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Exaggerated ornaments provide opportunities to understand how selection can operate at different levels to shape the evolution of a trait. While these features aid their bearer in attracting mates or fending off competitors, they can also be costly and influenced by the environment and genetic variation. The eyestalks of the stalk-eyed fly, Teleopsis dalmanni, are of interest because eyestalk length is the target of both intra- and intersexual selection and is also reduced by loci on a highly-divergent sex ratio X chromosome (XSR), a meiotic driver accounting for up to 30% of wild X chromosomes. Male stalk-eyed flies fight to control access to females and over food using a combination of low-intensity displays and highintensity physical fights. We staged, filmed, and scored contests between pairs of eyespan-matched males to evaluate whether X chromosome type impacts the behavior and outcome of aggressive interactions. While our results broadly match expectations from previous studies, we found that XSR males used more high-intensity behaviors than males carrying a non-driving, standard X chromosome (XST), particularly when their eyestalks were of similar size or smaller than their opponents. Additionally, we found that when XSR males use high-intensity behaviors, they win more bouts than when they use low-intensity behaviors. Taken together, these results suggest that XSR impacts male aggressive behavior to compensate for the shorter eyestalks of XSR males and may help to explain how this selfish chromosome is maintained. [ABSTRACT FROM AUTHOR]

In Oman, many coastal sites dated to the Neolithic have yielded material culture related to ornament manufacture. These sites are the remnants of fishermen occupations, developing an economy mainly based on maritime and mangrove resources. The Omani islands of Maṣīrah and Al‐Ḥallāniyah are both situated in the Arabian Sea. Today, Maṣīrah is located about 20 km from the continent, while Al‐Ḥallāniyah is part of the Khurīyā Murīyā archipelago off the southern coast of Oman. On Maṣīrah, workshops have been discovered in Neolithic shell middens, revealing the work of stone and Spondylus sp. shells for bead production, using lithic tools. Separated by approximately 400 km from Maṣīrah, Al‐Ḥallāniyah yielded several Neolithic sites with similar evidence for shell bead production. The main lithic tools discovered are micro‐drills, pièces esquillées (splintered pieces) made of local chert, and multitasking tools made of stone, used as anvils, hammerstone and/or polishing stone. Most of the micro‐drills are made from bladelets either with sharped edges or with steep edges and testify to predetermined knapping operations. However, others created on undifferentiated flakes appear to be more opportunistic (or expedient). Micro‐drills of the Maṣīrah and Al‐Ḥallāniyah types seem to be quite new to the Neolithic toolkit of coastal Oman. Pièces esquillées demonstrate the use of bipolar flaking (performed on an anvil) but functional questions remain. These could be cores, but also chisels used between a hammer and a material (shell) placed on an anvil. Stone tools show marks that are characteristic of use as hammers, anvils and as tools used to polish the beads after perforation. [ABSTRACT FROM AUTHOR]

The ornamental repertoire of the fresco decoration program of the Assumption Church in Volotovo is distinguished by its extraordinary richness and diversity. Ornamental friezes with ‘architectural’ antiquicising motifs cover the walls and pillars of the church, in particular curb, bar and console friezes, meanders and geometricized plant forms on wooden ties. All of them are quite traditional for Byzantine painting of the first half of the 14th century when classicizing motifs became popular. However, ornamental compositions at the top of the frescoes, on the window slopes, on the vaults of the choir chambers and on the pre-apse arch, as well as in the altar zone are quite unique for their pronounced oriental flavor. These ornamental compositions look like copies of Golden Horde toreutics. The Mongol conquests contributed to large-scale migration processes and new cultural contacts as well as the emergence of new tastes and fashions. The ethnic composition of the craftsmen working for Mongols was quite diverse, which is evidenced in the forms and ornamentation of their artworks. At the same time in Palaeologan Byzantium we see little interest in orientalizing motifs in the background of traditionally prevailing taste for antiquity. It is remarkable that oriental forms are conspicuously absent from other Novgorod monuments, which are normally classified into the same group as frescoes in Volotovo, namely the Church of the Savior on Ilyina Street and Theodore Stratilates Church. Apparently, the influence of the Golden Horde civilization was so significant, that its ornamental repertoire had a wider circulation, greater accessibility and popularity than we are ready to presume. Орнаментальный репертуар ансамбля росписи храма Успения на Волотовом поле отличался необыкновенным богатством и разнообразием. На стенах и столбах храма были помещены орнаментальные фризы с «архитектурными» мотивами антикизирующего характера. Это были разные варианты поребрика, брусковый и консольный фризы, меандр и геометризованные растительные формы на деревянных связях. Все они вполне традиционны для византийской живописи первой половины XIV в., отличающейся активным интересом к пластическим классицизирующим мотивам. Орнаментальные композиции в верхней части росписи, на откосах окон, на сводах камер на хорах и на своде предалтарной арки, а также в алтарной зоне имели особый характер. Это были вариации на темы восточной орнаментики и почти точные копии с образцов золотоордынской торевтики. Монгольские завоевания способствовали масштабным миграционным процессам, новым культурным контактам, зарождению новых вкусов и моды. Состав работавших у монголов мастеров был интернациональным, что сказывалось в формах и орнаментации их произведений. В Византии в палеологовскую эпоху внимание к ориентализирующим мотивам на фоне преобладающего интереса к античному наследию не было сколь-либо существенным. Они оказались не востребованными и в других новгородских ансамблях, относящихся обычно к той же, что и волотовская роспись, группе памятников-во фресках церквей Спаса на Ильине и Фёдора Стратилата, являясь своего рода загадкой. По-видимому, степень влияния золотоордынской цивилизации была настолько значительной, что орнаментальный репертуар её произведений имел более широкое хождение, большую доступность и популярность, чем мы можем предположить.

Species recognition can be interpreted as the identification of sexual compatibility among individuals, which is related to the assessment of partner quality. This compatibility can be assessed using visual signals of conspecifics such as body coloration. Fiddler crabs constitute a group with a global distribution, comprising over 100 species with diverse colours. They perceive these body colours and use them for intersexual communication, primarily through signalling of the hypertrophied claw of males. However, few species have been investigated regarding the role of body coloration as a species-specific signal, and it remains unknown whether other body regions, such as the carapace, convey information about individual quality or species identity. Hence, this study aimed to examine whether carapace coloration of two sympatric fiddler crab species (Leptuca leptodactyla and Leptuca cumulanta) affects species recognition. To do this, we used individual females of L. leptodactyla that were subjected to a binomial choice of males with claws and carapaces reflecting different colours, simulating conspecifics (L. leptodactyla) or heterospecifics (L. cumulanta). We observed that females were unable to distinguish conspecifics from heterospecifics using only claw colour. On the other hand, we discovered that the white carapace coloration of L. leptodactyla was crucial for females to identify conspecific males. This is the first study to demonstrate that carapace coloration of male fiddler crabs functions in species recognition, reinforcing the idea that body traits beyond sexual ornaments can influence animal communication, affecting species identity and/or mate selection. • We examined whether Leptuca fiddler crabs use male body colour in species recognition. • Females chose males based solely on carapace colour. • Female L. laptodactyla chose L. cumulanta males with white painted carapaces. • Claw colour did not play a crucial role in interspecific recognition. [ABSTRACT FROM AUTHOR]

Copyright of French Journal of British Studies / Revue Française de Civilisation Britannique is the property of Centre de Recherches et d'Etudes en Civilisation Britannique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article continues a series of scientific works aimed at the study of the central mausoleum of the Khan necropolis nearby the village of Lapas in the Astrakhan region. It deals with one of the elements of architectural decoration – a tile-lintel, most often found and having a wide variety of types. The article examines the genesis of this type of tile and the ways of its appearance in the Lower Volga region. A wide range of analogies at the sites of medieval architecture of Central Asia is engaged. The authors made a technological analysis of this group of items, examined in detail all the types of revealed ornaments, and determined a scheme for recording the sizes of the findings. For the first time, a detailed typology has been developed for the tiles-lintels, including all the samples known on the site to date. In addition to architectural and artistic features, tiles-lintels have a chrono-marker function, allowing, together with other information sources, to date the construction time of the mausoleum.

In the XIV–XV centuries decorative art is being revived in Rus, based on pre-Mongol samples. The main support remained Byzantine samples, where lush floral patterns and Arabic calligraphy continued to be used. The masters observed new oriental ornaments from the rich arsenal collected in the Golden Horde. Despite the analogies with oriental ones, Russian ornaments retain their originality and find the closest analogies with each other. Own ornamentation system with new compositions of wicker and spiral ornaments was created. Similarity with the Eastern arabesque arises from the logic of ornamental development, striving for mobility. Russian art independently reacts to phenomena topical to the period. XIV–XV centuries – a period of experiments with various ornaments, some of them were rejected during the consolidation of Russian ornamentalism in the XVI century.

Ganch (fired clay ceramics with gypsum) has long been an integral part of the interior and exterior decoration for appropriate buildings to make them stand out. First of all, these are classy palaces, Buddhist traditional harem-type buildings in Western and Central Asia and other mosques, madrasas, mausoleums and minarets in some Oriental cultures associated with Islam. In particular, in the territories of Khorasan (now a part of modern Uzbekistan, was Iran, referred to as some kingdoms sort of the Bukhara emirate). The goal is to establish the origins of oynavand-o'uma, (stucco network decorations made of alumina with coloured powders and shiny pearl or mirror elements), which are genetically related to monuments in Uzbekistan and Georgia of the 5th/7th-19th centuries. The following methods were used in this study: analysis, generalisation and systematisation. The study highlighted that in the pre-Arabic period of the Iranian-speaking tribes of the Eftalites and Bukharhudates, who were simultaneously influenced by Buddhist and Greco-Byzantine cultures, the phenomenon of a local plastic canon was formed, which laid the foundation for the development of carved alabaster and plaster, which further developed without a figurative component during the Muslim era and spread to Asian lands until the time of the Turkic-Persian Qajar dynasty, reaching not only Uzbekistan and Tajikistan, but also Georgia. The study also discussed the specific features of art education in the context of preserving and developing the cultural heritage of the regions. The findings of this study can be used by specialists in the field of studying the evolution of the plastic canon of monumental and decorative art of certain Eastern countries, experts in the scientific restoration and reconstruction of oriental visions of the synthesis of painting with ganch and mirrors, as well as teachers of the history of oriental culture. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Almaty Technological University is the property of Almaty Technological University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Qur'an is an unparalleled treasure as a linguistic and literary source. One of its literary aspects is the concepts within the Qur'an. Understanding the Qur'an necessitates accurately comprehending the words and expressions used in the verses. This requires identifying the root meaning of these words and the meanings they have acquired over time. This study examines and evaluates the important concept of “zīnat” (ornament/adornment), which adds richness to the Qur'an. The aim of this research is to identify the lexical meanings of the term "zīnat," the meanings it conveys, and its usage in the verses. To access the sources for this study, a review of printed materials was conducted. As the study focuses on the examination of the concept of zīnat in the Qur'an, the lexical meanings of this term were identified first. The primary focus of the study is the analysis of the term “zīnat” and other words used in similar meanings. After identifying the concept, its usage forms in the Qur'an were included. Considering the scope of the study, words related to zīnat in the Qur'an were included. However, not every concept with a semantic relationship to zīnat was included. Therefore, some words with similar meanings that do not appear in the Qur'an were not included in this research. [ABSTRACT FROM AUTHOR]

The Mamluk Turkish State, which ruled in Egypt and Syria between the 13th and 16th centuries, has been the source of works that will ensure that its name will be remembered in every era in terms of glass art. It supported and contributed to the development of the trade and production workshops that existed in the region throughout history and were of great importance. The region had very rich resources in terms of infrastructure and materials, and due to its productivity and material availability, very good quality glass was produced. Known for their robustness and clarity, these glasses became famous for their ornamentation during the Mamlūk period and remained popular and imitated for a long time. In this study, we have tried to describe the development of glass production in the region and the contribution of the Mamluks to this production. In the light of the findings, we have tried to draw a general framework about the decoration and decoration techniques of glassware produced in the region. The technical and ornamental analysis of a Mamluk glass bottle, which has survived intact and is currently exhibited in the Dom Museum in Vienna and stands out with its ornamentation, has been analyzed. Glass art and ornamentation techniques in the Mamluks were evaluated through the glass bottle analyzed as an example [ABSTRACT FROM AUTHOR]

Provisions on spatial planning regulations and building regulations regarding the regulation of the development of local architectural potentials and characteristics. Traditional Balinese architecture is one of the many contributions of Indonesian architecture to the building sector. Bali has a diversity of forms and varieties of traditional architecture. Likewise, East Bali can display Balinese architecture and further enrich traditional architecture in Indonesia. An architectural work consists of various aspects such as mass composition, shape, proportion, scale, ornamentation, and other elements. Ornaments, better known as decoration, are one of the components of architectural work and are commonly used in traditional Balinese architecture. East Bali, part of the Karangasem kingdom (now Karangasem Regency) during the Central Bali era, has preserved several unique architectural masterpieces. The uniqueness of this ancient building in Karangasem is an essential component in developing world tourism and cultural tourism. By conducting field studies and identifying the uniqueness of historical buildings in Karangasem, this paper attempts to identify the unique characteristics of Karangasem architecture. In the future, this uniqueness will become one of the components of tourism attraction. Therefore, it is essential to learn more about the potential and quality of buildings, especially those related to their decoration, so that they can be used as a guide for creating new buildings in the East Bali region, especially Karangasem, as well as as a component of tourism development. [ABSTRACT FROM AUTHOR]

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Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Exaggerated ornaments provide opportunities to understand how selection can operate at different levels to shape the evolution of a trait. While these features aid their bearer in attracting mates or fending off competitors, they can also be costly and influenced by the environment and genetic variation. The eyestalks of the stalk-eyed fly, Teleopsis dalmanni, are of interest because eyestalk length is the target of both intra- and intersexual selection and is also reduced by loci on a highly-divergent sex ratio X chromosome (XSR), a meiotic driver accounting for up to 30% of wild X chromosomes. Male stalk-eyed flies fight to control access to females and over food using a combination of low-intensity displays and high-intensity physical fights. We staged, filmed, and scored contests between pairs of eyespan-matched males to evaluate whether X chromosome type impacts the behavior and outcome of aggressive interactions. While our results broadly match expectations from previous studies, we found that XSR males used more high-intensity behaviors than males carrying a non-driving, standard X chromosome (XST), particularly when their eyestalks were of similar size or smaller than their opponents. Additionally, we found that when XSR males use high-intensity behaviors, they win more bouts than when they use low-intensity behaviors. Taken together, these results suggest that XSR impacts male aggressive behavior to compensate for the shorter eyestalks of XSR males and may help to explain how this selfish chromosome is maintained.

Artificial intelligence tools depend on generating various images on the available datasets, but there is a lot of data that is not completely available, especially images of heritage and archaeological ornament. In this paper, a tool was developed to generate ornament based on the geometric shapes of heritage ornaments. A group of basic geometric shapes was collected. The new ornament are reshaped in three stages, relying on the permutation equation and reshaping of the overlapping sizes of the shapes, In the first stage, the number of layers that make up the ornament is determined. In the second stage, the formation of the ornament is determined through rotation or mirroring. In the final stage, the set of ornaments is generated in the form of an integrated matrix.

Before being denounced as a “crime,” ornamentation held a prominent place within debates that focused more on national identity than aesthetics. The present article revisits the controversy that took place around ornamentation as an expression of the national in the 1870s between the director of the Stroganov School, Victor Butovsky, and the art critic Vladimir Stasov. Shocked by the latter’s thesis, suggesting that Russian peasant embroideries had Asian origins, Butovsky attempted to counter by suddenly attributing considerable importance to Byzantine influence on Russian art, which he had previously denied. Moreover, he invited Eugène Viollet-Le-Duc to join this debate by commissioning a work from him. However, in “L’Art russe” (“Russian Art”), published in Paris in 1877 and translated into Russian in 1879, the famous French architect, in turn, defends the thesis of the Asian origin of Russian ornamentation. But if Butovski still raves about the book, it is because Viollet-Le-Duc asserts that the Russians drew their artistic originality from the most prestigious of the East, India; doing so, he endows the Russians with an Aryan genealogy that allows them to join the great European family. On his part, Stasov, concerned with a scientific approach that has led him to rethink Russia’s relationship with Asia completely, gives a mixed reception to the work, as he perfectly perceives its weaknesses.

В сохраняющих традиционный уклад общинах, как правило сельских, распространено народное художественное творчество, связанное с верованиями и обычаями. Среди различных форм народного, или, как его еще называют, наивного искусства встречается и монументальная живопись, росписи жилища. Развитие этого вида искусства в некоторых местах достигло высокого уровня, и даже сложились характерные стилистические направления. В статье впервые в русскоязычной искусствоведческой литературе представляется сформировавшийся в Индии стиль бангдвари. Бангдвари, традиционная живопись, распространенная среди сельских общин округа Кангра, штат Химачал-Прадеш, является частью повседневных и праздничных ритуалов и продолжает местные художественные традиции. В статье подробно раскрывается технологический процесс создания фресок и демонстрируется высокий художественный вкус народных мастеров. Анализ росписей в виде цветочных орнаментов и композиций выявляет их связь с древнейшими растительными орнаментальными мотивами, которые во многих культурах символизировали образ мирового древа. Анималистический живописный жанр в бангдвари достаточно развит и демонстрирует детализацию и высокую художественную выразительность изображений. Наибольшую ценность представляют выполненные с большим мастерством сюжетные композиции. В них представляются различные события из повседневной жизни, а также из фольклорного и эпического наследия. Обосновывается связь этих композиций со всемирно известной школой индийской миниатюры, получившей название по месту происхождения — школа Кангры. Статья фиксирует технологические, художественные и мировозренческие особенности, характеризующие живую традицию стилистического направления в народном искусстве бангдвари.

This article makes a case for marginalia itself, arguing that precisely the peripheral status of these newly published sketches constitutes their contribution to Kafkan esthetics. Focusing on depictions of horses and riders will provide a fuller picture of the interpretative ambiguity of Kafka's art, revealing an esthetic that is at moments more ornamental than representational. What Judith Butler identifies as a desire to disappear into pure line tends toward abstraction and estheticism: the fleeting edges of the artwork redescribe the outlines of what it means to constitute a corpus in the first place. [ABSTRACT FROM AUTHOR]

This case study of the Dionysus ornament illustrates how the 1623 Shakespearean folio carries with it echoes of previous folio works as it reinterprets this image within its own context. The paper establishes the other Jaggard Press titles in which the headpiece appears to explore how these different contexts draw out the image's semiotic potential. It notes an extreme uptick in use in Crooke's Mikrokosmographia, an anatomical work in which urination and ejaculation feature prominently. Operating in tandem with the 1623 prefatory materials, the headpiece participates in the visual organisational logic of the Folio, structures the Folio's establishment of generic variety, and introduces the volume-wide rhetorical strategy of reading Englishness within a global context. The woodcut's synchronously urinating dogs also suggest a commentary on the communal bodily experience of live theatre. Having noted ways early modern printed folio projects can be mutually citational through ornaments, the paper discusses how the Shakespearean volume positions itself within the English inflection of classical single-author collected drama through the associations with Dionysus, patron god of drama, and Ben Jonson's 1616 Workes. The conclusion considers the Second Folio's adoption of the headpiece as part of the 1623 Folio's iconic look. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This note refutes a recent proposal that κόσμος in the phrase τὰ στοιχεῖα τοῦ κόσμου ("the elemental constituents/principles/spirits of the world") in Gal 4:3 is a reference to the foreskin. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article shows how some of the limned letters exchanged between the British court and “Eastern princes” throughout the early modern period may be considered as diplomatic gifts and counter-gifts, by looking into their careful manufacture, the ceremonials around them and their political purpose. The first part of the article is devoted to the advent of this richly ornamented correspondence in Elizabethan England before its perpetuation and near-codification under the reign of James I. The second part of the article proposes a material and visual analysis of these letters in terms of both creation and reception, in order to compare them with other diplomatic gifts. Finally, the article looks at some of the limners responsible for decorating these letters, as well as the techniques they used, the better to understand how the curious art of limning lent itself particularly well to this intense international conversation and exchange of gifts and counter-gifts in epistolary form.

Gorga is a carving or sculpture typically found on the exterior of a Toba Batak traditional house. The Batak people use fractal (geometric) dimensions in Batak gorga carvings. In mathematics, repetitive and symmetrical patterns in planes that result from transformations are included in the plane symmetry groups. Ethnomathematics is a cultural approach to the concept of mathematics. A frieze group can be defined as a symmetrical group which arises from a unidirectional translation and subsequently generates a linear pattern that recurs exclusively in a single direction. There are seven different pattern types in the frieze groups. Meanwhile, crystallographic patterns are flat two-dimensional patterns that form a lattice. There are 17 crystallographic types of patterns with five different types of unit lattices. The purpose of this study is to generate motifs for Batak ornaments based on frieze groups and crystallographic groups using a Matlab Graphical User Interface (GUI). A total of 119 new motifs were generated based on seven types of patterns in the frieze groups, namely, F1,F2,F3,F4,F5,F6, and F7. Meanwhile, in the crystallographic groups, 153 new motifs were generated based on nine types of patterns, namely, p1,p2,pm,pg,cm,pmg,pmm,cmm, and pgg. To keep with trends, the new motifs generated can be used in everyday life as decorations or business symbols that are characteristic of the Toba Batak region.

The historical architecture of Huaxi Ba is one of the representative buildings in Chinese church universities, the uniqueness of it being the decoration. The study selects twelve existing buildings in order to collect and classify the image data of the roof decorations through numbering and statistics. This paper is not only to summarize the unique expressions, but also to do further research on the historic reasons and the design ideas. The tentative design on decorations can be regarded as an occasional event as well as an inevitable tendency of culture fusion and as a reference for decorative and architectural design.

This paper reports on the results of the analysis of the form and ornamentation of the pottery vessels of the Late Bronze Age Alakul Culture from the burial mounds 1 and 14 of the Alakul burial ground (the Trans-Urals). The study was carried out within the framework of the historical-cultural approach developed by A.A. Bobrinsky. The work is aimed at the identification of pottery-making traditions of creating the form and ornamentation of pottery vessels amongst the population who built the burial mounds 1 and 14. In the result of the analysis, there has been identified the cultural core of the traditions of the form-making of the pottery vessels in the population who built the burial mounds 1 and 14. The vessels are primarily of medium proportions and quinquepartite structure — ‘lip + neck + brachium + body + base’. Also, the dominant parameters of the functional parts appeared to be similar amongst the vessels from the different burial mounds. These data indicate relatively high uniformity of the composition of the consumers of the ware. The study of the ornamentation revealed that smooth stamp, which was used in the techniques of stamping and drawing, served as a traditional tool for the application of ornament. Toothed stamp was less frequently used in the techniques of stamping and drawing. The main ornamental elements were a ‘short straight line’ and a ‘long straight line’. Twenty two ornamental patterns have been identified; the widespread ones were the ‘horizontal zigzag, ‘horizontal straight line’, ‘cross-hatched isosceles triangle with point upwards’, and ‘cross-hatched isosceles triangle with point downwards’. Most of the identified leading and infrequent ornamental patterns functioned as a main motif. In the complementary motif, the widespread one was the pattern ‘horizontal straight line’. In the composition of the ornament, traditional was the placement of the ornamental motifs in the upper part of the neck and on the upper and lower parts of the body, with the allocation of a “free band” in the lower part of the neck and brachium. In the result of the correlation of the obtained data on the pottery vessels from the burial mounds 1 and 14, certain dissimilarities have been noted. In the burial mound 14, a large quantity of the vessels have a relatively higher neck; the vessels with the lowest index of the proportionality and the slope angle of the body are also present; in the ornamentation, toothed stamp was employed more frequently in the technique of drawing, which was used to apply only ‘horizontal zigzag’ and ‘horizontal straight lines’ patterns. The correlation of the data on the form and ornamentation of the vessels for the burial mounds 1 and 14 revealed that toothed stamp in the technique of drawing was used to apply ornaments mainly to the vessels with lower indices of proportionality and angel of the body. A hypothesis has been put forward on the increasing complexity of the composition of the studied group of the Alakul Culture population during the period of construction of the burial mound 14, which may explain the noted nonuniformity of the pottery-making skills.

The article is devoted to identifying the origins and regional features of the technology of high-relief coinage in the Kazan-Tatar jewelry tradition. The main source was the electronic database of Tatar jewelry from museum collections, collected within the framework of the academic project “Jewelry of the Turkic peoples of Eurasia: general and special” (Russian Foundation for Basic Research 2013–2014, No. 13-06-97056). The research was based on a systematic technical and stylistic analysis of traditional jewelry and a detailed synchronous-diachronic examination of Bulgar-Golden Horde and Tatar products with three-dimensional images. Reconstruction of technological techniques related to this type of artistic metal processing made it possible to identify specific features of the formation of decor. The manual method of obtaining a unique relief using punches with a figured striker predominated. The decorations are characterized by the following: two or three-level bas-relief, the absence of a “locking” profile, the principle of “compositing” that underlies the conventionally interpreted floral and plant motifs, geometric orderliness, subject to the laws of the central-radial composition. The completed form of the decoration corresponds to the typical features of “notch chasing”, which is a marker of the Tatar craft tradition: smooth relief and “grain” background. An integrated approach allowed us to conclude that the origins of the existing artistic and figurative system can be traced in artifacts of the Bulgarian and Golden Horde silver of the 11th–14th centuries, made by embossing, stamping, and punching on a matrix. The formation of technological features was influenced by the traditions of high-relief coinage, which received regional development among Kazan silversmiths in the 17th–18th centuries. The specifics of Tatar relief coinage as a whole were formed in the context of Islamic art.

Tarihin akışını yakından takip etmemizi sağlayan, bir halkın veya medeniyetin karakterini yansıtan vazgeçilmez değerlerden biri süsleme geleneğidir. Süslemede motif, kalıp ve üslupları bilmek, süslemenin işlevsel formlarla ilişkisini anlamak önemlidir. Süslemeyi oluşturan öğelerin tasarımda doğru bir şekilde organize edilmesi gerekmektedir. Süslemeyi anlamanın en iyi yolu her ayrıntıyı önce tek başına, sonra bütünle ilişkili olarak analiz etmektir. Süsleme geleneği içinde belki de en az karşılaşılan ve anlaşılan sınıflandırma tasarım tipolojisi ile ilgilidir. Selçuklu seramik sanatı form ve süsleme alanlarında geçirdiği evreler ile seramik sanatı adına önemli bir konuma sahiptir. Her ne kadar önemi günümüzde farklı disiplinlerde araştırmacıların konusu olmuş ve vurgulanmış olsa da bu dönemin seramikleri detaylı bir değerlendirme ve inceleme sürecinden uzak kalmış ve hak ettiği değeri bulamamıştır. Çalışmanın amacı, Selçuklu açık formlu seramikleri üzerindeki süsleme tasarımlarını tipolojik olarak sınıflandırarak bu önemli sanatsal geleneğin daha iyi anlaşılmasına katkıda bulunmak olmuştur.

The historical and architectural complex of Shah Fazil is one of the holiest places for Muslims and a historical monument, and the relevance of its study is related to its religious, historical and cultural importance. The purpose of the study is to investigate the establishment of the Shah Fazil architectural complex and determine the connection between the legends about the foundation of the Shah Fazil mausoleum during the Arab conquest of Ferghana and real historical facts. The study used general scientific methods of analysis and synthesis, comparison, as well as historical-critical, comparative and dialectical methods. As a result, it was established that the Shah Fazil architectural complex is a unique object of cultural heritage. It includes several architectural monuments, the most significant of which is the 11th century mausoleum. Of particular value is the interior of the mausoleum, decorated with carved carvings and religious inscriptions. According to legend, the founder of the complex, the great-grandson of the prophet Muhammed, Shah Fazil, who conquered the Ferghana Valley in the 7th century, is buried in the mausoleum. Here, according to legend, is the burial place of 2,700 Arab soldiers, companions of Shah Jarir, father of Shah Fazil, who died at the hands of local pagans. The soldiers were buried by the maid Safid-Bulan, after whom the village where the complex is located is named. The figures appearing in the legend of the individual are the fruit of folklore, but the story itself has a historical basis and serves as an echo of real events that took place at the beginning of the conquest of the Ferghana Valley by the Arabs. The practical value of the study is determined by the fact that its materials can be used in further research of the historical and architectural complex of Shah Fazil, and is also a source for the use of elements of ancient architecture in the design of modern buildings

The article is devoted to the historiography of the study of Tatar people’s embroidery. The paper addresses the main directions in which the research was carried out; the characteristics of academic and popular-science works are given. It was discovered that the first publications about Tatar embroidery date back to the late 19th century. The subject has been developed up to the present. The history of the emergence of different types of Tatar embroidery, as suggested by scholars, and the depth of research have been analyzed. The conducted study provided an opportunity to systematise the corpus of various sources. The specific feature of the first publications about Tatar embroidery is a particular interest exclusively in handicraft products, which represents the most striking examples of folk art of that time. Later, the focus of scientific interest shifted to the classic samples of Kazan-Tatar embroidery. Starting from the expeditionary trips of the 1970–1980’s of the ethnographers from the Language of Literature and History Institute of the USSR Academy of Sciences Kazan Branch, as part of the scientific project “Historical and Ethnographic Atlas of the Tatar People,” materials were collected from major museums of the country, Tatar settlements in the Volga-Ural Region and from other regions of compact residence of an ethnic community. This research area has led to the problematisation of the issue of the diversity in areal technologies of Tatar embroidery. Authors addressed it when studying a certain type of embroidery and its origins, starting from the Middle Ages. Other researchers tried to identify sub-ethnic, sub-confessional features of Tatar embroidery, the influence of other peoples on its development. In the absence of a full-fledged study on Tatar embroidery, it is necessary to take into account the accumulated experience reflected in the publications of various authors – articles, sections of books, and albums.

Copyright of Journal of Art History / Sanat Tarihi Yıllığı is the property of Journal of Art History / Sanat Tahiri Tilligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research explores the concept of geometry in the architectural symmetry of Toba Batak traditional houses. The main focus is on the symmetry patterns that exist in the layout, decoration and structural elements of this traditional house. This research aims to investigate the concept of geometric symmetry in Toba Batak traditional houses, with a focus on cultural values, philosophy and visual harmony reflected in architectural design. Data was obtained through literature studies which included scientific journals, books, articles and previous research. The results of this research not only provide a deeper understanding of Indonesia's rich culture, but also have the potential to contribute to the preservation of Toba Batak traditional houses and cultural heritage as a whole. By understanding the role of geometric symmetry in this traditional house, this article opens insight into how this element is an integral part of the architectural heritage of the Toba Batak tribe, explores deeper cultural values, and introduces new literature in the context of traditional Indonesian architecture. [ABSTRACT FROM AUTHOR]

Human beings have used various symbols in order to define their emotions, opinions or an object. Symbols, which are preferred to reflect different cultures and purposes in every period, constitute an important place in world art. The symbols used sometimes represent beliefs, sometimes power or elements attributed to sacredness. In this direction, states that have existed in the historical process have created symbols specific to themselves, as well as common symbols have been adopted for world art. The tree of life is undoubtedly one of the most common symbols in world art. Although there are different variations, it appears as a common ornament. A similar issue shows itself in motifs such as the lion, eagle and dragon, which are symbols of power, and these motifs may also vary from culture to culture in terms of processing. Apart from the symbols mentioned above, the "Flower of Life" is one of the symbols found in Asia, Africa and Europe, which cannot be changed in terms of its presentation, presentation and processing. Geometric fiction, which symbolises the universe and infinity, perfection and creation, is one of the common motifs of the world. The meaning of the "flower of life" motif, which is called with different names such as rosette, flower, rosebezek, star in Turkish-Islamic Art decoration, its emergence, the civilisations in which it is seen, and how it is reflected and processed in Ottoman architecture will be tried to be illuminated. [ABSTRACT FROM AUTHOR]

Copyright of Erdem is the property of Ataturk Kultur Merkezi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Riwayat: Educational Journal of History & Humanities is the property of Riwayat: Educational Journal of History & Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)