve bitkisel kompozisyonların birlikte kullanıldığı taçkapı ana bordürlerinde yüzyıl sonlarına doğru ise bitkisel kompozisyonların hâkim olduğu görülmektedir.

НАДМОГИЛЬНЫЕ ПАМЯТНИКИ ДЕТСКИХ ПОГРЕБЕНИЙ XIV–XV ВВ. ИЗ С. КУБАЧИ: ОСОБЕННОСТИ ДЕКОРАТИВНОЙ ОТДЕЛКИ

В статье публикуются надмогильные памятники XIV–XV вв. детских погребений, выявленные автором в 80-е годы ХХ в. на средневековых мусульманских кладбищах «Бидахъ хуппе» (могилы на той стороне) и «Цицила». Кладбища эти расположены примерно в 1,5–2 км южнее старой части с. Кубачи, на нижнем участке горного склона Цицила, обращенного северной стороной к этому селению. Сравнительно небольшое количество резных надгробий XIV–XV вв. этих кладбищ изучены автором и другими исследователями. Не изученными остаются еще немало декоративно отделанных памятников, в том числе стелы, поставленные на могилы детских погребений. В данной статье стелы эти рассматриваются в сравнительном плане с синхронными декорированными надгробиями погребений взрослых или старых людей, выясняются особенности их декоративной отделки. Отмечается, что на могилы детских погребений ставились у изголовья небольшого размера стелы, отделанные растительным орнаментом. Рельефные арабские надписи, выполненные монументальным почерком «цветущий куфи» и на фоне растительного орнамента на надгробиях детских погребений не встречены. Это одно из значительных отличий, помимо размеров, стел детских погребений от декора памятников захоронений взрослых или старых людей. Причиной этого было, вероятно, то, что на надмогильные плиты небольшого размера невозможно было разместить общепринятые для больших плит погребений взрослых или старых мужчин или женщин эпитафии – шахада «Нет божества кроме Аллаха, Мухаммед его посланник», изречения «Смерть – чаша, каждый пьет из нее, могила – ворота, каждый входит в нее» и т.д., выполненные крупными рельефными буквами. По своим формам надгробия детских погребений аналогичны надгробиям погребений взрослых или старых людей сельской общины. Из десяти описанных памятников из сел. Кубачи на четырех имеются собственные имена погребенных.

Растительный орнамент в Кубачинских изделиях

Растительный орнамент в Кубачинских изделиях

Рельефная «мегарская» чаша c Елизаветинского городища

The article is devoted to a moldmade “megarion” bowl accidentally found at the territory of Maeotian fortified settlement at Elizavetinskaya Cossack village (Prikubansky District of Krasnodar city). The vessel is attributed to the class of relief bowls with vegetal and floral ornament. The allocation of the ornament in horizontal zones is peculiar to bowls of “Ephesian-Ionian” group. Its shape and proportions are more compliant to Attic examples. By morphological and ornamental attributes the bowl is dated to the last quarter of the 3rd century BC — the first quarter of the 2nd century BC.

ЖИТЛО ВОЛИНЯН КІНЦЯ XIV – СЕРЕДИНИ XVI СТОЛІТТЯ

The article discusses the kind of a typical house of the medieval Volhynian of the late XIV – middle XVI centuries. It is based on narrative and archaeological sources. The author explores the stages of building a house, material options and the help of craftsmen, external and internal appearance of the house, a variety of household utensils. It was found out that the family yard consisted mostly of living quarters, stables, farm pits and gardens. Wealthy townspeople placed baths in the yard, obtaining permission from the administration. The construction of the house was the business of the owner, who, in addition to the involvement of artisans, was himself a worker. An essential attribute of the dwelling was the furnace, which was decorated with tiles of geometric or floral ornament. Until the beginning of the sixteenth century, the living quarters were wooden, while the administrative and church buildings were made of stone. This was one of the causes of city fires that local authorities tried to fight, limiting candle light and hiring a city security guard. It is noted that in order to fill the houses, the market was filled with wide range of products from local manufactures, from shovels to variety of colored glasses, bowls and other kitchen essentials. It was proved that the home decoration was influenced by owner’s activities, his well-being and aesthetic preferences typical for the residents of the region. It was also determined that the dwellings of Volhynian were rich enough. In addition to that, the development of the city was monitored by the local authorities, which often abused its power.

“For me, this is a particularly attractive subject…”: On the Visual Imagination of Pavel Bazhov

This article examines the role of the visual in the artistic consciousness and texts of Pavel Petrovich Bazhov, as well as in the reception of his works by illustrators and modern readers. The authors explore the phenomenon of Bazhov’s visual imagery employing the research methods of visual studies, i.e. the study focuses on the “scopic mode”, understood as a constructed and historically determined model of the gaze of the beholder. The analysis of tales (Rus. skazy ), epistolary works, and illustrations to Bazhov’s prose allows the authors to assert that the visual is one of the main semantic codes of the writer’s artistic thinking. For this reason, he was not impartial when evaluating illustrations for his works. Bazhov’s letters reflect the variant of illustrations adequate in the writer’s opinion: the frontispiece to The Malachite Box by artist K. V. Kuznetsov represents an ideal model of the author’s vision. It is characterised by a dominance of the imaginary and a tendency to the visual tradition of Russian modernism, which is especially notable in the accentuation of floral ornaments. The modernist substrate, explicated in the writer’s visual imagination, is latent in the verbal organisation of Bazhov’s texts, which is explained by the peculiarity of their narrative organisation. The genre and stylistic nature of the skaz speech of the narrator, a man of the people, does not imply an imaginary vision, and the perception of beauty by the character, who is a master and an artist, remains in the sphere of his consciousness, which creates an atmosphere of understatement and mystery in Bazhov’s tales. The authors of the article conclude that visual imagination is not only a generative model in Bazhov’s works, but it also sets a code for its reception. Modern interpretations of the writer’s works are characterised by visual representations that reinforce Bazhov’s individual mythology by means of new screen media. The analysis demonstrates that Bazhov’s imagery (especially the Mistress of the Copper Mountain) are in great demand with modern popular culture.

The Relief on the Door of the Msho Arakelots Monastery (1134) as a Source for Studying Arms and Armour of Medieval Armenian Warriors

Byzantium’s arms and armours were researched by many historians. For that reason, the military history of the medieval Roman Empire enjoyed a dominant position in medieval historiography, with the consequence that very often the military history of small nations (under Roman influences) was written from the perspective of the Eastern Romans historians. The aim of the paper is to change this perspective and give the subject of the medieval Armenian military the attention it deserves. The idea is to perform an analysis of the relief on the Door of the Msho Arakelots monastery, where four equestrians and one infantryman are depicted, and to compare it with other Armenian, Byzantine and Muslim sources. In this relief, a spherical mace head and a sword with sleeve cross-guard are represented, suggesting many parallels with East-Roman archaeological and figurative sources. No less important is the depiction of the military trumpet because it is the first image of this object in Armenian art, which can be compared with pictures from the Madrid Skylitzes (13th c.). In addition, the only defensive weapon which is presented in this relief is a round shield with a floral ornament. There are many depictions of round shields in Armenian miniatures and reliefs from 10th–11th c. Moreover, this relief is one of the few where stirrups and the chape of a scabbard are shown. These elements represent an important piece of information because these pictures can be compared with actual archaeological East-Roman artefacts to reconstruct their real look. The conclusions are that the majority of Armenian weapons bear similarities to Byzantine ones but no less important are the Muslim influences, which have been found in some cases. Located between two civilizations (Byzantium and the Muslim Potentates), Armenians adopted the best solutions of their military technologies, creating their own culture. Moreover, thanks to this comparative analysis, further support will be given to the idea that medieval figurative sources are more or less accurate material for studying medieval military history.

The Mummy Trappings in the National Museum in Belgrade: A Reconstruction and Typological Assessment

In July 2009 the National Museum in Belgrade received – as a donation – two elements of a funerary assemblage: a fragmented mask and a conjoined collar-breast covering. Although heavily damaged, those ancient Egyptian mummy trappings furnish modern analysts with valuable information about their fabrication and ritual employment. The mask is of helmet-type, made of gessoed linen which had been decorated with paint and gilded upon the face. The front of the mask is in relatively fair condition, but the top and rear have suffered considerably, being reduced to small fragments whose original position is difficult to determine. The mask is heavily affected by staining caused by deliberately over-poured resin, i.e. the traces of a ritual unguent pouring. The collar-breast covering is a conjoined type forming a single rectangular or rather slightly trapezoidal plaque. The collar design consists of a system of schematized floral decoration arranged in seven semicircular bands around a single semi-lunate zone. A decorative grid containing funerary motifs extends below the collar field. It consists of four horizontal registers separated by polychrome bands of colored rectangles. The whole forms a complex tapestry of protective imagery: deities, amuletic symbols and magical vignettes. The mask and the breast cover are datable to the late Ptolemaic Period (ca. 100 – 50 B.C.). The most likely place of origin is site of Hawara at the entrance to the Fayum region.

The Marble Bases of Kunya Ark and Tash-hauli Palaces in Khiva During the 13th AH/ 19th AD Century

Abstract:Khiva is one of the most important cities in Central Asia and it has great geographical, historical, commercial and cultural significance. The architectural style of Khiva was characterized by use of the graceful carved wooden columns inside and outside the buildings in the city, whether religious buildings such as mosques or civil buildings (i.e. palaces and houses). These wooden columns were often used in the covered mosques for supporting the ceilings or in mosques that combine the summer and winter mosques to carry the arches of the outer aisles and the ceilings of the iwans. As for the schools, we do not find a common use of the columns due to their architectural design which depends on the court and rooms with arched iwans. As for the palaces, we find them frequently used due to the multiplicity of architectural units inside them between reception halls, official units, administrative, residential buildings and others. These columns are usually based on marble or stone bases, not wood. Marble and stone are characterized by hardness, strength and durability in carrying wooden columns and protect them from damage due to humidity, rain and snow in the winter.Marble bases are one of the main branches of marble products industry in Khiva, in addition to the manufacture of cenotaphs, tombstones, foundation plates, Fountains and others.Therefore, the architect was keen to use them primarily in the construction, but also paid attention to their design and decoration using different decorative elements. Such art is as equally important as any other decorative arts (i.e. ceramic tiles that cover the walls or wooden ceilings covering the buildings). It is considered a monumental record and has great artistic and historical significance as it chronicles some of the important buildings in the city, which are mostly attributed to the 13th /19th century. Where the wooden column consists of a wooden block based on a marble base known as Bay Uston, decorated by many decorative elements and inscriptions such as some poems, songs, advices and proverbs, the names of manufacturers who were not refered to in sources and references, as well as history of the buildings and manufacture of those columns.The study will be limited to the marble bases inside Kunya Ark and Tash-hauli Palaces in Khiva. In these fortified palaces, the Khorezmian aristocratic class such as khans of khorezm, the rulers of cities and the princes of some independent emirates lived. On the other hand, the marble bases were in good condition, characterized by their distinctive unique style and give us a clear picture about the marble bases in Khiva during that period, but also highlight the most important features of engraved marble in Khiva. This research aims to study the marble bases in Khiva through two models of the most important remaining palaces in Central Asia from the 13th/ 19th century , namely Kunya Ark and Tash-hauli Palaces to identify the general shape of these bases, raw materials, the manner of their formation and decoration and the most important decorative elements such as the floral ornaments, geometric shapes, architectural elements and reading of inscriptions and analysis of their contents.

Les tentures fleuries peintes à Baouît. Remarques iconographiques et iconologiques

In the monastery of Apa Apollô at Bawit, paintings imitating textiles decorate the walls in many of the chapels excavated by Jean Clédat (1901-1902, 1903-1905) and Jean Maspero (1913). These textile imitations, situated below the figural representations, display various stylized floral and vegetal designs arranged in regular lozenge formations (diaper patterns). Some tapestries are laid out as framed panels, giving the impression of wallpaper; others are rendered as curtains (vela) suspended from rods and rings. In addition, there are a few instances of painted friezes with floral ornaments. Such imagery with nonfigural representation is often interpreted as purely ornamental; still, we argue here that the tapestries painted in the chapels at Bawit had religious and theological significance.

Ergonomics of women clothing inspired by Islamic floral ornaments using Irish crochet

Women's outer clothing is one of the fastest changing elements in the life cycle of fashion, which requires continuous development and the development of various forms to achieve the distinction desired by women as well as comfort. Thus, the ultimate goal of designing clothes, regardless of their different types and functions, is to achieve the highest levels of comfort and ensure the performance of his work with the least effort with maximum comfort and safety in use. Where clothes must be made in such a way that the person can move his body and organs inside the garment, As well as enable him to sit and walk without being torn or changed shape. Research problem: Views of consumers of women's outerwear about the availability of the comfort factor was carried out. The results have pointed out that most of the women's outerwear designs in the current markets do not have the comfort of the use, and the design of the clothes is not achieved by the ergonomics. Objective: to investigate the design of women's clothing in order to provide maximum comfort through the design of women's clothes that can be worn at different occasions using Irish crochet inspired from Islamic plant decorations. Hypothesis: -There are statistically significant differences between the five designs implemented in achieving comfort and care. -There are statistically significant differences between the five designs implemented in achieving aesthetics. -There are statistically significant differences between the five designs implemented in achieving the functional aspect. Results: There were significant differences between the five designs implemented in the achievement of comfort and care, as the fourth design was the most designs for comfort and care by (24.226), followed by the first design (20.159), then the third design (18.257) (13.357), and finally the fifth design (9.082). There were statistically significant differences between the five designs implemented in achieving aesthetics. The third design was the most aesthetic design with 19.271, followed by the fourth design (17.001), the first design (13.260), the second design (11.019) ), And finally the fifth design by (7.311). There were statistically significant differences between the five designs implemented in achieving the functional aspect. The first design was the most designs to achieve the functional aspect by (18.336), followed by the fourth design (15.380), the third design (13.261), the fifth design (9.337) ), And finally the second design (7.083).

CARVED STONES of the XV Century FROM the VILLAGES. KUBACHI WITH NAMES MADE THEM MASTERS

The article describes the monuments of stone-cutting art of the XV century-six architectural details and one gravestone monument of highly artistic decoration of villages. Kubachi, on which are carved the names of the craftsmen who made them. Discusses the features of the decorative trim of carved stones. It is noted that not all master stone – cutters, who worked in the middle ages, tried to immortalize themselves, putting on their works inscriptions with their names. Only a few of them left their names on the work they performed. Therefore, a great number of carved stones, architectural details and tombstones from the village of Kubachi, as well as tombstones from neighbouring settlements – Calamarata, Ashty, Damage and other remain nameless.
 The tomb of the XV century described in the article, decorated at a high artistic level with calligraphically executed decorative Arabic inscription in the style of "blooming kufi" on the background of elegant floral ornament, is considered as an outstanding work of stone-cutting art, created in the middle ages in the villages. Kubachi. It is the only one among the gravestones studied by researchers to the present time, which presents the name of the master of stone – Carver, calligrapher and ornamentalist Jarak – a talented artist of decorative and applied art.

ПІДГОТОВКА ВИРОБНИЦТВА МЕБЛЕВИХ ФАСАДІВ ЗА ДОПОМОГОЮ СУЧАСНИХ CAM-СИСТЕМ

Urgency of the research. Most of the work of scientists is devoted to the automated design of the products of the most cabinet furniture on the basis of various CAD. Very few works devoted precisely to designing and manufacturing of bulky reliefs on furniture facades with the help of CAD systems. Therefore, the introduction of CAD is precisely for the design of complex reliefs and shapes for furniture facades and wood products. Target setting. Development and design of complex geometric form of relief for furniture facades and preparation of programs for CNC system ArtCAM. Actual scientific researches and issues analysis. In Ukraine, in the process of preparing reliefs for furniture facades and wood products, both general purpose design systems (ArtCAM, AutoCAD, T-Flex CAD, ArchiCAD, SolidWorks, DecoDesign, 3D Studio Max, etc.) and specialized design systems (Woody, bCAD , PRO100, K3-Furniture, etc.). Also, you should specify a number of software packages for the preparation of control programs for CNC machines such as ArtCAM, FeatureCAM, PowerMill, MasterCAM, etc. Uninvestigated parts of general matters defining. Very few works devoted precisely to designing and manufacturing of bulky reliefs on furniture facades with the help of CAD systems. Therefore, the introduction of CAD is precisely for the design of complex reliefs and shapes for furniture facades and wood products. The research objective. Methodology for manufacturing furniture facades complex geometric shapes and floral ornament using the software package, Autodesk ArtCam. The statement of basic materials. Proposes a technique for preparing furniture facades of complex shapes and floral ornaments using Autodesk's ArtCam software package. The work describes the stages of designing, modelling and manufacturing decorative elements using photographs and author's sketches. A control program for processing a decorative element for a CNC milling machine has been developed. The choice of cutting modes and cutting tools is justified. The efficiency of using modern software and CNC machines for furniture production is considered. Conclusions In a large woodworking company, the CNC milling machine is used only as one of the elements of the technological process. With a large assortment and large volumes of facade production, such a "narrow specialization" of production is highly justified. However, for a small enterprise that works with individual orders or manufactures design furniture, it is logical to use the capabilities of CNC milling machine more widely.

Saltiv-Maiaky Burial Ground with Cremations near Nyzhnii Byshkyn at Siverskyi Donets River

 Presented to the scientific circles is an information on a new large Saltiv-Maiaky burial ground with cremations near Nyzhnii Byshkyn Village in the Donets River upper region and on two burials discovered there. The materials from the assemblages recorded have their wide analogies in Saltiv culture assemblages of the Donets River region and beyond. Floral ornament and zoomorphic depictions on belt sets allow the author to refer the burials to the final stage of Saltiv culture existence in the region.

SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI

This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.

Offering-Table in Egypt in the Ptolemaic and Roman period(An Analytical Study) موائد القرابین فی مصر فی العصرین البطلمی والرومانی (دراسة تحلیلیة)

Offering-Table in Egypt in the Ptolemaic and Roman period(An Analytical Study) موائد القرابین فی مصر فی العصرین البطلمی والرومانی (دراسة تحلیلیة)