Decorative Motifs Research Articles

Anatomi Songket Melayu Sarawak Koleksi Jabatan Muzium Sarawak

The structural parts on a piece of songket are important in identifying the type of songket and the designated parts for the decorative motifs. Not much has been written about the topic of Sarawak. Songket in the collection of the Sarawak Museum Department. Documentation and research have been done about the collections but they need to be written and published for public reading. So, the objective of this study is to introduce the names of the decorative parts found in a piece of songket. The research methodology used is field research, literature research and interviews with weaving experts. Three pieces of songket samples from the Sarawak Museum Department collection were selected for analysis. These songkets are in the form of women’s sarung which can also be used as men’s sabok. The findings of this study are used to form a structural framework on the songket based on the perceived perspectives of the researcher and termed as Anatomy of Sarawak Malay Songket (ASMS). It is hoped that this can be used as a reference for Sarawak songket researchers in the future.

North or South? New Finds of Firedogs from Western Mazovia in Context, With a Catalogue of All Polish Firedog Finds

Clay exhibits described as firedogs or fire wolves are found all over Europe in the area of influence of the Jastorf and Poieneşti-Lukaševka cultures from the pre-Roman period. Firedogs are found/identified more and more often on the territory of Poland. This paper offers a catalogue of all the 22 finds identified so far. The analysis of decorative motifs found on fire wolves unearthed in Poland indicates greater connections with the Jastorf culture from the Jutland area.

Beyond Technology: Pottery Reveals Translocal Social Relations at a Bell Beaker Monumental Site in Central Europe

The Bell Beaker site near Brodek u Prostějova (Czechia) has yielded remains of a large timber construction accompanied by four symmetrical ritual deposits with numerous artefacts, including more than fifty ceramic vessels. Their decoration consists of incised patterns, in nineteen cases with preserved white inlaid incrustations. To investigate the social relations at this extraordinary site, a multi-analytical and micro-destructive approach was employed to determine the provenance and technology of the pottery and the composition of the white incrustations. The results indicate various origins for the pottery within the region and the presence of extra-regional fabrics and graphitic temper. The main raw materials for the white inlays were calcium carbonate (calcite), hydroxyapatite (bone), and bright clay. The mixing of decorative motifs and the variation in the shape and size of the beakers suggest unique manufacturing processes. These results lend support to the monumental site of Brodek serving as a ritual place for several communities from both local and wider areas.

TERUMBU KARANG SEBAGAI MOTIF HIAS PADA DESAIN TAS RANSEL

Sadranan Beach is one of the beaches in the Special Region of Yogyakarta precisely in Gunung Kidul Regency. Sadranan Beach is famous for its rich coral reefs on its coastline. The beauty of the coral reefs found in Sadranan Beach is not found on other beaches because of the beauty of the coral reefs. However, many fishermen deliberately hunt coral reefs and are used as raw materials for buildings, ornaments, and retrieval of coral animals that use gathul which results in damage to coral reefs. Based on the above events the author is interested in creating a backpack design work with the use of coral reefs as ornamental motifs. The design of the backpack in the Final Task includes four stages of the process of designing and manufacturing a product as well as three stages and six steps of workmanship. The four stages are the feasibility study stage of the design project, the process stage of analysis of aspects of design and design concept, the stage of the process of drafting and making a plan, and the manufacturing process stage. The three stages and six steps of the work, namely the exploration stage, the planning stage and the embodiment stage. The process and results of the design work of this Final Task has three achievements, the first is to be able to design decorative motif designs from coral reefs. The second achievement is being able to design a backpack with ornamental coral reef motifs. The third achievement is to be able to realize the prototype of a backpack with ornamental motifs of coral reefs. The result of this backpack design work is in the form of 4 (four) backpack designs and two (two) prototype backpacks with coral reef decorative motifs. In 4 (four) designs it has the names montipora, acropora, acropoda, and sidesratra.

DEWI SARASWATI DALAM GAUN MALAM

Dewi Saraswati in this evening gown visualizes the shapes, forms and symbols attached to the figure of Dewi Saraswati into a batik motif which is formed into an evening gown. Dewi Saraswati is the goddes of knowledge or veda. The idea of creation will be focused on (1) how to explore, make sketches, draw designs that come from the shapes, forms and symbols attached to Dewi Saraswati into the new creation batik motifs for evening gown designs? (2) How to create written batik based on a design that has been designed with the motif created by Dewi Saraswati? (3) How are the results of the new batik-patterned fabrics being formed into evening gown? The method used in this approach is to use the creation method which includes the exploration stage, the design stage and the work creation stage. Execution of the process of creating the work The final project is carried out in two stages, namely the batik making process and the evening gown making process. The creation of this work aims to explore the concept of form, appearance, decorative motifs, colors and symbols attached to Dewi Saraswati which is formed into written batik which is then applied to evening gown. The color used for the creation of this final project refers to the color of the Surakarta style batik tradition. The finished batik work is then applied to the evening gown. Evening Gown is a gown worn at night parties with a glamorous look, has sparkling details and is elegantly cut.

Nekropole i stećci na području općine Teočak

Abstract: The paper presents new results of field research of necropolises and stecak tombstones from the Teocak municipality. The research aimed to obtain contemporary data on stecak tombstones in the mentioned area, because in the previous scientific literature, incomplete and often different data on necropolises and stecak tombstones were found. A survey of localities, necropolises and stecaks, as well as a formal - typological analysis of shapes, decorative motifs and epitaphs were carried out through field research. Empirical data obtained from the examination of necropolises and stecaks in the area of the municipality of Teocak, the revision of data and the determination of the contemporary state of the stecaks served as a basis for questioning the way of presenting the stecaks so far. The purpose of the conducted research was to highlight, along with the topography of localities, necropolises and stecaks in the Teocak municipality, positive activities in the arrangement of individual necropolises with stecaks, as examples of preservation, protection and promotion of stecaks, and to emphasize the importance of stecaks for researching the history of the medieval Bosnian state. Keywords: Teocak, localities, necropolises, stecak tombstones, shapes, decorations, inscriptions, significance of stecak tombstones...

:Phoenicians and the Making of the Mediterranean

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Bali Ornament Motif As A Source Of Inspiration Kamasan Painting Art Creation

Wayang Kamasan painting is the main topic of thought in the creation of painting works of art, which were inspired by Balinese ornamental motifs. As for the research problems, namely: What are the Balinese ornamental motifs that are applied to the Wayang Kamasan form?, How to apply Balinese ornaments to the Wayang Kamasan form?, What techniques are used in creating paintings inspired by Balinese ornamental motifs?.The author conducted research on Balinese ornamental motifs as a source of inspiration in the creation of Wayang Kamasan painting through field research methods, with a source data source named Ni Wayan Sri Wedari, S.Sn who is the owner and leader of the Wasundari studio, with data collection techniques by observation, interviews and literature review. Art creation is carried out in stages (exploration, experimentation, and execution). Produce works of art with a tendency to contemporary style. The six works produced include: Arjuna Tapa, Sutasoma, Hanoman, Gugurnya Bisma, Lata Mahosadhi, and Kumbakarna.

The Sphero-Conical as Apothecary Vessel: An Argument for Dedicated Use

Abstract Sphero-conical vessels are ubiquitous in the archaeological record. However, their intended use has remained a conundrum. A multitude of conjectures have been proposed, such as that the sphero-conical vessel was a container for mercury, a grenade, a perfume sprinkler, an aeolipile, a beer gourd, a hookah pipe, and a plumb bob. Faced with a seemingly contradictory body of evidence, scholars have concluded that the sphero-conical vessel must have been a multi-use object. I disagree. This study offers a theory of dedicated use: the sphero-conical vessel was intended and produced to store pharmaceuticals, specifically apothecary compounds in personal-use dosages. My argument is built on a close analysis of material form, epigraphic evidence, decorative motifs, and representations of the sphero-conical vessel in other media. The re-inscribing of the sphero-conical vessel into a history of medicine as a tool of the robust Islamic pharmacological industry is rich with potential for furthering our understanding of medicine, apothecary, alchemy, apotropaia, and trade in the medieval Mediterranean.

YOUNG HANDS AT WORK. USING FINGER IMPRESSIONS TO EXPLORE THE DEMOGRAPHIC CONSTITUTION OF EARLY AND MIDDLE BRONZE AGE POTTERY‐MAKING COMMUNITIES OF PRACTICE

SummaryFingertip impressions preserved in the surface of clay artefacts can provide demographic details about the people who manufactured and decorated pottery vessels, and by extension allow exploration of the composition of communities of practice engaged in pottery manufacture. This paper describes the development of a method of measurement and analysis of fingertip impressions which were sometimes used as decorative motifs on pot surfaces. The technique can be applied to pottery from across archaeological periods; however, the research presented here focusses on communities of practice among Early and Middle Bronze Age potters of eastern England, and assessing their demographic make‐up through analysis of fingertip impressions. The preserved fingertip impressions reveal potting communities comprised children and women, but adult men were seemingly excluded, and suggest a connection between craft activity, age and sex.

Grave Goods of an Elite Saka Burial at Kyrykoba in the Context of Cultural Ties Between the Nomads of Kazakhstan and Siberia

This article describes the findings of excavations of an Early Saka kurgan at Kyrykoba, Eastern Kazakhstan. The kurgan had been looted; human remains, according to physical anthropologists, belonged to a mature woman. Her cranium exhibited trepanation. Some 200 artifacts were found, mostly gold and stone ornaments (belt clips, gold seed beads, and simple beads). The most interesting find is a bimetallic pin made of iron. Its rod is missing; the tiny head, less the 1 cm in diameter, is covered with gold foil. On its surface, there is a figure of an ungulate with a curved antler, its body twisted 180°. This stylistic device in the depiction of ungulates and predators is typical of the Scythian-Siberian art of Kazakhstan and Western Siberia in 700–300 BC. Other rare finds include ornaments made from a cretaceous layer of oyster shells, such as pendants shaped as oval plates imitating tusks, or figurines of predatory animals— 20 pieces, ranging in size from 0.4 × 0.4 to 2.5 × 2.5 cm. Oyster shells with thick cretaceous layers had been procured from the coasts of the Indian Ocean and the Persian Gulf. The beads and the animal figurine made from cretaceous layers of oyster shells are paralleled by those from an Early Scythian era burial at Gilevo-10, Altai. These artifacts indicate regional and intracontinental trade and cultural ties in Eastern Kazakhstan and Western Siberia, evidenced by similar technological traditions, images, compositions, and decorative motifs.

Visualizing Dunhuang: The Lo Archive Photographs of the Mogao and Yulin Caves

Visualizing Dunhuang: The Lo Archive Photographs of the Mogao and Yulin Caves

Traditional ornamental techniques in the products of the Fedoskin lacquer miniature of the Soviet period

The subject of the study is the analysis of ways to restore the ornamental techniques of the Lukutinsky lacquer miniature craft, lost by the end of the XIX century and recreated during the Soviet period. The article examines the activity of miniature artists of the Fedoskinsky Labor artel - the successor of the Lukutinsky enterprise – to revive forgotten technologies for creating ornaments on lacquer products. Special attention is paid to the assistance in this process provided to the fishery by the Soviet state. The purpose of the article is to show the significant role of state support in the development of Russian folk art of the Soviet period by the example of a successful solution to the problem of restoring the lost ornamental techniques of the Fedoskinsky craft. Using comparative-historical, historical-typological, as well as historical-genetic methods, the author characterizes various ornamental techniques of Lukutinsky products, comparing them with the features of Fedoskinsky products of the twentieth century. The scientific novelty of the research consists in the analysis of the activities of the experimental laboratory at the Fedoskin labor artel, which restored the ornamental techniques of the Lukutin miniature, as well as the contribution made to this process by Fedoskin masters M. S. Chizhov, V. V. Korsakov, S. N. Tardasov. The main conclusion of the article is the statement of the importance of studying these fishing techniques for understanding the reasons for the flourishing of ornamental motifs in Fedoskinsky products in the late Soviet period, as well as the present.

Characterization of the mural blue paintings in ornamental motif of Ali Qapu palace in Isfahan, Iran, using spectroscopic and microscopic methods (a case study)

This study aimed to investigate the painting technique and identify the blue pigments used in the ornamental motif of mural paintings of Ali Qapu palace as the seat of rule of Shah Abbas I Safavid and part of Naghsh-e Jahan square world heritage site in Isfahan. For this investigation, five samples collected from the murals located at different sections of the palace were studied by polarized light microscopy (PLM), Fourier-transform infrared spectroscopy (FTIR), Raman spectroscopy, and energy-dispersive X-ray spectroscopy (EDS). Also, the Fourier self-deconvolution was applied to the FTIR spectra of chloroform extract of the paint layer to identify the type of binder used in the painting. The results showed that the blue pigment used in all five samples is natural ultramarine (lapis lazuli). In four of the five samples, huntite has been used as the filler in the priming layer. However, the results suggest that huntite has also been combined with ultramarine to create lighter tonalities. The findings indicate the use of three different priming methods in creating the ornamental motif murals: creating a priming layer with iron-rich soil, creating a priming layer with huntite as the filler, and placing an organic layer underneath the huntite priming layer. This shows the variety of priming techniques used in creating the ornamental motif murals of Ali Qapu. Furthermore, FTIR results indicate the possible use of the tempera and oil technique in the murals.

Virtual reality for the enhancement of cultural tangible and intangible heritage: The case study of the Castle of Corsano

This paper concerns the development of an immersive VR application for the enhancement of an inaccessible old Castle in Corsano, a small village in Salento - Italy. Starting from the 3D reconstruction of the building, the project allowed the development of an interaction system aimed at providing the user with the historical information about the Castle. These contents come from the analysis of the tangible cultural heritage (such as the architectural elements, the furniture, the decorative motifs of the castle, and their evolution through the centuries), but also from the collection of intangible heritage, such as reminiscences on folk customs and traditions related to the context of the castle. Moreover, in order to evaluate the user experience of the developed application, some tests were carried out on a heterogeneous sample of users, obtaining positive feedback on the degree of immersiveness and sense of presence of the application.

Китайский фарфор в Монголии (династия Цин)

The paper examines Chinese porcelain collected at the Chinese fortress in the Khovd city, Shar Sum monastery and two archaeological sites in the Barun Khurai Depression in southwest Mongolia. Th e sites were built for Chinese military administration and Mongolian Buddhist clergy during the Qing period. Th e study concludes that the decorative motives of the porcelain refl ect the tastes of the mentioned categories of Mongolian population and is predominantly related to Tibetan Buddhism elements of the Chinese folk culture. Th e discovered material also indicates originally “non-Han” components of the Chinese history. Th e results of the study play an important role in understanding stylistic preferences in Chinese porcelain outside China. It also serves as a reference for a better evaluation of Chinese porcelain export trajectories within Central Asia and in the territories up north.

Seni Kriya Sulaman Tangan Tradisional dan Pengrajin Perempuan Nagari Koto Gadang dalam Dimensi Ekonomi, Sosial dan Budaya

This research was motivated by the existence of Minangkabau women's crafts and craftsmen, especially in Koto Gadang who have skills in the field of traditional hand embroidery. This study aims to find out the traditional hand-embroidered craft art of women in nagari Koto Gadang as cultural actors who carry out processes in social activities and craft arts. The research method uses a type of qualitative research, data collection through written sources and literature studies, documentation of cultural artifacts, so that this study can be produced and concluded that the traditional embroidery craft art of Koto Gadang is the embodiment of the expression of aesthetic taste in the form of functional objects and aesthetic objects which in their creation requires ability, experience, and technical skills such as embroidery, terawang, kapalo samek, and suji cair. Traditional embroidery crafts apply ornamental motifs, both flora, fauna and other objects based on nature, become teachers. The traditional embroidery craft art in Koto Gadang as a social product has an impact on the dimension of women's lives in Koto Gadang. The presence of Koto Gadang women and the art of embroidery crafts has become a manifestation of minangkabau women's activities that have produced cultural identity and positively impacted the actors and supporters both the social dimension and the economic dimension.

Sea Change: Ottoman Textiles between the Mediterranean and the Indian Ocean

Sea Change: Ottoman Textiles between the Mediterranean and the Indian Ocean

THE POTENTIAL OF CEPUK WOVEN FABRICS AS NUSA PENIDA'S LOCAL WISDOM IN SUPPORTING SUSTAINABLE DEVELOPMENT IN THE PANDEMIC ERA

&#x0D; This article examines the potential of cepuk woven fabric as Nusa Penida's local wisdom in supporting sustainable development in the pandemic era. Balinese people in general are familiar with Gringsing woven fabrics, songket woven fabrics and endek woven fabrics. There is a type of cloth that comes from Tanglad Village, Nusa Penida District, Klungkung Regency, called cepuk woven fabric. The process of making cepuk woven cloth using a traditional tool called cagcag . The purpose of this study is to provide information about the history of existence, tools and materials, the manufacturing process to the decorative motifs found on cepuk woven fabrics as local wisdom of Nusa Penida. This research is a qualitative descriptive study. Data was collected using observation, interviews, and documentation methods. The results showed that the history of the existence of cepuk woven fabrics has been accepted from generation to generation and is a type of sacred cloth. Materials used: metric threads and rayon, natural dyes using tarum leaves, teak leaves, bark (jamblang, mango, kepundung/menteng, noni), and secang/sepang wood. The process of making cepuk weaving is quite complicated through several stages, and has several motifs with their respective functions.&#x0D; Keywords: cepuk weaving, natural dyes, decorative motifs, meaning

NARRATIVE DECORATIVE MOTIVES ON TORAJA TRADITIONAL CARVING

This study aims to explain the format and techniques of non-sacred narrative carving in Toraja. This research is classified as a qualitative research carried out in the field, namely in Tana Toraja and North Toraja. Data sources (1) artifacts in the form of non-decorative motifs of Toraja carving, both found in Toraja and elsewhere; (2) human data sources, namely Toraja sculptors and Toraja community leaders; and (3) documents that are documents containing descriptions, drawings or photographs of non-sacred decorative motifs of Toraja carving. Data collection techniques used were observation, interviews, and documentation. The collected data was analyzed with an interactive analysis model from Miles and Huberman. The results showed that: (1) The format of narrative carving art which is non-sacred in Toraja is (a) the format of a single scene narrative, (b) the panoramic narrative format, (c) the format of the narrative silmultanate. (2) The technique of depicting narrative carving art in Toraja, namely: (a) a realistic depiction technique, (b) the technique of presenting space there are two ways: presenting two-dimensional and three-dimensional space, and (c) the technique of composing elements (composition) which applied is symmetrical composition, asymmetric, rhythm, protrusion of object, and unity.