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Death is a phenomenon that humans regarded as being part of the cycle of life, contemplated, sought to identify, and defined since the inception of mankind. It has been believed that death does not mark the end of a person's life, and rather the deceased migrate to another world and continue to exist there. Burial rituals among humans within the framework of the belief in the afterlife have been effective in the emergence of various types of tombs. Different types of tombs that arose based on faith are essential documents that reflect the society's artistic taste, beliefs, and cultural level. With the headpieces, inscriptions, figures and object embellishments they display, they indicate the gender of the person buried in the tomb. While male gravestones include headpieces called headgears, female gravestones reflect the female soul with the gentler and decorated compositions of embellishments reflecting the artistic taste of their time. Mardin, which bears the traces of countless civilizations throughout thousands of years of history, was plundered and devastated many times as a result of wars and invasions and the tombs in the city were also affected by this, with no surviving samples apart from more recent ones. Certain examples of decorated female gravestones dated back to the late 19th century and early 20th century in the Muhammed Zırar (Dırar) cemetery in Mardin were evaluated within the framework of the discipline of Art History. The samples evaluated are female gravestones, and these were categorized into three as those displaying shahides, cists and pehle stones.The evaluated samples' similarities and differences with other samples from the region and around the country are discussed in terms of material, form, technical, and decorative aspects. The samples reviewed in the conclusion section have been found to have similar structural and aesthetic qualities to tombstones found in locations such as Cizre, Savur, Nusaybin, and Siirt., Ölüm, insanoğlunun var olduğu andan itibaren yaşam döngüsünden ayırmadığı, kafa yorduğu, tanımaya ve tanımlamaya çalıştığı bir olgudur. Ölümün bir son olmadığı, ölen bireyin bu dünyadan ayrılarak başka bir aleme göç ettiğine, o alemde yaşamaya devam ettiğine inanılmıştır. Öteki dünya anlayışıyla birlikte insanlardaki ölüyü gömme ritüelleri birbirinden farklı mezar çeşitlerinin ortaya çıkmasında etkili olmuştur. İnanca bağlı olarak ortaya çıkan mezar çeşitleri ait oldukları toplumun sanat zevkini, inancını ve kültür düzeyini yansıtan önemli belgelerdir. Üzerlerinde ihtiva ettikleri başlık, yazı, figür ve nesneli bezemeleriyle yatanın cinsiyetini belirtir özelliktedirler. Erkek mezar taşlarında serpuş denilen başlık yer alırken, kadın mezar taşları daha zarif, süslü ve dönemin sanat zevkini yansıtan yoğun süsleme kompozisyonlarıyla kadının ruhunu yansıtır özelliktedirler. Binlerce yıllık geçmişi ve sayısız uygarlığın izini taşıyan Mardin, savaş ve istilalar sonucu birçok kez yakılıp, yıkılmış, mezar taşları da bu olumsuzluklardan nasibini almış ve günümüze yakın tarihli örnekler dışında gelen örnek olmamıştır. Mardin’de Muhammed Zırar (Dırar) mezarlığında 19. yüzyıl sonu ile 20. yüzyılın başına tarihlenen bezemeli kadın mezar taşlarından birkaç örnek Sanat Tarihi disiplini çerçevesinde değerlendirilmiştir. Değerlendirilmeye alınan örnekler kadın mezar taşları olup, şahideli, sandukalı ve pehle taşlı olmak üzere üç grupta tanıtılmıştır. Ele alınan örneklerin malzeme, form, teknik ve süsleme özellikleri bakımından bölge ve yurt genelindeki örneklerle benzer ve ayrılan yönlerine değinilmiştir. Sonuç kısmında ele alınan örneklerin Cizre, Savur, Nusaybin, Siirt gibi merkezlerde yer alan mezar taşlarıyla benzer form ve süsleme özelliklerine sahip oldukları tespit edilmiştir.

Saray, mekânsal özellikleri ile hem hükümdar ve ailesinin yaşadığı hem de devlet yönetiminin yürütüldüğü yerdir. Hükümdarın özel yaşam alanı ve idare merkezini bünyesinde bulundurması itibariyle devletler saray mimarisine ayrı bir önem vermiştir. Estetik ve sanatsal özellikleri ile saraylar, temsil ettiği devletin kültür, medeniyet ve sanat özellikleri yanında siyasi ve ekonomik gücünü yansıtmaları bakımından da önemlidir. Araştırmamızın amacı, tarih boyunca iktidarın en büyük sembollerinden olan ve gücün mimarideki yansıması kabul edilen saray yapılarının coğrafyaya göre nasıl şekillendiğini ortaya koymaktır. Bu sebeple İslâm coğrafyasının farklı bölgelerinde aynı yüzyılda inşa edilmiş Kubâdâbâd Sarayı ve Elhamra Sarayı örnek iki yapı olarak seçilmiştir. Bu iki yapı plan, mimari ve tezyinî unsurlarıyla ayrı ayrı incelenmiş; karşılaştırma yapılarak İslâm coğrafyasının farklı bölgelerinde inşa edilmiş sarayların benzer ve farklı yönleri tespit edilmeye çalışılmıştır The palace is both the place where the Sultan and his family lived and the state administration was carried out. Due to being the private living space and the monarch’s administrative center, the states placed special emphasis on the palaces’ architecture. With their aesthetic and artistic characteristics, palaces are important in terms of reflecting the political and economic power as well as the cultural, civilization, and art characteristics of the state they represent. This research aims to reveal how the palace structures, considered one of the major symbols of monarchs and the reflection of power in architecture throughout history, were shaped according to geography. For this reason, Kubâdâbâd Palace and Alhambra Palace, which were built in the same century in different parts of the Islamic geography, are chosen as two exemplary buildings. These two structures are examined in detail by considering their plan, architectural and ornamental elements. And thus the similar and different aspects of the palaces built in different parts of the Islamic geography are determined by making comparisons.

Due to things, people form their own image and broadcast it to others. The image of a person is primary, and the ways of his achievement are secondary, but glamour develops within them. Accessories and additions play an important final role in creating a glamorous look. They make a crucial impression during an acquaintance, demonstrating your style. In composition of a glamour costume, the accessories such as: bags, gloves, belts, glasses, hats, jewelry, and others – are essential attributes, they play not only role of additional elements but also contribute to the overall style of the costume. On the one hand, they must “fit” to the style, but on the other hand, they have their own “internal” fashion, which doesn’t always coincide with the ideas of designers. For this reason, the question of classification of accessories and additions characteristic of glamorous style in clothes design and determining of the main ways of their embodiment in modern design practice is still relevant. The analysis of identified sources of information enables to state the following: fashion analysts and costume theorists consider glamour as a distinct stylistic tendency or integral structure of a particular style, which in modern conditions pretends to the recognition of specific design and artistic practice with the typical constants through which new images are constructed and recognized. The origin of glamorous lifestyle, according to most of scientists is related to the epoch of Rococo, when France became the center of society life of all Europe, offering endless entertainments, holidays, balls and masquerades. Frenchmen identified glamour with an ability to present themselves exquisitely and with charm, to show their own elegance. An important fact is that the culture of salon and privately-elite communication appeared at that time, and became a foundation of a glamour culture, within which accessories and additions have and essential role. According to the results of research of a glamorous costume of the late XIX – early XX centuries, it was found that during this period of time accessories took an important role in formation of a costume. First of all, accessories were made only of expensive and high-quality materials and were decorated with rich decor, that’s why only people of the upper classes of a society could afford them, thus demonstrating their social status. The research had also shown that gloves, hats, highheels and valuable jewelry were essential attributes of the glamorous costume in this period, and they had not only practical but also a decorative significance. The ХХ century is characterized by a great variety and variation of accessories. The main changes got hats and shoes – designers and couturiers at the beginning of this century created constructively sophisticated forms of hats with rich decor, which over time, transformed into elegant small hats decorated with brooches, handmade embroidery, precious and semi-precious stones. At this time the culture of glamour penetrates into the different layers of a society, women try to copy the images of film-stars. Gloves, highheels, filament of pearls and valuable accessories remain the main attributes of a glamorous style, but considerable changes took place in the formation, design and use of the modern materials. The great attention is paid to decoration of products. The peculiarity of modern glamour is that it is organic and acceptable as a way of life, as ideology, and as a specificity of styling one’s own appearance through a suit and accessories to it – only for a small group of consumers. As a rule, these are people who create glamour and live glamorously in the right surrounding. The main amount of people use glamour “on demand”, for example the actors of red carpets or the participants of beauty contests. In their daily life, these people are not always glamorous, but for these events, they choose a style of glamour that is focused on expressing exceptional status, fantastic, standard and seductive beauty., У статті досліджено жіночий костюм кінця ХІХ–ХХ ст., який став підґрунтям для формоутворення гламурного костюма. Визначено, яку роль відведено аксесуарам та доповненням у структурі костюма. Охарактеризовано і класифіковано аксесуари за призначенням та принципами формоутворення в дизайні костюма. Висвітлено еволюцію розвитку основних атрибутів гламурного костюма та їх втілення в сучасній дизайн-практиці.

The invention of mauveine, the first coal-tar based aniline dye in London in 1856 marked a chromatic turning-point in the history of industrial Europe. Up until the 1870s Britain was in the vanguard of this ‘colour revolution’. Mauve was soon followed by a whole gamut of new, low-priced dyes which radically transformed the experience of colour for all sections of society. As a consequence, the ‘evolution’ of the colour-sense received unprecedented attention, not only from the scientists who made colour production and colour perception their new object of study, but also from artists and writers like John Ruskin or William Morris who placed colour at the centre of the creative process. Surprisingly, this ‘colour revolution’ has only rarely been approached from the perspective of interior decoration despite the fact that from the 1860s an increasing number of periodicals and popular handbooks offered guidance on how to make one’s home ‘poetic’ thanks to the right colour arrangements. In this article I analyse a selection of these ‘colour grammars’ which aimed to channel and control the chromatic ‘chaos’ of modernity, before discussing a unique instance of a well-preserved and poetically colourful interior: the architect William Burges’s Tower House in London. L’invention à Londres en 1856 de la mauvéine, le premier colorant de synthèse, marqua un tournant dans l’histoire de l’Europe industrielle. Jusque dans les années 1870, la Grande Bretagne fut à la pointe de cette révolution de la couleur. À la suite du mauve, ce fut toute une palette de nouveaux colorants qui vit le jour, transformant ainsi pour l’ensemble de la société l’expérience même de la couleur. Le ‘sens de la couleur’, sa perception et sa production, devinrent alors l’objet de multiples investigations à la fois scientifiques et artistiques, et de la part notamment de John Ruskin et de William Morris dont la couleur joua un rôle clé dans le processus créatif. Étonnamment pourtant, cette révolution de la couleur n’est que rarement abordée en lien avec les questions de décoration d’intérieur alors même qu’à partir des années 1860 un nombre grandissant de périodiques et de manuels se mirent à prodiguer des conseils en matière d’arrangements chromatiques dans l’idée de rendre le foyer plus ‘poétique’. Cet article explorera tout d’abord une sélection de ces ‘grammaires de couleur’ qui avaient pour objectif de contrôler le chaos de la modernité, puis un exemple particulièrement coloré et poétique d’intérieur victorien ayant survécu aux assauts du temps : la Tower House de l’architecte William Burges à Londres.

Cet ouvrage constitue les actes du colloque international tenu, à Tunis, les 21-22 juin 2019 à l’initiative du Laboratoire d’Archéologie et d’Architecture Maghrébines de l’université de La Manouba (Tunis). L’objectif de cette rencontre, dont le livre se fait l’écho, est « d’étudier la céramique de revêtement architectural de la ville de Tunis et de définir son évolution » (p. 3) du xviie siècle au protectorat et à l’indépendance. Elle s’inscrit dans la ligne des travaux menés, depuis sa thèse...

This paper presents the results of the characterisation, identification, provenance determination, and quantification of the white, greco scritto-like and polychrome marbles used for architectural purposes at Forum Sempronii, a Roman town in the Marche region of Italy. Samples of five fragments of white marble and one fragment of a greco scritto-like marble have been studied using mineralogical and petrographic observations and stable isotope ratio analysis (SIRA) of carbon and oxygen. Polychrome marbles were macroscopically identified by comparison with reference samples and available image databases. Analytical results of the white and greco scritto-like marbles identified the material as coming from the quarries of Carrara (Luni, Italy) and Proconnesos (Marmara, Saraylar, Turkey) for white marble, and of Ephesos-Hasançavuslar for greco scritto-like marble. Further, at least eleven imported polychrome stone varieties were distinguished. The study clearly illustrates that Forum Sempronii had access to the main marble trade networks of the Roman Mediterranean. The early attestation of Proconnesian marble at the town’s augusteum (i.e., Augustan date) is unique for central Adriatic Italy.

Dress is being worn for warmth in all civilizations in the world. It may be treated as a second skin because it covers the body like a house and gives shelter for human beings to protect them from cold, dirt, heat, and rainfall. There was an adage that says that “the body is the shell of the soul and dress the husk of that shell”. Dress is not only meant for protection but also to enhance the appearance of the wearer which proclaims his place in society that indicates rank, occupation, age, gender, place of origin, conjugal status, and religion. The dressing is a secondary human character even though it enhanced the dignity of a person. In every land and every period of history, the way of people dress styles was influenced by various factors and conditions like social, political, economic, religious, and geography. The way of attire is different from male to female, and it is also true in the case of ornamentation, jewelry, and forms of body decoration. The hot climate of Deccan or South Indians does not necessitate much clothing like Westerns. When travelers visited India in general and particular in Andhradesa depicted the insufficient or lack of dress, ornamentation, and decoration of natives. The present paper has made an attempt and focuses light on travel accounts that referred to the dress of both Hindu and Muslim women as well as men, the coiffure of women, ornaments of men and women, and the decoration of women.

L’ampleur des débats autour de la polychromie architecturale du début du XIXe siècle fait oublier à quel point ceux-ci sont encore vifs dans la seconde moitié du XIXe siècle, alors même que son application est légitimée par le concept d’union des arts et facilitée par le développement industriel. L’histoire du concours de peinture d’histoire Jauvin d’Attainville établi au sein de de l’École des beaux-arts en 1877 en témoigne, en particulier lorsque Charles Garnier (1825-1898), devenu immensément célèbre avec son « invention polychrome », le nouvel Opéra, se voit confier pendant douze années, entre 1885 et 1897, la responsabilité d’en rédiger les programmes. Leur analyse révèle de quelle manière, profondément influencé par l’expérience du chantier de l’Opéra, l’architecte a tenté à travers ce concours de sensibiliser les peintres à sa vision de la synthèse des arts, où la maitrise de la couleur, en tant que liant entre les pratiques artistiques, détient un rôle crucial. L’histoire du concours éclaire les difficultés rencontrées par l’architecte dans cette entreprise. The important debates surrounding architectural polychromy at the beginning of the 19th century make us forget how much these were still alive in the second half of the 19th century, even though its application was legitimized by the concept of union of the arts and facilitated by industrial development. The history of the Jauvin d'Attainville history painting competition established within the Ecole des Beaux-Arts in 1877 testifies to this, in particular when the architect Charles Garnier (1825-1898), became immensely famous with his "polychrome invention", the new Opera, was entrusted with the responsibility of writing the programs for twelve years, between 1885 and 1897. Their analysis reveals how, transformed by the experience of the construction site of the Opera, the architect tried through this competition to make painters aware of his vision of the synthesis of the arts, where the mastery of color, as a link between artistic practices, holds a key role. The history of the competition sheds light on the difficulties encountered by the architect in this undertaking.

Объектом исследования в статье является музейная коллекция керамической посуды янковской культуры периода палеометалла, полученная в результате подъёмных сборов в 1970—80-х гг. в районе залива Посьета на юго-западе Приморья. Основным местом сбора был мыс Шелеха в северо-западной части залива. В статье последовательно рассматриваются признаки морфологического состава керамической коллекции, технико-технологические характеристики, особенности декоративного оформления керамических изделий. Полученные наблюдения позволяют говорить о том, что исследованная керамика обладает определённым своеобразием на фоне материалов из известных и ранее изученных памятников янковской культуры Приморья. Наиболее яркой особенностью керамической коллекции из района залива Посьета является массовое присутствие в ней образцов посуды, изготовленной по достаточно высоким технологическим и эстетическим стандартам, требующим значительных временных и трудовых затрат. Это проявляется в признаках формовочных масс, моделирования форм посуды, обработки поверхности, обжига, в декоративном оформлении керамических изделий. Совокупность выявленных черт свидетельствует о значительной роли посуды неутилитарного характера, т.е. предназначенной для использования в особых, неординарных ситуациях. Не исключено, что мыс Шелеха и прилегающие к нему территории были местом каких-то социально значимых событий. Определённый интерес представляют результаты сравнения материалов коллекции керамики из района залива Посьета и опубликованных данных по керамическим комплексам бронзового века Северо-Восточного Китая, в частности из памятников Бацзиньбао и Хоутайпин. Отмеченные аналогии в мотивах и технике орнаментального декора, возможно, указывают на культурные связи двух территориально близких районов., The article is considering pottery assemblage attributed to Yankovskaya archaeological culture and originated from the Posiet Bay area in southwestern Primor’ye region. The collection containing artifacts from destroyed archaeological sites, mostly from Shelekha Cape site in northwestern part of Posiet Bay, is stored in local Posiet-village museum. Article is considering the features of morphology, technology and decoration of ceramic wares. Our observations allow to note that pottery assemblage of Posiet Bay area shows some differences in comparison with pottery assemblages from well-known Yankovskaya culture sites. Most distinctive feature of considered collection is serial presence of samples reflecting high technological and esthetic levels of pottery-making. This is concerning to the characteristics of ceramic pastes, shapes modelling, surface treatment, firing, decoration of ceramic wares. Revealed features indicate significant role of non-utilitarian wares purposed for the specific, not ordinary cases. It may be supposed that Shelekha Cape and adjacent territories were the area where certain socially important events took place in the prehistoric times. Interesting results are obtained from the comparative study of Yankovskaya culture pottery from Posiet Bay area and published materials on Baijinbao type pottery from archaeological sites of Bronze Age in Northeast China Similar features appearing in techniques and motifs of pottery ornamentation may be interpreted as probable evidence of some cultural connections between neighboring regions.

Представлено комп’ютерну модель, розроблену в рамках методів класичної молекулярної динаміки, для атомістичного моделювання осадження атомів срібла на поверхню двовимірного карбіду титану Ti2C (максену) та росту срібних наночастинок. В запропонованій моделі використовується гібридний міжатомний потенціал, де взаємодія між атомами металу та взаємодія метал-вуглець описується в рамках різних методів. Розроблена модель може бути використана для дослідження аналогічних систем, що складаються з атомів інших металів, а також двовимірних карбідів Ti(n + 1)Cn з n = 2 і 3. Проведені експерименти, що моделюють осадження атомів срібла на поверхню двовимірного карбіду титану Ti2C з трьома різними значеннями площі поверхні росту. Для дослідження особливостей формування наночастинок та процесів росту також розглянуто два випадки взаємодії між Ti2C та атомами срібла з міжатомними силами що відповідають утворенню хімічного зв’язку металевого типу та Ван дер Ваальсовими силами. Розглянуті випадки моделюють осадження на гідрофільну та гідрофобну поверхню відповідно. Показано що у випадку взаємодії підкладка-осаджені атоми гідрофільного типу на поверхні Ti2C максену утворюється тонка плівка срібла, в той час як для гідрофобної взаємодії спостерігається формування окремих наночастинок. Отримано модельний зразок системи зі сформованою наночастинкою срібла на поверхні двовимірного карбіду титану для якого були досліджені сили взаємодії між максеном і наночастинкою. Окрім стаціонарного випадку взаємодія підкладка – НЧ була розглянута також при зовнішньому навантаженні. В останньому випадку були розраховані ефективні сили тертя між наночастинкою та Ti2C при трьох різних значеннях прикладеної зовнішньої сили. Показано що поступальний рух наночастинки по поверхні максену спостерігається лише у випадку максимальної зовнішньої сили. We report the numerical scheme that was developed within the framework of classical molecular dynamics methods for atomistic simulation of the deposition of Ag atoms onto the surface of two-dimensional (2D) titanium carbide Ti2C (MXene) and the growth of silver nanoparticles (NP). Developed model adopts hybrid interatomic potential, where interactions between metal atoms and between metal-carbon are described within different methods. Proposed model can be used to study similar systems consisting of other metals, as well as two-dimensional carbides Ti(n + 1)Cn with n = 2 and 3. Experiments on simulation of the deposition of silver atoms onto the surface of two-dimensional titanium carbide Ti2C with three different values of the growth surface area were performed. To investigate the peculiarities of nanoparticle formation and growth processes, two types of interaction between Ti2C and Ag atoms with the metallic-type bonding and Van der Waals forces were considered. Considered cases simulate deposition onto hydrophilic and hydrophobic surfaces, respectively. It is shown that in case of hydrophilic-type of interaction Ag thin film growth on the substrate, while in case of hydrophobic surface, separate nanoparticles are formed. A modeled sample of the system with a silver nanoparticle formed on the surface of two-dimensional titanium carbide was obtained, and forces of interaction between the Ti2C surface and NPs were calculated. In addition to the stationary case, the MXene-NP interaction was also considered under external loading. The friction forces between the nanoparticle and Ti2C were calculated at three different magnitudes of the external load. It is shown that translational movement of the nanoparticle on the MXene surface observed in the case with largest magnitude of external load.

Today, as art and design are rapidly developing, new techniques and technologies are also appearing in it. Epoxy resin is one of them. This article talks about decorative elements and epoxy resin that can be used in the interior.

The purchase by the municipality of this vast urban residence dating from 1552 and the associated redevelopment and restoration projects led the SRA des Pays de la Loire to prescribe a diagnosis in the fall of 2018. Several meetings prior to the work site enabled Inrap and the SRA to jointly develop an intervention program and define its objectives. Generally speaking, it was decided to research the original volume of the building, particularly that of its parts that have disappeared (gallery) or been radically transformed (east wing), and to study the framework, dated 1554 by dendrochronology. Within this framework and depending on the areas that were actually accessible, the archaeological interventions (pitting) were concentrated on the old stairwell, the four levels of the east wing, the gallery and the attic. It was thus possible, in the area studied, to restore all of the original volumes and circulations, to confirm the existence of the gallery floor and the entresol of the east wing, to reveal the presence of a second tower that was a counterpart to the staircase tower and framed the gallery, to identify the framework as an early model of a lierne framework, and to uncover numerous remains of the Renaissance sculpted decoration, showing a much better state of conservation of the ancient interior features than was initially estimated. The study of these decorations has allowed us to better situate the building in the current of building sites and works carried out in the region (the Bas-Poitou and notably the neighboring towns of Fontenay-le-Comte and Coulonges-sur-l’Autize) during the years 1540 – 1560., Le rachat par la municipalité de cette vaste demeure urbaine datée de 1552 (ph. 1) et les projets de réaménagement et de restauration associés ont amené le SRA des Pays de la Loire à y prescrire un diagnostic à l’automne 2018. Plusieurs réunions préalables au chantier ont permis à l’Inrap et au SRA d’élaborer en commun un programme d’intervention et de définir ses objectifs. D’une façon générale, il a été décidé de rechercher la volumétrie initiale du bâtiment, notamment celle de ses parties disparues (galerie, ph. 2) ou radicalement transformées (aile est), et d’étudier la charpente, datée de 1554 par dendrochronologie. Dans ce cadre et en fonction des zones effectivement accessibles, les interventions archéologiques (piquages) se sont concentrées sur l’ancienne cage d’escalier (ph. 5 et 7), les quatre niveaux de l’aile Est, l’emprise de la galerie et les combles. Il a ainsi été possible, dans la zone étudiée, de restituer l’ensemble des volumes initiaux et des circulations d’origine, de confirmer l’existence de l’étage de la galerie (ph.6) et de l’entresol de l’aile est, de révéler la présence d’une seconde tour faisant pendant à la tour d’escalier pour encadrer la galerie, d’identifier la charpente comme un modèle précoce de charpente à liernes et de mettre au jour de nombreux restes du décor sculpté renaissance (ph. 8), montrant ainsi un état de conservation des dispositifs intérieurs anciens bien meilleur qu’initialement estimé. L’étude de ces décors a permis de mieux replacer le bâtiment dans le courant des chantiers et travaux réalisés dans la région (le Bas-Poitou et notamment les villes voisines de Fontenay-le-Comte et Coulonges-sur-l’Autize) durant les années 1540 – 1560.

Denna studie undersöker och diskuterar möjligheterna som finns för att tala om ett icke-verbalt visuellt identitetsspråk för kammaterial från perioden ca 700–900 e.v.t. Studien utgår från och analyserar arkeologisk forskning som utförts i olika miljöer. Syftet är att se till potentialen som finns för vidare forskning gällande kammar, råmaterial och ornamentiks delaktighet i identitetsprocesser. Genom att studera vardagliga föremål som kammar med nya metoder och teknologi ökar möjligheterna att studera subtila sociala och kulturella fenomen. Undersökningen ämnar därför att även belysa hur nya frågor kan tillkomma och ställas till äldre väl undersökt material. The aim of this study is to discuss and explore the possibility of a non-verbal language based on visuality in comb material dating to c. 700-900 C.E. The study analyses different archaeological research done in different locales within and outside of Scandinavia. The aim is to understand the potential of further research into identity studies based on previously made associations and interpretations regarding combs, raw material and decoration. Through new technologies, the study of everyday objects of the past can be given new context and meaning. This study aims to bring forth the potential in old well documented material.

In the manufacture of facing products from low-liquid wood, it is necessary to improve its physical and mechanical properties. The article presents a systematization of ways for improving the aesthetic, physical-mechanical properties of wood raw materials, which makes it possible to make a reasonable choice of their optimal combination for the manufacture of facing products (decoration, modification of finishing). При изготовлении облицовочных изделий из низколиквидной древесины необходимо улучшение ее физико-механических свойств. В статье представлена систематизация способов и приемов улучшения эстетических и физико-механических свойств древесного сырья, позволяющая сделать обоснованный выбор их оптимальной комбинации для изготовления облицовочных изделий (декорирование, модифицирование, отделка).

Türkler, Anadolu’ya geldikten sonra, daha önce burada bulunan toplumların sanatlarından etkilenmişler ve kendi sanatlarını oluşturmuşlardır. 11. yüzyıl ile 19. yüzyıl arasında sırası ile Anadolu Selçuklu, Beylikler ve Osmanlı dönemleri yaşanmıştır. Anadolu Selçukluları Dönemi’nde yapılarda en fazla kullanılan yapı malzemesi ahşaptır. Ahşap malzeme tavanlar, taşıyıcılarda, minber ve mihraplarda yoğun olarak kullanılmıştır. Beylikler Döneminde en fazla kullanılan malzemeler tuğla ve taş olarak görülmektedir. Osmanlı Döneminde süsleme, eserlerin duvarlarında yer alan taş malzeme örnekleri, çini tekniği, ahşap süsleme olarak gelişim göstermiştir. Bursa Emir Sultan Cami’nin, ilk yapım tarihi 15. yüzyıl olarak belirlenmektedir, yapı zaman zaman gelişen doğal afetlerde tahrip olmuştur. 1804 yılında taş ve tuğla malzeme ile asıl plan şemasına uygun olarak yeniden inşa edilmiştir. Süsleme programında yoğun olarak uygulanan teknik kalem işidir. Motif özelikleri açısından, bitkisel motifler ağırlıklı olarak kullanılmıştır. Bu çalışmada Bursa Emir Sultan Cami’nin süsleme programında kullanılan malzeme ve teknikleri incelenerek, yapının Türk mimarlık tarihi süsleme sanatı içerisindeki konumunu ve önemini belirlemek amaçlanmıştır. Çalışmada yöntem olarak yapılan literatür araştırmasının yanı sıra bölgede alan çalışması yapılarak yerinde inceleme yapılmış ve yapının fotoğrafları çekilmiştir. After the Turks came to Anatolia, they were influenced by the arts of the societies that were here before, and they created their own arts. Until the 19th century, Anatolian Seljuk Period, Principalities Period, Ottoman Periods were experienced. It is seen that the use of wood in buildings was common in the Anatolian Seljuk Period. Successful examples of woodworking were exhibited on wooden ceilings, wooden columns, pulpit and altars. During the principalities period, the use of brick and stone materials became prominent. In Ottoman architecture, decoration, stone decorations on the walls of the works, tile art, wood art developed. Bursa Emir Sultan Mosque actually dates back to the 15th century, the structure was damaged in the earthquakes that occurred over time. Plaster, wood, stone and pencil work techniques were applied in the decoration of the square planned and single-domed building using stone and brick materials in 1804. In accordance with the characteristics of the period, hand-drawn decoration gained weight. Motif features can be examined under the headings of herbal, geometric, writing and other. In this study, it is aimed to determine the position and importance of the structure in the Turkish architectural history ornament art by examining the materials and techniques used in the decoration program of Bursa Emir Sultan Mosque. In addition to the literature research carried out as a method in the study, fieldwork was carried out in the region and on-site investigation was carried out and the photos of the building were taken. Plan, section and facade images were obtained from the Archives of the Bursa Regional Directorate of Foundations.

This study was created with the aim of examining the curtain motifs in the decoration program of twenty-two mosques built between the 17th and 20th centuries in Denizli. The curtain is among the Turkish ornamental motifs used in architecture since early times. In the Westernization Period, floral motifs, geometric shapes, landscape paintings were often used in the walls of the harim, mihrab niches and covers on the facades of the mosques. This tradition was continued in the mosques of the 20th century. Although the usage area of the curtain motif in Denizli Mosques varies, it usually attracts attention with its use in mihrab decorations. In the text, the structures with curtain motifs are listed alphabetically according to the districts and introduced. The plan and architectural features of the mosques are briefly introduced, while the mihrabs with curtain motifs are introduced in detail. The plans of the structures were supported with drawings and visuals with photos attached., Bu çalışma Denizli’de 17. ve 20. yy. arasında inşa edilen yirmi dört caminin süsleme programında yer alan perde motiflerini incelemek amacı ile oluşturulmuştur. Perde, erken devirlerden itibaren mimaride kullanılan Türk süsleme motifleri arasında yer almaktadır. Batılılaşma Döneminde bitkisel motifler, geometrik şekiller, manzara resimleri ile birlikte cami cephelerinde harim duvarlarında, mihrap nişlerinde, örtülerde sıklıkla kullanılmıştır. 20. yy. camilerinde de bu gelenek devam ettirilmiştir. Denizli Camilerinde perde motifinin kullanım alanı farklılık gösterse de genellikle mihrap süslemelerinde kullanımı ile dikkat çekmektedir. Metinde perde motifli yapılar ilçelere göre alfabetik olarak sıralanıp, tanıtılmıştır. Camilerin plan ve mimari özellikleri kısaca, perde motifli mihraplar ise detaylı bir şekilde tanıtılmıştır. Yapıların planları, fotoğrafları eklenmiş çizim ve görsellerle çalışma desteklenmiştir.

До появления профессиональных театров в Монголии театрализованные представления, мистерии и гимны, танец Цам, церемонии в честь Майтрейи, имеющие религиозное назначение, исполнялись в монастырях Их Хурээ, Эрдэнэ Зуу и некоторых крупных монгольских храмах. Результаты данного исследования показывают, что оформление религиозных и государственных театрализованных церемоний было разработано художниками и мастерами декоративно-прикладного искусства и предназначено для демонстрации на подмостках и на площади. Все типы мистерии были основой для развития декоративно-прикладного искусства, а именно для создания одежды и аксессуаров с активным использованием дерева, кости, камня, металла, кожи, бумаги и войлока. Таким образом, традиционные народные промыслы, такие как шитье, вышивание, ткачество, аппликации, резьба, тиснение и роспись, использовались для изготовления костюмов для Цама, масок и реквизита. Этот факт доказывает, что все виды декоративно-прикладного искусства, связанные с театрализованными церемониями, являются традиционным художественным творчеством. После Народной революции 1921 года в Монголии начало развиваться современное театральное искусство, которое создало условия для развития различных творческих профессий, связанных со сценой.

Divriği Great Mosque and Hospital, one of the masterpieces of Turkish-Islamic architecture, was built by the Mengücekli Principality, a vassal of the Anatolian Seljuks. Although the facades of the mosque and hospital, which are built adjacent to each other, are generally simple, especially the portals have magnificent stonework. There are four portals in the complex. Three of them belong to the mosque and one to the hospital. The monumental portals, each unique to its own, have a highly developed decoration program compared to their period in terms of ornamental features. We see geometric, herbal, written and figured ornaments together on the densely decorated portals, almost without gaps from head to toe. In our study, figurative decorations in mosque and hospital will be examined. In addition to the figures that can be seen directly both in the mosque and in the hospital, there are various figures hidden among the ornaments. The figures we identified in both buildings are mainly located on the portals. On the other hand, figures appear in various parts of the buildings. In addition to zoomorphic figures such as eagles, falcons, bulls, dragons and lions, anthropomorphic (human) figures are also encountered in figured decorations. In previous studies, figurative decorations within the scope of Divriği Great Mosque and Hospital were not examined. Moreover, one of the figures we identified are not included in the literature. In our study, the figurative decorations in complex will be given collectively and the place of the figured decorations in the Anatolian Seljuk architecture will be examined. It is aimed to introduce the figures to the world of science as a whole by emphasizing their mythological, astrological, cosmological, symbolic and iconographic meanings and plastic properties., Türk-İslam mimarisinin şaheserlerinden biri olan Divriği Ulu Camisi ve Darüşşifası, Anadolu Selçuklularının vasalı olan Mengücekli Beyliği tarafından inşa ettirilmiştir. Birbirine bitişik yapılan cami ve darüşşifanın cephe düzenleri genel itibariyle sade olsa da bilhassa taçkapıları ihtişamlı taş işçiliğine sahiptir. Külliyede toplam dört taçkapı yer almaktadır. Bunlardan üçü camiye biri darüşşifaya aittir. Her biri şahsına münhasır olan abidevi taçkapılar, süsleme özellikleri bakımından dönemine göre oldukça gelişmiş bezeme programına sahiptir. Baştan aşağı neredeyse boşluk bulunmadan yoğun bir şekilde bezeli taçkapılarda geometrik, bitkisel, yazılı ve figürlü süslemeleri bir arada görmekteyiz. Çalışmamızda cami ve darüşşifada yer alan figüratif süslemeler incelenecektir. Gerek camide gerekse darüşşifada doğrudan görülebilen figürlerin yanı sıra süslemelerin arasına istiflenmiş çeşitli figürler bulunmaktadır. Her iki yapıda tespit ettiğimiz figürler ağırlıklı olarak taçkapılarda yer almaktadır. Bunun yanı sıra yapıların çeşitli yerlerinde de figürler karşımıza çıkmaktadır. Figürlü bezemelerde kartal, doğan, boğa, ejder, aslan gibi zoomorfik figürlerin dışında antropomorfik (insan) figürlere de rastlanmaktadır. Daha önceki çalışmalarda Divriği Ulu Camisi ve Darüşşifası özelinde figüratif süslemeler incelenmemiştir. Üstelik tespit ettiğimiz figürlerden biri literatürde de yer almamaktadır. Çalışmamızda her iki yapıdaki figürlü süslemeler toplu bir şekilde verilerek Anadolu Selçuklu mimarisindeki figürlü süslemelerin yeri irdelenecektir. Figürlerin mitolojik, astrolojik, kozmolojik, sembolik ve ikonografik anlamları ile plastik özellikleri üzerinde durularak bilim dünyasına bütün haliyle tanıtılması amaçlanmaktadır.

Science auxiliaire de l’histoire qui a pour objet l’étude des ordres, décorations, médailles, insignes de fonction et de distinction, la phaléristique aide l’historien en lui donnant des outils de datation et de localisation. Au-delà de donner des repères pour identifier et évaluer ce patrimoine méconnu, cet article propose de voir comment l’iconographie des différents insignes métalliques, prêtés, remis ou décernés aux membres des conseils de prud’hommes du début XIXe siècle à nos jours, a relayé l’iconographie du pouvoir ou les fiertés locales de chaque conseil. Par ordre chronologique d’apparition sont étudiés les : Jetons : après la création de la « prud’homie à la terre », instituée par l’empereur Napoléon à Lyon en 1806, des premiers jetons de présence apparaissent dès 1809. Pendant un siècle, d’autres villes sièges de conseil de prud’hommes vont également adopter ce principe de jeton pour offrir une compensation financière à leurs prud’hommes. Insignes de fonction : il faut attendre l’ordonnance royale du 12 novembre 1828, qui précise que les prud’hommes « porteront dans l’exercice de leurs fonctions, soit à l’audience, soit au-dehors, une médaille d’argent, suspendue à un ruban noir en sautoir ». Cet insigne de fonction qui a évolué dans le temps est toujours utilisé de nos jours. Médailles d’identité et d’honneur : enfin, seront évoquées les médailles d’identité des prud’hommes, apparues localement dès les années 1840, puis les très officielles médailles d’honneur de prud’hommes, à la fin du XIXe siècle, ancêtres des actuelles médailles d’honneur des services judiciaires, créées en 2011. Phaleristics is an auxiliary science of history, which studies orders, decorations, medals, insignia of office and distinction. It helps the historian by giving him tools for dating and identifying location. In addition to providing guidelines for identifying and evaluating this little-known heritage, this article shows how the iconography of various metal insignia – lent, given or awarded to the members of the Conseils des Prud'hommes from the early 19th century to the present day – conveys the iconography of power or of local prides dear to each of the Conseils. Our study, which follows the chronological order of appearance, involves: Tokens: following the creation of the “prud'homie à la terre”, created by Emperor Napoleon in Lyon in 1806, the first attendance tokens were created in 1809. During a century, other cities with such industrial tribunals would also adopt this principle of tokens to compensate financially their prud’hommes. Insignia of office: it was not until the Royal Order of 12 November, 1828, which indicated that the prud'hommes must wear a silver medal, suspended from a black ribbon to be worn in saltire, in the performance of their duties within or outside of the courtroom, that such an insignia came to be. This Insignia of Office, which has evolved over time, is still in use today. Medals of Identity and Honour: here we will study, first, the Medals of Identity of the prud’hommes, which appeared locally as early as the 1840s, followed by the very official prud’hommes Medals of Honour, which were issued late in the 19th century and are the precursors of the present-day Medals of Honour of the judicial services which were created in 2011 and are awarded today.

Mardin, Güneydoğu Anadolu Bölgesi’nde geleneksel kent dokusunu korumuş önemli şehirlerdendir. Coğrafi açıdan önemli bir kavşak noktasındaki konumu ile kent, çeşitli uygarlıkların izlerini taşıyan önemli bir kültür birikimine sahip olmuştur. Farklı kültür birikimleri zengin bir mimari kültürün ortaya çıkmasına katkı sağlamıştır. Mardin’de özellikle 19. Yüzyıl ve sonrasında parsel sorununa çözüm olarak üst üste inşa edilmiş evler önemli bir alanı oluşturmaktadır. Mardin evleri, taş malzemeye bağlı olarak şekillenmiş ve kendi içerisinde farklı plan tipolojilerini yansıtmaktadır. Hâkim yapım malzemesi taşın süslemede kullanılması kendine has nitelikler taşıyarak gelenekselleşmiştir. Taşın farklı teknikler kullanılarak işlenmesi, yüzyıl içerisinde sanat anlayışından farklı kalmasını sağlamıştır. Özellikle Osmanlı dönemi sonundaki sosyal hayatın şekillendirdiği ve daha çok yerel etkilerin ağır bastığı beğeni unsurları taş süslemede ön plana çıkarmıştır. Bu dönemde inşa edilmiş evlerin iç ve dış cephelerindeki değişim bu kapsamda önem taşımaktadır. Çalışma Mardin evlerinde taş süslemelerin kullanıldığı alanlardaki zaman içerisindeki değişim ve çeşitliliğini irdelemeyi amaçlamaktadır., Mardin is on of the important cities in the Southeastern Anatolia Region that has preserved its traditional urban texture. With its location at a geographically important crossroads, the city has has an important cultural accumulation bearing the traces of various civilizations. Different cultural accumulations contributed to be emergence of a rich architectural culture. In Mardin, especially in the 19th centruy and later, the houses built on top of each other as a solution to the parcel problem constitute an important area. Mardin houses; The stone is shaped depending on the material and reflects different plan typologies within itself. The use of stone, wich is the dominant construction material, in decoration has become traditional with ist own characteristics. The processing of the stone using different techniques made in different from the understanding of art throughout yhe centruy. In particular, the elements of taste, which were shaped by the social life at the end of the Ottoman period and dominated by local influences, came to the fore stone decoration. The change in the interior and exterior facedes of the houses built in this period is important in this context. The study aims to examine the change and diversity over time in the areas where stone decorations are used in Mardin houses.

Kullanım eşyası olmasının yanı sıra önemli sembolik anlamlar taşıyan ayna, farklı toplumların kültürlerinde çeşitli anlamlar yüklenerek bugüne gelmiştir. Türk sanat eserlerinin en seçkinlerine ev sahipliği yapan Topkapı Sarayı Müzesinde sultanların kişisel eşyalarının da koleksiyonları bulunmaktadır. Her biri sanatsal değere sahip bu eşyalar arasında aynalar, önemli bir yer tutar. Bu nadir Saray koleksiyonu “Sultanların Aynaları” adıyla 17 Ekim 1998 ile 17 Ocak 1999 tarihleri arasında Topkapı Sarayı Müzesi Seferli Koğuşunda sergilenmiştir. Sarayın Hazinesinde bulunan 78 adet eser içinde çalışmamıza konu olan Hazine 2-1805 envanter numaralı Fildişi Ayna Mahfazası XV. yüzyılın ikinci yarısına tarihlendirilmektedir. Eserin üzerindeki bezemeler, tarihlendirildiği yüzyıl için dikkat çekicidir. Bu çalışmada eserin desen analizi yapılarak, kullanılan motifler incelenmiş ve eserin üslubu, yakın örneklerle mukayese edilerek tarihlendirmenin doğruluğu araştırılmıştır. The mirror, which carries important symbolic meanings as well as being a useful item, has come to present day by carrying various meanings in the cultures of different societies along. The Topkapı Palace Museum, which hosts the most distinguished Turkish artworks, also has collections of personal belongings of the Sultans. Mirrors have an important place among these items, each of which has an artistic value. This rare Palace Collection was exhibited in the Expedition Ward of the Topkapı Palace Museum between 17th October 1998 and 17th January 1999 with the title: “Mirror of The Sultans”. Among the 78 artworks found in the treasury of the Palace, the ivory mirror case with inventory number “Hazine 2-1805”, which is the subject of our study, is dated to the 15th century. The decorations on the work are quite remarkable for the century it was dated. In this study, it is aimed to reveal the decoration style by analyzing the pattern of this artwork.

Tasavvufî kimliğiyle ön plana çıkan Bursa'da inşa edilen tarikat yapıları, şehrin mimari karakterini oluşturan eserlerdendir. 18. yüzyılda Hekimoğlu Ali Paşa tarafından vakfedilen Numaniye Dergâhı, günümüze ulaşan tarikat yapıları arasında özgünlüğünü korumasıyla ilgi çekmektedir. Bu çalışmada Bursa Numaniye Dergahı'nın malzeme, teknik, mimari elemanlar ve süsleme unsurları bakımından incelenmesi amaçlanmıştır. The sect structures built in Bursa, which stands out with its Sufi identity, are among the works that make up the architectural character of the city. The Numaniye Lodge, which was dedicated by Hekimoğlu Ali Pasha in the 18th century, attracts attention with its originality among the lodge structures that have survived to the present day. In this study, it is aimed to examine the Bursa Numaniye Lodge in terms of materials, techniques, architectural elements and ornamental elements.

Fountain, barefoot in the north east portion of the last congregation of the mosque is situated in a courtyard. Marble section of fountain is

The tendency towards modernization is noticeable in Belgrade's architecture from the beginning of the 20th century, in the form of stylistic norms adopted from the Vienna Secession, which was the medium through which the forces of the reforms in architecture, culture and art were incorporated in the overall processes of modernization of in The Kingdom of Serbia. These processes reflect the cultural strivings of Serbian society, the efforts to demonstrate its cosmopolitan spirit, and the need to elevate and complement its historicist architectural stock, grounded in academic and national models, with more modern elements. In the architecture of the Serbian capital, the Secession brought together and conciliated, in a way, these two tendencies. Only a small number of buildings were composed in the dominant Secession style, with the basic characteristics of dissolution and negation of the earlier compositional schemes of strictly symmetrical horizontal and tripartite, or quinquepartite division of façades with risalits and enclosed façades, as well as conspicuous cornices and friezes, pilasters, framed portals and windows. The Secession's decorative schemes were gradually introduced into the architecture of Belgrade as an authentic depository of a new decorative programme that consisted of both typical and original floral, anthropomorphic, zoomorphic and geometric ornaments, which replaced the classical repertory. This was especially prominent in the residential architecture that carried the ideas of the Secession. Therefore, one of the main goals of this essay is to interpret the role of the Secession in residential architecture in Belgrade from the beginning of the 20th century, and to introduce some of its lesser-known examples.

House H10 was one of the buildings located in a Hellenistic-Roman city at the Marina el-Alamein site in Egypt, whose relics were the first to be discovered. Successive research, conducted since 1997 along with initial conservation work, has provided a comprehensive overview. The house is one of the largest and most extensive of this site. Its spatial design is a showcase for the technology typical of houses from Marina. The house is embedded in both Greco-Hellenic and Roman traditions. It is an oikos house with a courtyard with two columned porticoes situated symmetrically on either side parallel to the main axis. A third, perpendicular portico, complementing the layout of the incomplete peristyle, is imitated by the architectural decoration of the courtyard elevation, organised by semi-columns. The layout includes two main rooms located opposite each other on two sides of the peristyle. The house was rebuilt several times, which made for a complicated layout. The studies conducted have cast light on domestic religious practice and the distinctive character of the architectural and artistic interior design, including exceptional examples of figural painting. The architecture and décor of the house document the changes occurring at the intersection of Hellenistic and Roman traditions.

Pietryčių Lietuvos akmens amžiaus keramika atspindi jos kūrėjų ir naudotojų gyvenimo būdą, mitybą, socialinį statusą, meninę raišką bei santykius su kitomis bendruomenėmis. Organikos išlikimui nepalankios gamtinės sąlygos bei įvairių laikotarpių radinių susimaišymas smėlinėse gyvenvietėse apriboja galimybes tiksliau datuoti ir atkurti VI tūkstantm. pr. Kr. pabaigoje prasidėjusį ilgo savito neolitizavimo procesą. Analizuojant molinių indų naudojimo pėdsakus, keramikos struktūrą, lipdymo bei ornamentavimo technologijas, jų pokyčius ir priežastis, galima geriau suprasti miškų neolito bendruomenių tradicijas bei įvairių įtakų susidūrimus Pietryčių Lietuvoje. South-Eastern Lithuanian Stone Age pottery reflects the way of life, nutrition, social status, artistic expression, and intercommunity relationships of its creators and users. Natural conditions unfavourable for the survival of organic material and the intermingling of artefacts from different periods in sandy settlements limit the ability to precisely date and reconstruct the long, distinctive process of Neolithisation that began in the late 6th millennium bc. Analysing the traces of ceramic vessel use, the structure of the pottery, the coiling and decoration technologies, their changes and reasons, it is possible to understand better the traditions of the Forest Neolithic communities and the encounters of different influences in SE Lithuania.

The article is devoted to an issue that has not received sufficient coverage in the scientific literature — the artistic reconstruction of the Ugric jewelry in the middle ages. The methods and stages of experimental artistic reconstruction of women's ornaments of temporal rings and noisy suspensions of the Kinyaminsky II burial ground (Surgut region, Khanty-Mansi Autonomous Okrug — Ugra) are described. In accordance with the research objectives, the graphic reconstruction of jewelry made by V.I. Semenova was studied, and the analysis of Ugra Museum collections was carried out based on materials, technological methods of execution, size, and shape. 158 items of women's jewelry were studied: ordinary simple bracelet-like rings, single-bead; two-bead, three-bead, multi-bead, four- and five-lobed, zoomorphic with the image of stylized figures of the beast; as well as numerous elements and fragments of the temporal rings (XII-XVI centuries). The comparison revealed the differences in the graphic reconstruction of V.I. Semyonova from the studied items of museum collections in the structure of the arched base-shield. A graphic reconstruction of the temporal rings from the Kinyaminsky II burial ground was performed, followed by an experimental reconstruction in the material. The research results are significant in the context of the study of ethnocultural processes, as well as the development of techniques of arts and crafts, the formation of traditions of folk art.

学術論文

Traditional houses are the cultural assets that make it important with its local values. The residence consists of a city and the cultural identity of the region. The traces of the past, which vary according to the city, the locality and the region, and the cultural assets, provide the formation of the unique texture of the city. Anatolia, which has hosted many civilizations in the historical process, has the world’s leading ancient and rich cultural heritage. It is among the most important duties of all societies to keep these accumulations alive and transfer them to future generations. The archaeological excavations carried out in Cankırı reveal the existence of an uninterrupted settlement since the Paleolithic period. Çankırı city, which is one of the oldest settlements of Central Anatolia, has its own civil architecture. Cankırı has been an important center for the relations and cultures of civilizations. In addition to the mound, tumulus, rock tombs and settlements of the antique period, above ground settlement and necropolis areas, there are also underground settlements thought to be made for the purpose of worship and religious and civil architectural works enrich the region in a historical and cultural sense. The civilian architecture in the central district of Çankırı consists of the houses opening to the neighborhoods and streets, starting from the skirts of the Çankırı Castle and opening to the plain on the east-west axis, on the streets formed by partially interlocking streets. However, the city of Çankırı has been transformed into a large structure in recent years and the civil structures that have lost their originality in this structure have been destroyed and transformed into a civilian architecture which has been tried to be protected by being registered.

Le développement de l’archéologie du bâti a encouragé les historiens de l’art à s’investir dans les études globales des monuments médiévaux. Les recherches récentes prennent en compte autant les élévations que le décor et sa part ornementale. Celle-ci est souvent dense et diffuse et nécessite donc une approche méthodologique adaptée.La base de données SpatiaLite est un système d’information géographique qui permet de caractériser et situer les informations dans l’espace du monument (et au-delà). À travers l’exemple de l’église abbatiale Saint-Amant de Saint-Amant-de-Boixe (16), les principes de l’outil sont exposés.Plusieurs groupes décoratifs sont identifiés en comparant les thématiques abordées par les motifs, leurs mises en forme et leurs dispositions sur les supports. En associant de nouvelles observations du bâti à l’étude de la répartition des décors dans le bâtiment, la chronologie de l’édifice roman peut alors être précisée. The development of building archaeology has encouraged art historians to invest themselves into a global study of medieval monuments. The recent researches consider both the elevations and the decoration including its ornamental part. This is often dense and diffuse and therefore requires a appropriate methodological approach.The SpatiaLite database is a geographic information system that enables to characterize and locate informations into the monument (and beyond). Through the example of the abbey church Saint-Amant de Saint-Amant-de-Boixe (16), the main functions of the tool are presented.Several decorative groups are identified comparing the topics raised in the patterns, their settings and their arrangement on the surfaces. By associating additional observations of the building to the examination of ornaments distribution in the building, the chronology of the Romanesque church can be specified.

During the long-lasting excavations at Porsuk-Zeyve Höyük paint decorated vessels were found in the Hellenistic layer. The surfaces of these vessels are decorated with various motifs. In this study, Hellenistic vessels with band/spiral, dot and bird decoration motifs, which are also seen on the Iron Age vessels from Porsuk-Zeyve Höyük and were still use in the Hellenistic Period, are discussed. A ceramic furnace was found in the plan square H07 in the Chantier II area in Porsuk-Zeyve Höyük in 2011. This furnace was dated to the Hellenistic Period using finds and the C14 method. Since the ceramic furnace was built on the Late Iron Age layer, it started to be used in the early phase of the Hellenistic Period. It is understood from the finds that the use of the furnace continued until the IInd century BC. It is thought that the paint decorated vessels were produced in this furnace. The locally produced vessels of Porsuk-Zey-ve Höyük were introduced with this study and their relation with Central Anatolian ceramics was examined. Porsuk-Zeyve Höyük’te uzun süredir devam eden kazılarda Hellenistik tabakadan boya bezemeli seramikler ele geçmiştir. Bu seramiklerin yüzeyi çeşitli motiflerle bezenmiştir. Bu çalışmada, Porsuk-Zeyve Höyük Demir Çağı kapları üzerinde rastlanan ve Hellenistik Dönem’de de kullanılmaya devam eden bant/spiral, benek ve kuş bezemeli seramikler üzerinde durulmuştur. Porsuk-Zeyve Höyük’te 2011 yılında Şantiye II alanında H07 plan karesinde, buluntular ve C14 yöntemi ile Hellenistik Dönem’e tarihlenen, seramik fırını tespit edilmiştir. Seramik fırınının Geç Demir Çağı tabakası üzerine inşa edilmesinden dolayı Hellenistik Dönem’in erken evresinden itibaren kullanılmaya başlandığı ve buluntular yardımıyla kullanımının MÖ II. yüzyıla kadar devam ettiği anlaşılmaktadır. Boya bezemeli seramiklerin bu fırında üretildiği düşünülmektedir. Porsuk-Zeyve Höyük yerel üretim seramikleri bu çalışmayla tanıtılmış ve Orta Anadolu seramiği ile ilişkisi irdelenmiştir.

Geçmişi yüzyıllar öncesine dayanan ecdat yadigârı Kat’ı Sanatına Türkçe’de “Kâğıt Oyma”, Arapça’da Kat’ı denilmiştir. Osmanlılar tarafından da bu terim kullanılmıştır. Geleneksel Türk Sanatları içerisinde önemli bir yere sahiptir. Elimize ulaşan kaynaklar ve örnekler incelendiğinde bu sanatın Çin dünyası dışındaki öncülerinin kâğıttan değil deri oymacılığı olarak uygulandığını göstermektedir. Bu bağlamda örnekler ve uygulama üzerinden bu sanatın gelecek nesillere aktarılması için bu sanatın ilk olarak deriden yapıldığına dair kaynak belge oluşturulması ve bu sanatın bu usulde devam ettirilmesi amaçlanmıştır. Yazma eserlerin koruyucusu olduğu gibi bunlara estetik ve güzellik kazandıran ciltler, Kat’ı Sanatı tezyinatları ile yazma eserlerin sanatsal değerini artırmaktadır. Eserler müze kütüphane ve özel koleksiyonların bünyesinde bulunmaktadır. Ecdat yadigari sanatımızı günümüzde bir nebze olsun gösterebilmek amacıyla uygulama, sanatın ilk yapıldığı yıllardaki hali ile anlatılmaya çalışılmıştır. Araştırmada Kat’ı Sanatının Cilt Sanatı üzerine uygulaması ele alınmıştır. Geleneksel Türk Sanatlarının seçkin dallarından birini anlatan araştırmada Cilt Sanatı başlığı altında Cilt Sanatının tanımı, bölümleri ve cilt sanatında kullanılan tezyinat teknikleri ele alınmıştır. Kat’ı Sanatı başlığı altında ise Kat’ı Sanatının tanımı, tarihçesi, çeşitleri ve kullanılan malzemelerine yer verilmiştir. Uygulama kısmında el yapımı klasik cilt üzerine rumi deseni ile deri oyularak uygulama yapılmış ve eser üretilmiştir. The art of Kat’ı (cut-paper or cut-leather work), which is an heirloom from our ancestors, dates back centuries. It was called "Paper Carving" in Turkish and was called Kat'ı in the Arabic language. This term was also used by the Ottomans and this decoration technique has a significant role in the field of Traditional Turkish Arts. When the extant sources and samples are examined thoroughly, it is revealed that the pioneers of this art style outside the Chinese world were not applied as paper carving, but as leather carving. In this context, it is aimed to create a source document and maintain its continuity in order to transfer it to future generations through examples and practices. The book covers, reflecting the aesthetic beauty of the manuscripts as well as being the preserver of them, increase the artistic value of the manuscripts with the Kat'ı Art decorations. Hence, these works are protected in museums, libraries, and private collections. Being one of the most distinguished branches of Traditional Turkish Arts, the art of Kat’ı has almost no publications on its work of Binding (Cover) Art. Thus, in this study, the implementation of Kat'ı Art on Binding (Cover) Art is examined. Under the title of Binding(Cover) Art, the definition of Binding(Cover) Art, its sections, and decoration techniques are explained and under the Kat'ı Art title, the definition of Kat'ı Art, its types, and the materials used are discussed. In the practice part, a piece of artwork with Rumi patterns on classic leather is formed by leather carving.

This paper studies some ceramic lustreware dishes with metallic glaze dating back to the Abbasid era (2-3rd century AH/8-9th AD) and preserved in Rashid archaeological stores. The samples were selected based on the diversity of textual and pictoral decorations including written words, plants, animals and geometric elements. The manufacturing process and mineral and chemical composition of the dishes have been subjected to several examination and analytical methods including stereo microscope, scanning electron microscope (SEM-EDX), X-ray diffraction (XRD), X-ray fluorescence (XRF), Fourier transform infrared (ATR-FTIR) spectroscopy and differential thermal analysis (DTA). The study revealed a heterogeneous distribution of the color grains on the surface of the dishes and nanoparticles of metallic silver/copper ranging between 50-100nm. The metal oxides of the silver nanoparticles appeared in high percentage compared to nano copper particles on the surface of the lustre metallic layer which fact accounts for the greenish brown color of the dishes. While Arabic gum was used for fixing the decorations, the lustre layer was fired at 500°C and the firing of the ceramic body varied between 700°C and 800°C. A treatment and maintenance plan is suggested to preserve the pieces from further damage owing to their high archaeological value.

Un point sur l'histoire et les archives de l'école de la rue Beethoven de l'UCAD.Avant de se dénommer « Ecole supérieure de communication visuelle » (et de disparaître, en 1991), cette école s’est appelée successivement « Cours d’art décoratif » (1897), « Ecole et ateliers d’art du Comité des dames » (1909), « Ecole et atelier d’art pour jeunes filles » (1924) mais on l’appelait alors couramment « Ecole de la rue Beethoven » au 6 de la rue du même nom, puis successivement « Ecole de communication visuelle » (ECV), « Ecole supérieure de communication visuelle » (ESCV), « Ecole Raspail de communication visuelle » et, à nouveau mais brièvement « Ecole supérieure de communication visuelle ». Fermée à la fin des années 1980.&nbsp

Kolođvar je lokalitet koji se nalazi nedaleko od Osijeka. Riječ je o tipičnoj nizinskoj utvrdi koja je izgrađena na prapovijesnom gradinskom uzvišenju. Novija istraživanja lokaliteta započela su 2014. godine te s prekidima traju sve do danas. Cilj je ovoga rada na temelju materijalne kulture s lokaliteta Kolođvar prezentirati sopotsku kulturu te prikazati keramiku i kremeni materijal kako bi se pomoću njih obogatila spoznaja o neolitiku Istočne Slavonije. Keramički nalazi datiraju se u I B i II. fazu, odnosno u vrijeme prijelaza iz 6. u 5. tisućljeće prije Krista. Prema obradi materijala najviše ulomaka keramike pripada zdjelama i loncima, a keramiku možemo podijeliti na ukrašenu i neukrašenu te grubu i finu. Među zanimljivija otkrića ubraja se nalaz sječiva od opsidijana koji nam ukazuje na trgovačke veze tijekom razdoblja neolitika kao i na kontakte s udaljenim područjima. Kolođvar is archaeological site placed near Osijek. It is a typical lowland fort which is buit on the prehistoric hillfort. The most recent site research began in 2014. The main aim of this paper is based on material culture of Kolođvar to present sopot culture and display ceramics and flint material in order to enrich the knowledge about the Neolithic of Eastern Slavonia. Ceramic findings dates in I B and II phase. That is the time of the transition from the 6th to the 5th millennium BC. According to the processing of the material most ceramics belong to bowls and pots and pottery can be divided into coarse and fine and decorated and undecorated. Among the more interesting discoveries is the findings of the blade of obsidian which points to trade links during the neolithic period as well as contacts with remote areas.

Cilt, kitap veya çeşitli mecmuaları muhafaza etmek için genellikle deri kaplı mukavvadan yapılan kaptır. Bu sanatı icra eden sanatkârlara ise mücellit adı verilmektedir. Bu makalenin konusu, Selçuklu mücellidi Mehmet eş-Şerîf’in imzalı ciltleri ve bu ciltlerin tezyînât özellikleridir. Yazma eser kütüphaneleri ve alana dair literatür içerisinde yapılan araştırmalar neticesinde, Mehmed eş-Şerîf imzalı toplam 8 cilt (TSMK III. Ahmed: 465 ve 2334, Yusuf Ağa YEK: 191, Süleymaniye YEK Mahmud Paşa: 237 ve Turhan Valide Sultan: 253, Vahit Paşa YEK: 1169 ve 1175, V&A Museum) tespit edilmiştir. İmza mühürlerine, ciltlerin köşebentlerinde, kapak ortalarında ya da sertâb ve mikleblerinde rastlanmaktadır. Mühür, 5 mm çapında dairevî formda olmakla birlikte mühürdeki Mehmed (Muhammed) ismi, Hz. Peygamber (s.a.v.)’in adına duyulan hürmet sebebiyle istifin üst kısmına yerleştirilmiştir. Alt kısımda ise eş-Şerîf ibaresi vardır. Ciltler incelendiğinde Mehmed eş-Şerîf’in Anadolu Selçuklu ciltlerinin yapım ve tezyînât kurgusunu devam ettirdiği görülmektedir. İstinsâh tarihli iki örnek (654/1256 tarihli TSMK A. 2334 ve 699/1299 tarihli TMSK A. 465) dikkate alındığında Mehmed eş-Şerîf’in en geç 13. yüzyılın ikinci yarısı itibariyle eser üreten bir Selçuklu devri mücellidi olduğu tespit edilmiştir., Bookbinding is a covering, usually made of leather-encased cardboard, for holding book pages or various magazines together, and the person who performs this art is called a bookbinder. The subject of this article involves the bindings bearing the signature of the Seljuk bookbinder Mehmet al-Sharīf and the decorative features of these bindings. As a result of the research made in the manuscript libraries and the literature on this field, a total of eight bindings have been found bearing the signature of Mehmed al-Sharīf (TPML A.465 and 2334, Yusuf Aga ML 191, Sulaymaniyah ML Mahmud Pasha 237 and Turhan Valide Sultan 253, Vahit Pasha ML 1169 and 1175, V&A Museum). Signature seals can be found on the corners of the bindings, in the middle of the covers, on the fore-edge flap, or on the envelope flap. The seals are circular with diameters of 5 mm, and bearing the name of Mehmed (Mohammad) within the seal; they are placed at the top of the text line due to respect for the name of the Prophet Mohammed (pbuh). The lower part of the seal has the phrase “al-Sharīf.” When examining the bindings, Mehmed al-Sharīf is seen to have continued the construction and decorative style of the Anatolian Seljuk binding. When considering the two examples TPML A.2334 (dated 654/1256) and TPML A.465 (dated 699/1299), Mehmed al-Sharīf is identified as having been a Seljuk-period bookbinder who produced works in the second half of the 13th century at the latest.

Colors were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich color schemes manifested power and wealth, some could also read the more nuanced messages these colors conveyed. The main objective of this paper is to discuss the use and role of color in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of color decorations of defensive residences of the Teutonic Order.The discussion takes into account the varying states of preservation and draws from the available written accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data are available, as well as the better-preserved castles of dukes and knights. We discuss the identified iconographic programs and their chivalric, heraldic, and hagiographic motifs. Within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that color was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent messag

The Late Chalcolithic period of the Southern Levant is marked by increased regional behaviour. Despite this, there is an increased production and distribution of finely made basalt vessels. These were frequently adorned with a single row of incised triangles along the rim. This motif is widely distributed throughout the Southern Levant and was formed according to specific morphometric guidelines and standardisation. These include a preference for symmetrical acute triangles filled with hatches. This standardisation attests to a somewhat specialised production and perhaps a shared significance behind the design, tied directly to the value of basalt or the basalt vessels. The triangle design then acts as a commentary on the Chalcolithic socio-economic system. La période du Chalcolithique ancien au Levant Sud est marquée par un plus grand développement régional. En addition à cela, une augmentation de la production et de la distribution de fines vaisselles faites de basalte est attestée. Elles sont souvent décorées avec une rangée de triangles incisés le long du rebord du col. Le motif est largement distribué au Levant Sud et est formé selon des lignes directrices typomorphologiques spécifiques. Ces directives comprennent une préférence pour des triangles aigus symétriques remplies de hachures. Cela peut indiquer que leur production était dictée par des conventions portant une signification sociale pour les communautés chalcolithiques. C’est pourquoi l’utilisation courante de ce motif triangulaire nous porte à croire que les villages chalcolithiques ont partagés un système d’utilisation et de production commun des bols de basalte décorés dépassant les limites régionales.

Il est actuellement admis que Sidi Aïch est de loin le plus important des ateliers de céramique dits « continentaux », tant au niveau de la production et sa diversification qu’au niveau de l’aire de diffusion de ses produits. Nos investigations sur cet atelier, entamées il y a déjà trois décennies, ont abouti, entre autres, à l’édification de typologies et de catalogues propres aux différentes productions, notamment la vaisselle de table, la céramique culinaire, les lampes et la décoration (motifs, styles décoratifs et guillochis). Cette dernière, sujet de la présente communication, quoiqu’elle imite celle des productions « classiques », s’en démarque par un certain nombre de traits distinctifs comme la taille des motifs et leur disposition et l’originalité de quelques styles décoratifs. Ces caractéristiques esthétiques et techniques rendent les produits de cet atelier aisément reconnaissables. Chronologiquement, cette décoration se répand durant la phase de l’apogée de la production située au cours des ive et ve siècles. It is currently accepted that Sidi Aïch is by far the most important of the so-called “continental” ceramic workshops both in terms of production and its diversification and in terms of the area of dissemination of its products. Our investigations on this workshop, which began three decades ago, have resulted, among other things, in the construction of typologies and catalogs specific to the different productions, in particular tableware, culinary ceramics, lamps and decoration (patterns, decorative and guilloche styles). The latter, subject of the present communication, and although it imitates that of “classic” productions, stands out by a certain number of distinctive features such as the size of the patterns and their arrangement and the originality of some decorative styles. These aesthetic and technical characteristics make the products of this workshop easily recognizable. Chronologically, this decoration spread during the peak phase of production in the 4th and 5th centuries. من المسلم به حاليا أن ورشة سيدي عيش هي أهم ورشات الخزف « القارية » سواء من حيث الإنتاج وتنوعه أو من حيث فضاء انتشار منتجاتها. وقد أسفرت تحقيقاتنا عن هذه الورشة، والتي بدأت منذ ثلاثة عقود، عن عدة نتائج من بينها إنشاء تصنيفات وفهارس خاصة بمختلف المنتجات، ولا سيما أواني المائدة، وخزف الطهي، والمصابيح، وأشكال الزينة وأنماطها. إن هذه الاخيرة (أشكال الزينة وأنماطها)، وعلى الرغم من أنها تحاكي الإنتاج « الكلاسيكي »، إلا أنها تتميز عنه بعدة سمات مثل حجم الأشكال وكيفية ترتيبها وأصالة بعض الأنماط الزخرفية. كل هذه الخصائص الجمالية والتقنية تجعل من السهل التعرف على منتجات ورشة سيدي عيش. أما من الناحية الزمنية، فقد انتشرت هذه الأشكال من الزينة خلال مرحلة ذروة الإنتاج في القرنين الرابع والخامس ميلادي.

The styling of cloth and the fine appearance were the points of great interest and significance for women of all times and nations. On the numerous paintings, wall reliefs, sculptures and papyrus vignettes one can on­ly admire the beauty and richness of women’s garments. Every epoch of course had its peculiarities, but the New Kingdom and the Late Period were the times of the most prominent dresses, hairstyles and jewellery. The pieces of art of that period reflect these outstanding garments. Even when a woman is depicted naked (cosmetic spoon, PSMFA Inv. № I.1a 3627), she is clothed with her natural or artificial beauty with tattoo and jewellery. The typical narrow «pencil case» dress was the example of classic style used to depict goddesses and women–priests (statue of Ran–nay, PSMFA Inv. № I.1a2099). Moreover, the anthropoid coffins also could be perceived as beautiful garments in which a woman shall meet the Great God, and are covered with amu­lets as jewellery; her breast is shown, she wears a huge wig, pendants, earrings and rings (coffin of Ius–cankh, PSMFA Inv. № I.1a 6800). The coffin as a body–shell was decorated not only with religious scenes to help her to overcome all the difficulties of the paths of the Netherworld, but it was a self–presentation of richness and beauty of the woman. The depiction of Hathor on the bottom of the coffin of the 21st Dynasty was not only a sign of her coming to the necropolis under protection of the goddess, but it shows the endless beauty, which was the desired dream of any woman: thin figure, rounded shapes, rich garments and young timeless beauty. It demonstrates the ideal for eternal life in the great beyond. The beauty and fine smell made the deceased woman goddess–like in her endless going forth by day.

L’hôtel de Bourvallais, situé aux nos 11 et 13 de la place Vendôme, occupe une place toute particulière dans l’histoire des institutions françaises : depuis 1718, il n’a jamais cessé d’abriter la Chancellerie de France puis le ministère de la Justice et ce, en dépit des révolutions et des coups d’État qui ont marqué l’histoire de France. Exemple remarquable de la pérennité des lieux de pouvoir dans la capitale, l’hôtel du ministère constitue également un patrimoine exceptionnel pour la Justice : à travers le processus de patrimonialisation de l’hôtel de Bourvallais, aujourd’hui classé au titre des Monuments historiques, nous nous proposons donc de revenir sur l’histoire de cet édifice emblématique qui a connu, en trois siècles d’occupation continue, de très nombreuses transformations. Cette approche patrimoniale permettra de mettre en évidence les différents aménagements de l’hôtel, ainsi que ces décors datant principalement du XIXe siècle, et qui constituent de nos jours l’incroyable témoignage de plus de 300 ans de Justice, place Vendôme. The hôtel de Bourvallais, located at n° 11 and 13 place Vendôme, holds a very special place among the French institutions’ history: since 1718, it never ceased to host the French Chancellery, then ministry of Justice, despite the revolutions and overturns that marked French history. Outstanding example of the sustainability of power places in Paris, the ministry hotel also constitutes an exceptional heritage for the Department of Justice. Through the patrimonialization process of the hôtel de Bourvallais, today listed historical monument, we propose to revisit the history of the iconic building which has undergone, during three centuries of continued occupation, many transformations. This heritage approach will also highlight the various hotel facilities and his interior decoration, mostly dating from the nineteenth century, which are nowadays an incredible testament of more than 300 years of Justice in place Vendôme.

[ES] Como forma especial de lenguaje en el arte cerámico, los motivos decorativos son una expresión artística idealizada que responde a las necesidades estéticas de las personas. Por lo tanto, el estudio del diseño de patrones decorativos consiste en comprender mejor sus conceptos, dominar sus técnicas creativas y su capacidad de expresión, seguir las leyes de la belleza formal del diseño artístico y aplicarlas a la pintura y la decoración de cerámica. Se trata, de este modo, de realzar el valor artístico de la obra así como transmitir emociones personales a través de ella, y despertar el aprecio del público. Mediante formas idealizadas y figurativas, las obras de cerámica nos presentan gustos y lenguajes personales, a través de los cuales podemos experimentar el estado de ánimo y los sentimientos del creador. Sólo a través de la comprensión de las distintas categorías de decoración cerámica podemos percibir mejor., [EN] The present investigation, of typology 4, will be developed in the field of the study of ceramic decoration applied to the world of design. Since porcelain is a fundamental part of both the culture of my country of origin and of this Community at whose Polytechnic University I am studying my master's degree, I will carry out a comparative study trying to find the decorative features of porcelain from both places in order to develop, from his knowledge, a possible hybrid decorative line, based on a synthesis between Chinese and Valencian decoration. Given the extent of the field to be dealt with, in order to be more specific in the results, I will narrow down my research somewhat, taking as a reference a leading company in the porcelain sector for each country. Thus, I will focus the study on the Miracle Dynasty company from China, in comparison with the famous Valencian company Lladró. In both cases I will try to provide interviews with those responsible for decoration in order to better establish the background on which I will carry out the practical proposal that will illustrate my work.

Fortunato Depero was a multifaceted artist who investigated most ar tistic and literary disciplines from his Futurist militancy. With the aim of reconstructing the world under the principles of the avant-garde, furniture was one more of his programmes of action that would evolve from furniture and free-standing decorative objects to integral decorative complexes. Start ing from the various stages of the Casa d’Arte Futurista Depero, his applied arts workshop in Rovereto - with episodic branches in Milan, Paris and New York – furniture would become increasingly important through a series of interventions with Trentini craftsmen and companies in which they produced pieces with Futurist and Tyrolean influences. In his last stage, he would turn into one of the pioneers in the use of buxus, an autarchic product for wood decoration, which he would implement in furniture and decorative objects., Fortunato Depero fue un artista polifacético que investigó la mayoría de las disciplinas artísticas y literarias desde su militancia futurista. Con el objetivo de reconstruir el mundo bajo los principios de la vanguardia, el mobiliario supuso uno más de sus programas de actuación que evolucionaría del mueble y los objetos decorativos exentos a complejos decorativos integrales. A partir de las diversas etapas de la Casa d´Arte Futurista Depero, su taller de artes aplicadas en Rovereto –con episódicas sucursales en Milán, París y Nueva York–, el mobiliario iría cobrando más importancia a través de una serie de intervenciones junto a los artesanos y empresas trentinas en los que elaboraron piezas de influencia futurista y tirolesa. En su última etapa se convertiría en uno de los pioneros en la utilización del buxus, un producto autárquico para la decoración en madera, que implementaría en el mobiliario y en los objetos decorativos

Халқ учун товарлар ишлаб чиқаришнинг кенгайтирилиши, улар сифатининг яхшиланиши, барча хизмат турларининг тез ривожланиши аҳоли яшаш даражасининг янги сифатли, анча юқори босқичга кўтаришнинг ўзгармас шарти сифатида қаралади. Атроф муҳитни ифлосланишини олдини олиш мақсадида хом ашёдан унумли фойдаланиш, буюм бичиш вақтида ундан чиқадиган қийқимлардан унумли фойдаланган ҳолда ушбу чиқиндиларни қайта ишлаб турли хилдаги безаклар тайёрлаш орқали янги турдаги кийимлар ассортиментини кенгайтириш ва маҳсулот сифатини яхшилаш кўзда тутилган., Widening of goods production, rapid improvement of their quality, and all kinds of services for the benefit of people is considered to be as a constant condition of increasing living level of population into new quality and stage.According to preserve environmental pollution to take advantage of raw materials, beneficial using of shreds that are left after cutting process of objects within making decorations by reusing those shreds and to widen new kinds of clothes assortment and improvement of goods quality are mentioned in the article.

The Roman cabarets linked to Futurism were meeting places where the programme of the manifesto Ricostruzione futurista dell’universo was applied. Following the experiences of Bragaglia and Marchi at the Circolo delle Cronache d’Attualità and the setting by Giacomo Balla at the Bal Tic Tac, the entrepreneur and poet Gino Gori commissioned Fortunato Depero to decorate the Cabaret del Diavolo. Based on Dante’s Commedia, Depero would create an integral design of three spaces that configured an allegorical inverted reading of the Florentine poet’s journey to the afterworld. Its originality and careful advertising made the cabaret one of the representative spaces of the Roman nightlife which, despite its success, ended up closing in 1925 with the loss of most of its furnishings and decoration. This article reconstructs the Cabaret del Diavolo project based on the surviving set pieces and their graphic testimonies: photographs, sketches, press releases and archive material, vindicating its importance in Fortunato Depero’s career and in the Futurist programmes on theatre, decoration, and scenography., Los cabarés romanos vinculados al futurismo fueron espacios de encuentro en los que se aplicó el programa del manifiesto Ricostruzione futurista dell’universo. Tras las experiencias de Bragaglia y Marchi en el Circolo delle Cronache d’Attualità y la ambientación de Giacomo Balla en el Bal Tic Tac, el empresario y poeta Gino Gori encargó la decoración del Cabaret del Diavolo a Fortunato Depero. Basado en la Commedia dantesca, Depero realizaría un diseño integral de tres espacios que configuraban una alegórica lectura invertida del viaje al ultramundo del poeta florentino. Su originalidad y cuidada publicidad convirtieron al cabaré en uno de los espacios representativos de la noche romana que, pese a su éxito, terminó cerrando en 1925 perdiéndose la mayoría de los elementos de decoración y mobiliario. Este artículo reconstruye el proyecto del Cabaret del Diavolo a partir de las piezas de ambientación que lo sobrevivieron y a sus testimonios gráficos: fotografías, bocetos, notas de prensa y material de archivo reivindicando su importancia en la carrera de Fortunato Depero y en los programas futuristas sobre teatro, decoración y escenografía

Giysi tasarımında uygulanan süsleme tekniklerinden basit nakış teknikleri, giysilerin estetik görünümüne hizmet eden, temeli ilk insanlık tarihi kadar eski olan geleneksel tekniklerdir. Basit nakış teknikleri, giysi tasarımlarında özellikle yaka ve yaka çevresi, kol ağzı, ön ortası, etek ucu gibi alanlara uygulanmaktadır. Farklı tekniklerin birlikte ya da yalnız kullanımıyla sınırsız görünümüm elde edilebildiği bu tekniklerle tasarımcılar, ürünlerini estetik görünüme kavuşturmakta aynı zamanda diğer tasarımlardan farklılaşmasını sağlamaktadırlar. Çağdaş tasarımlarda el emeğine dayanan basit nakış tekniklerinin kullanımı günümüz tasarımcıların tasarımlarına Çalışmanın amacı, giysi tasarımında kullanılan basit nakış teknikleri hakkında bilgi vermek ve bu tekniklerin kullanımı ile oluşturulmuş farklı giysi tasarımları oluşturmaktır. Bu amaç doğrultusunda çalışmada, basit nakış teknikleri ile ilgili bilgileri derleme ve konu ile ilgili örnek çalışma yapabilme olanağı sunan betimsel yöntem tercih edilmiştir. Belirlenen amaç ve yöntem doğrultusunda çalışma kapsamında, süsleme detaylarına ağırlık verilen sekiz adet giysi tasarımı yapılmıştır. Tasarımlarda farklı kumaşlardan üretilen giysilerin süslemesinde, farklı malzemeler, farklı basit nakış teknikleri ile kullanılmıştır. Çalışmada, her giysi tasarımı için bir pafta hazırlanmıştır. Her bir tasarım için hazırlanan pafta içeriğinde giysinin dijital ortamda hazırlanmış illüstrasyon çizimine, teknik çizimine ve motif, desen çizimine yer verilmiştir. Ayrıca desen ayrıntı görselleri ve nihai ürün görsellerinin yer aldığı paftalarda ürünün model ve süsleme özellikleri de açıklanmıştır., Simple embroidery techniques are one of the ornamental methods which serve the aesthetic appearance of clothing and all are traditional applications began its origin as old as human history. They are used in clothing designs especially for the areas such as neck, neck circumference, arm pain, front center, hemline. Designers provide aesthetic impression of their products and at the same time differentiate them from other designs with simple hand embroidery techniques where unlimited appearance can be obtained with the use of different methods employed, either alone or together. Applied simple hand embroidery techniques based on hand work in contemporary designs add cultural values, sustainability and originality into the designs of today's designers. The aim of this study is to provide information about simple embroidery techniques and to create different clothing design with this technique. For this aim, we apply descriptive method in this study which gives chance to unify information from simple embroidery techniques and work with this case. In the context of article aim and method, eight clothing design focusing mostly embroidery details were created. Different materials are applied with various simple hand embroidery techniques in the decoration of clothing made from different fabrics in designs. In this study, technical illustrations are prepared for each clothing designs. These drawings for each designs cover digital, technical, motifs and patterns aspects of the clothes. The model and decoration features of the products are also explained in these illustrations with pattern details and final product images.

From 19th century onwards Ottoman silks produced between the 16th and 17th centuries are collected in European collections mostly French. Those understudied volumes are still raising several questions as well as admiration towards the shades of colors along with the richness of their decoration.Those fabrics underwent new uses in particular among manufacturers as production tools since their listing in some collections. As time went by, at the expense of their design who was once regulated by norms those subsequent uses were enforced by legislation until it became mandatory. Since then, their root intelligibility as a past Ottoman testimony has changed: making it contingent or even null and void.A rebalancing between its statutes equally as Ottoman roots than as Post-Ottoman is essential in order for every function to relate to its rightful place.Thus, a methodology whose main issue is to allow those silks ’’to voice out’’ through their technicality is suggested. Only then will we be able to objectively seize the view on those rich testimonies from the past., À partir du XIXe siècle, des soieries ottomanes, produites entre le XVIe et le XVIIe siècle, entrent dans des collections européennes, notamment françaises. Peu étudiés, ces ouvrages continuent de susciter de nombreuses interrogations, ainsi qu’une admiration portée aussi bien sur les tonalités de leurs coloris que sur la qualité de leur décor.Aussi, dès leur entrée dans certaines collections, ces étoffes ont fait l’objet de nouveaux usages, notamment auprès d’industriels, comme outil de production. Avec le temps, et au dépend de leur conception, qui jadis était régit par une norme, ces usages postérieurs sont devenus peu à peu assujettissants jusqu’à faire force de loi ; dès lors, l’intelligibilité de ces sources, en tant que témoignage d’un passé ottoman s’en trouve modifiée, la rendant contingente voire caduque.Afin de rattacher chacune des fonctions à la place qui lui revient, un rééquilibrage entre les statuts, aussi bien en tant que sources ottomanes, que post-ottomanes demeure nécessaire.C’est pourquoi, une méthodologie est proposée qui consiste à faire « parler » ces soieries à travers leur technicité. Et c’est seulement, que l’on pourra objectivement appréhender le regard à postériori, porté sur ces témoignages aux passés pluriels.

В статье рассмотрены особенности женских накосных украшений тувинцев чавага, боошкун, салбак, а также их функции: практическая, эстетическая, репрезентативная, знаковая. Выявлено культурное смысловое значение женских украшений. Проанализированы три вида женских украшений: незамужней молодой девушки, невесты, замужней невесты. Следует отметить, что в последние годы швеями, дизайнерами проводятся мастер-классы, курсы повышения по изготовлению женских украшений Тувы. В работе разработана и описана технологическая последовательность изготовления накосного украшения ‘салбак’., The article discusses the features of women's braided decorations of the Tuvans chavaga, bootshkun, salbak, as well as their functions: practical, aesthetic, representative, symbolic. The cultural sign-symbolic nature of women's jewelry is revealed. Three types of women's jewelry are analyzed: an unmarried young girl, a bride, a married bride. It should be noted that in recent years, well-known folk craftsmen of Tuva, teachers of educational institutions have been holding master classes, advanced courses in the manufacture of women's jewelry in Tuva. The paper developed and described the technological sequence for the manufacture of the salbak ornament.

The project Super Superficial takes my own practice as its starting point. Being someone who expresses myself through physical objects, working with sustainability is a given for me. Therefore my former mantra, when creating, was to “do as little harm as possible”. But during the master’s programme, I felt the need to rethink this. Where was the joy of creating? Where was the hope? The complexity? All the things I wish to pass on to the people who come in contact with my work. The things I believe we need for real change to happen. I wanted to expand my idea of sustainability to not only be a question of materials, but also to include the emotional impact that my creations can have. To not limit myself to a concept of less is more but instead to add and layer and color! My goal was to realize a visual world that I dream to inhabit. Just as the realm of emotions is often regarded as an unserious subject, the surface on a piece of furniture is seen by many as superficial. But the surface is where we encounter an object, the place where we use our senses, and this meeting point is where my ideas has come to life. Working with color and ornamentation I have reclaimed the surface on the lounge chair as an actualized place of power and change.

Tento příspěvek se zabývá náměty pro rozvoj jemné motoriky u dětí v mateřské škole. Zaměřuje se na důležitost jemné motoriky u dětí, která je nutná pro jejich rozvoj i vstup na základní školu. Uvádí důvody, proč je toto nutné řešit. Cílem článku je představit naší tvorbu, kterou bylo vytvoření několika otestovaných námětů, které se zaměřují na rozvoj jemné motoriky. Při testování nás zajímala souvislost mezi náročností a oblíbeností námětů. Tyto náměty jsme otestovali a následně vznikla malonákladová kniha s náměty, která byla distribuována do některých mateřských škol v Plzeňském kraji. Chtěli jsme tak představit několik zajímavých námětů a činností vhodných do MŠ s rozvojem jemné motoriky ale i v souladu s „Rámcovým vzdělávacím programem pro předškolní vzdělávání“. This paper addresses themes for the development of fine motor skills in children in kindergarten. It focuses on the importance of fine motor skills in children, which is necessary for their development and when starting primary school. It gives reasons why this needs to be addressed. The aim of the paper is to present our work, which was the creation of several tested themes that focus on the development of fine motor skills. The interest was also in the connection between the complexity and popularity of the themes. These themes were tested and a low-volume book with topics was created on this basis, which was distributed to some kindergartens in the Pilsen region. We wanted to present some interesting themes and activities suitable for kindergartens in accordance with the “Framework Education Programme for Preschool Education”.