In architecture and decorative arts, ornaments are ornaments that are used to embellish parts of buildings or objects. Large figurative elements such as monumental sculptures and their equivalents in decorative arts are excluded from the term; most ornaments do not include human figures, and if any, they are small compared to the overall scale. Architectural ornaments can be carved from stone, wood or precious metal, formed with plaster or clay, or painted or impressed on the surface as applied ornaments ; in other applied arts the main ingredients of the object, or as distinct as vitreous paints or enamels can be used.
Various styles and decorative motifs have been developed for architecture and applied art, including pottery, furniture, metal. In textiles, wallpapers and other objects where decoration may be the ultimate justification for its existence, the term pattern or design is more likely to be used. Various motifs are used in interesting ornaments of geometric shapes and patterns, plants, and human and animal figures. Across Eurasia and the Mediterranean world there has been a rich and related vegetable ornament tradition for over three thousand years; Traditional ornaments from other parts of the world are usually more dependent on geometric and animal motifs.
In the 1941 essay, architectural historian Sir John Summerson called it "surface modulation". Early ornaments and ornaments often survive prehistoric cultures with simple markings on pottery, where decorations on other materials (including tattoos) have been lost. Where the pottery wheel is used, technology makes some type of decoration very easy; Weave is another technology that is also very easy to decorate or pattern, and to some extent determine its shape. Ornaments have been proven in civilization since the beginning of recorded history, ranging from Ancient Egyptian architecture to the lack of ornament architecture Modernist 20th century.
Ornaments imply that decorated objects have functions that are equivalent to unequal values ​​may also be met. Where the object does not have such a function, but only exists to be a work of art such as a sculpture or painting, this term is less likely to be used, except for the peripheral elements. In the last few centuries, the distinction between fine art and applied or decorative art has been applied (except for architecture), with ornaments primarily seen as a feature of the last class.
Video Ornament (art)
Histori
The history of art in many cultures shows a series of wavelike trends in which the level of ornament used increases during a certain period, before the sharp reaction returns to a brighter shape, after which the ornament gradually increases again. This pattern is particularly evident in post-Roman European art, where the highly-embellished Insular art of the Book of Kells and other manuscripts influences the European continent, but classically inspired classical and Otterian classical Carolingian art largely replaces it. Ornaments increased during the Romantic and Gothic period, but greatly diminished in the early Renaissance style, again under classical influences. Another period of improvement, in Northern Mannerism, Baroque and Rococo, examined by Neoclassicism and the Romantic period, before proceeding in the art of Victorian decorations of the later nineteenth century and the equivalent of their continent, to be reduced convincingly by the Art and Craft movement and later Modernism.
A detailed study of Eurasian ornamental forms was initiated by Alois Riegl in his formalist study of Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik ( The style problem: the basis for ornamental history ) 1893, which in the process developed an influential concept from Kunstwollen . Riegl tracks the formalistic developments and developments in the form of ornamental plants from Ancient Egyptian art and other ancient Near Eastern civilizations through the classical world to Arab Islamic art. While the Kunstwollen concept has few followers today, the basic analysis of form development has been confirmed and refined by the broader corpus of the current known instance. Jessica Rawson recently expanded the analysis to cover Chinese art, which Riegl did not cover, traced many elements of Chinese decoration back to the same tradition; shared backgrounds helped to make the assimilation of Chinese motifs into Persian art after a harmonious and productive Mongol invasion.
Ornamentation styles can be studied in reference to certain cultures that develop unique decorating shapes, or modified ornaments from other cultures. Ancient Egyptian culture is arguably the first civilization to add pure decor to their buildings. Their ornaments take the forms of the natural world in that climate, decorating the capital with columns and walls with pictures of papyrus and palm trees. Assyrian culture produces ornaments that show the influence of Egyptian sources and a number of original themes, including plant and animal figures in the region.
Ancient Greek civilization created many new ornamental shapes, with regional variations of the Doric, Ionic, and Corinthian groups. The Romans made pure forms of Greek ornaments and adapted their forms for each purpose.
Maps Ornament (art)
Ornament and pattern book
Some medieval record books survive, most famous of the Villard de Honnecourt (13th century) which shows how artists and craftsmen record the designs they see for future use. With the presence of printed molding molds being an important part of the output of the print makers, especially in Germany, and playing an important role in the rapid diffusion of new Renaissance styles for the makers of all kinds of objects. As well as the revived classic ornaments, both the architecture and the strange style that comes from the Roman interior decoration, this includes new styles such as moresque, European adaptations of arabesque Islam (differences not always clear at the time).
When printing becomes cheaper, single ornamentation changes into sets, and finally books. From the 16th century to the 19th century, pattern books were published in Europe that provided access to decorative elements, eventually including those recorded from cultures around the world. Andrea Palladio I quattro libri dell'architettura (Venice Book of Architecture) (Venice, 1570), which includes pictures of classic Roman buildings and rendering of Palladio's own design using those motifs, became the most influential book ever written on architecture. Napoleon has a pyramid and large Egyptian temples documented in Description de l'Egypte (1809) . Owen Jones published The Grammar of Ornament in 1856 with colorful decorative illustrations from Egypt, Turkey, Sicily and Spain. He took up residence at the Alhambra Palace to make drawings and cast plaster from the details of Islamic ornamentation there, including arabesque, calligraphy, and geometric patterns. Interest in classical architecture is also driven by the tradition of traveling on The Grand Tour, and with early literary translations of architecture in works by Vitruvius and Michelangelo.
During the 19th century, the use of acceptable ornaments, and precise definitions became the source of aesthetic controversy in academic Western architecture, as architects and their critics sought an appropriate style. "The good question is," Thomas Leverton Donaldson asked in 1847, "do we have our period architecture, different styles, individuals, palpable from the 19th century?". In 1849, when Matthew Digby Wyatt looked at the French Industrial Exhibition established at the Champs-Elysà © Å © es in Paris, he disapproved of the modern term of plaster ornaments in faux-bronze and faux woodgrain:
Both internally and externally there are many tasteless and unfavorable ornaments... If every simple material has been allowed to tell its own story, and the lines of construction are arranged in such a way as to push into the sentiments of greatness, the qualities of "Power" and " the truth, "which so far surely has to be ensured, could hardly arouse awe, and that at enormous cost savings.
Contact with other cultures through colonialism and new discoveries of archeology extends the treasury of ornaments available to the revivalists. After about 1880, photography made ornament detail even more available than the prints that have been done.
Modern decoration
Modern factory ornaments made of wood, plastic, composite, etc. They come in different colors and shapes. Modern architecture, understood as the removal of ornaments in favor of purely functional structures, leaves architectural problems with how to decorate modern structures appropriately. There are two routes available from this perceived crisis. One of them is trying to design a new and basically contemporary vocabulary. This is a route taken by architects like Louis Sullivan and his disciples, Frank Lloyd Wright, or by unique Antoni Gauda. Art Nouveau, for all its excesses, is a conscious effort to develop such "natural" vocabulary.
More radical routes leave the use of ornaments altogether, as in some designs for objects by Christopher Dresser. At that time, such unnamed objects could be found in many items of daily work of industrial design, ceramics manufactured in a Saudi factory in Finland, for example, or glass electrical insulators.
This last approach was described by architect Adolf Loos in the 1908 manifesto, translated into English in 1913 and entitled Polemic Ornaments and Crimes, where he stated that lack of decoration is a sign of an advanced society. The argument is that ornaments are economically inefficient and "morally degenerate," and that reducing ornaments is a sign of progress. The modernists are eager to appoint American architect Louis Sullivan, as their godfather in aesthetic simplicity, ignoring the intricate ornamental knots that articulate the skin of its structure.
With the work of Le Corbusier and Bauhaus during the 1920s and 1930s, the lack of decorative detail became the hallmark of modern architecture and equated with the moral values ​​of honesty, simplicity, and purity. In 1932 Philip Johnson and Henry-Russell Hitchcock dub this as "International Style". What started out as a matter of taste was transformed into an aesthetic mandate. The modernists state their path as the only acceptable way to build. When that style struck her step in the highly developed postwar work of Mies van der Rohe, the 1950s principle of modernism became so tight that even capable architects like Edward Durrell Stone and Eero Saarinen could be ridiculed and effectively ostracized for abandoning the aesthetic rules.
At the same time, the unwritten laws on ornaments start to become serious questions. "Architecture, with some difficulties, freed itself from ornaments, but it did not free itself from the fear of decoration," John Summerson observed in 1941.
The difference between ornaments and structures is very subtle and may be arbitrary. The pointy arch and the disgusting support of Gothic architecture are ornamental but structurally necessary; colorful rhythmic bands of skyscrapers Pietro Belluschi International Style is integral, not applied, but certainly has ornamental effects. Furthermore, architectural ornaments can serve the practical purpose of assigning scale, hinting entries, and helping to find direction, and useful design tactics have been banned. And in the mid-1950s, the modernist Le Corbusier and Marcel Breuer had broken their own rules by producing highly expressive concrete works.
The argument against ornament culminated in 1959 on the discussion of the Seagram Building, in which Mies van der Rohe installed a unnecessarily structurally unnecessary vertical block set outside the building, and in 1984, when Philip Johnson produced the AT & P Building in Manhattan with the interior neo-Georgia pink ornamental granite, the argument is effectively over. In retrospect, critics have seen the AT & T Building as the first Postmodernist building.
See also
- Bronze and brass decoration work
Note
kompendium abad ke-19 dari ornamen
- Dolmetsch, Heinrich (1898). The Treasury dari Ornamen (s: de: Heinrich Dolmetsch)
- Owen Jones (1856) The Grammar of Ornament .
- Meyer, Franz Sales, (1898), Buku Pegangan Ornamen
- Speltz, Alexander (1915). The berwarna Ornamen dari All Styles Sejarah
Referensi
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Lewis, Philippa; G. Darley (1986). Kamus Hiasan . New York: Pantheon. ISBNÂ 0-394-50931-5 - Rawson, Jessica, Ornamen Cina: Teratai dan naga , 1984, British Museum Publications, ISBN 0-7141-1431-6
- Tabbaa, Yasser, Transformasi seni Islami selama kebangkitan Sunni , IBTauris, 2002, ISBNÂ 1-85043-392-5, ISBNÂ 978-1-85043-392-7, google buku
- James Trilling Bahasa Ornamen
Source of the article : Wikipedia
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