State budget educational institution
initial vocational education
professional lyceum № 24, Sibay
Methodological development of a lesson in the discipline
"Fundamentals of composition and color science"
on the topic: « Ornament. Types of ornaments»
Developed by: master of p / o I qualification category
G.K. Zainulina
EXPLANATORY NOTE
Modern world culture is the owner of a huge heritage in the field of all types of fine arts. Studying the greatest monuments of architecture, painting, sculpture and decorative and applied art, one more area of artistic creativity cannot be ignored. It's about decoration. Using the role of one or another object, an ornament (lat. Ornamentum - decoration) cannot exist separately outside a certain work of art, it has applied functions. The work of art is the object itself, decorated with an ornament.
Upon careful study of the role and function of the ornament, it becomes obvious that its significance in the system of expressive means of a work of art is much greater than the decorative function, and is not limited to only one applied character. Unlike color, texture, plasticity, which cannot exist outside a certain object without losing its imagery, an ornament can retain it even in fragments or when redrawing. In addition, stability is inherent in a number of ornamental motifs, allowing a certain motif to be used over a long period of time and on various objects, in different materials, without depriving it of the logic of its ornamental form.
Ornament is part of the material culture of society. A careful study and development of the richest heritage of this component of world artistic culture contributes to the education of artistic taste, the formation of ideas in the field of cultural history, makes it more significant inner world. Creative development of decorative and ornamental art of previous eras enriches the practice of contemporary artists and architects.
Lesson topic. Ornament. Types of ornaments.
Lesson goals. 1. Familiarization of students with the ornament, with its types. Tell
about the structure of ornaments, about the diversity and unity of ornaments
tal motives of countries and peoples.
2. Formation of skills and knowledge. Develop the ability to analyze
to establish, establish connections and relationships. Develop skills
plan their activities, the memory of students.
3. Cultivate friendliness, friendliness. Generate messages
strength, responsibility and determination.
Lesson type. Lesson of communication of new material.
Educational and methodological support and TCO. Textbook by N.M. Sokolnikov “Fine Arts”, “Fundamentals of Composition”, illustrations, reproductions of great artists.
During the classes
1. Organizational moment.
a) checking the attendance of students according to the journal;
b) appearance check;
c) checking the availability of educational supplies.
2. Checking homework.
Front poll:
a) What is coloristics (color science)?
b) Tell us about the history of the development of color science.
c) What contribution did Leonardo da Vinci make to the history of the development of color?
d) Tell us about the idea of Leonardo da Vinci's six-color color scheme.
e) What contribution to the history of the development of color science was made by Newton, Roger de Piles, M.V. Lomonosov and Runge?
3. Communication of new material.
An ornament is a pattern built on rhythmic alternation and an organized arrangement of elements.
The term "ornament" is related to the word "decoration". Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic and combined.
Rhythm in an ornament is the alternation of pattern elements in a certain sequence.
The pattern can be flat and voluminous. A flat pattern is created by completely or partially superimposing one form on another by interpenetrating these figures.
A flat pattern can be repeated many times. This repetition is called motive, or rapport.
Of the ornaments, the most common are ribbon, mesh and compositionally closed.
A ribbon (strip) ornament is built from identical, repeating or alternating elements arranged along a curved or straight line.
Repeating elements of the same size create monotony and monotony of the rhythm, alternating elements give rise to a more “lively” composition with a growing and undulating rhythm.
Alternating or repeating elements can be different in size, that is, they are built on the contrast of shapes (large, medium, small) with their different movements. Contrast helps to reveal the figurative characteristics of the forms used.
Contrast can also manifest itself in the distribution of black and white spots of tone, when some spots are enhanced and others are weakened.
Of great importance is the principle of light contrast, which is expressed in the fact that any color darkens on light, and brightens on dark. This phenomenon applies to varying degrees to both achromatic (black and white) and chromatic colors.
The ribbon ornament can be in the form of a horizontal, vertical or inclined strip. Such an ornament is characterized by openness, that is, the importance of its continuation. Let us follow successively how a strip ornament is built, located vertically, horizontally or in the form of an inclined strip. We draw a strip for the ornament required in width, breaking it into squares, rectangles, respectively, and draw axes of symmetry in them. Then pre-stylized forms, taken, for example, from sketches of plants, are placed on a plane, building alternating elements of the ornament.
After that, we look at whether we are satisfied with what happened. If not, we add smaller or medium-sized forms (according to the principle of the three-component nature of these forms).
Completing the composition, you need to determine where the darkest and lightest spots will be, how they will be repeated on the plane, where the gray spots will be located and what they will complement - dark or light elements of the ornament.
At the heart of the mesh ornament is a cell with an ornamental motif inscribed in it - rapport. Cell size may vary.
Mesh ornament is typical for fabrics to a greater extent. A cell can be repeated multiple times. The mesh ornament is built similarly to the strip ornament. The main task in its construction is to correctly plot the axes of symmetry.
Symmetry in art is the exact regularity of the arrangement of objects or parts of an artistic whole.
Origin History
Ornament(Latin ornemantum - decoration) - a pattern based on the repetition and alternation of its constituent elements; intended for decoration various items. Ornament is one of the oldest types of human pictorial activity, which in the distant past carried a symbolic and magical meaning, symbolism. In those days, when a person switched to a settled way of life and began to make tools and household items. The desire to decorate your home is characteristic of a person of any era. And yet, in ancient applied art, the magical element prevailed over the aesthetic, acting as a talisman against the elements and evil forces. Apparently, the very first ornament adorned a vessel molded of clay, when the invention of the potter's wheel was still far away. And such an ornament consisted of a series of simple indentations made on the neck with a finger approximately at an equal distance from each other .. naturally, these indentations could not make the vessel more convenient to use. However, they made it more interesting (pleased the eye) and, most importantly, "protected" from the penetration of evil spirits through the neck. The same applies to the decoration of clothes. Magic signs on it protected the human body from evil forces. Therefore, it is not surprising that spell patterns were placed on the collar, sleeves, and hem. The emergence of the ornament goes back centuries and, for the first time, its traces were captured in the Paleolithic era (15-10 thousand years BC). In the Neolithic culture, the ornament has already reached a wide variety of forms and began to dominate. Over time, the ornament loses its dominant position and cognitive significance, retaining, however, an important streamlining and decorating role in the system of plastic art. Each era, style, consistently emerging national culture worked out its own system; therefore, the ornament is a reliable sign of the belonging of works to a certain time, people, country. The purpose of the ornament was determined - to decorate. Ornament reaches a special development where conditional forms of reflection of reality prevail: in the Ancient East, in pre-Columbian America, in Asian cultures of antiquity and the Middle Ages, in the European Middle Ages. In folk art, since ancient times, stable principles and forms of ornamentation have been formed, which largely determine national artistic traditions. For example, in India, the ancient art of rangoli (alpona) - an ornamental pattern - prayer, has been preserved.
Types and types of ornament
There are four types of ornaments:
Geometric ornament. Geometric ornament consists of dots, lines and geometric shapes.
Floral ornament. The floral ornament is made up of stylized leaves, flowers, fruits, branches, etc.
zoomorphic ornament. The zoomorphic ornament includes stylized images of real or fantastic animals.
Anthropomorphic ornament. Anthropomorphic ornament uses male and female stylized figures or individual parts of the human body as motifs.
Types:
Ornament in a strip with a linear vertical or horizontal alternation of motif (ribbon). This includes friezes, borders, frames, borders, etc.
closed ornament. It is arranged in a rectangle, square or circle (rosette). The motive in it either does not have a repetition, or is repeated with a rotation on the plane (the so-called rotational symmetry).
To geometric include ornaments, the motifs of which consist of various geometric shapes, lines and their combinations.
In nature, geometric shapes do not exist. Geometric correctness is an achievement of the human mind, a way of abstraction. Any geometrically correct forms look mechanical, dead. The fundamental principle of almost any geometric form is a real-life form, generalized and simplified to the limits. One of the main ways to create a geometric ornament is the gradual simplification and schematization (stylization) of motifs that originally had a pictorial character.
Elements of geometric ornament: lines - straight lines, broken lines, curves; geometric shapes - triangles, squares, rectangles, circles, ellipses, as well as complex shapes obtained from combinations of simple shapes.
Fine an ornament is called, the motifs of which reproduce specific objects and forms of the real world - plants (vegetative ornament), animals (zoomorphic motifs), humans (anthropomorphic motifs), etc. The real motives of nature in the ornament are significantly processed, and not reproduced, as in painting or graphics. In the ornament, natural forms require some measure of simplification, stylization, typification, and, ultimately, geometrization. This is probably due to the repeated repetition of the motif of the ornament.
Nature and the world around us are the basis of ornamental art. In the creative process of designing an ornament, it is necessary to discard insignificant details and details of objects and leave only the general, most characteristic and distinctive features. For example, a chamomile or sunflower flower may look simplified in an ornament.
The natural form is reincarnated by the power of imagination with the help of conditional forms, lines, spots into something completely new. The existing form is simplified to an extremely generalized, familiar geometric form. This makes it possible to repeatedly repeat the shape of the ornament. What was lost by the natural form during simplification and generalization returns to it when using artistic ornamental means: the rhythm of turns, different scales, flatness of the image, coloristic solutions of forms in the ornament.
How does the transformation of natural forms into ornamental motifs take place? First, a sketch is made from nature, which conveys the likeness and details as accurately as possible (the “photographing” stage). The meaning of reincarnation is the transition from sketching to conditional form. This is the second stage - transformation, stylization of the motif. Thus, stylization in ornament is the art of reincarnation. From one sketch, you can extract various ornamental solutions.
The method of forming an ornament and the choice of ornamental forms, as a rule, is consistent with the possibilities of a visual medium.
Patterns of compositional constructions
THE CONCEPT OF ORNAMENT COMPOSITION
Composition(from lat. compposito) - compilation, arrangement, construction; the structure of a work of art, determined by its content, character and purpose.
Creating a composition from scraps of fabric is the choice of an ornamental and coloristic theme, pattern, plot, determining the overall and internal dimensions of the work, as well as the relative position of its parts.
ornamental composition- this is the compilation, construction, structure of the pattern.
The elements of the ornamental composition and at the same time its expressive means include: dot, spot, line, color, texture. These elements (means) of the composition in the work are transformed into ornamental motifs.
Speaking about the patterns of ornamental compositions, first of all, it is necessary to say about the proportions. Proportions determine other patterns of constructing ornamental compositions (meaning rhythm, plasticity, symmetry and asymmetry, statics and dynamics.
RHYTHM AND PLASTIC
Rhythm in an ornamental composition they call the pattern of alternation and repetition of motifs, figures and intervals between them. Rhythm is the main organizing principle of any ornamental composition. The most important characteristic of an ornament is the rhythmic repetition of motifs and elements of these motifs, their inclinations and turns, the surfaces of motif spots and the intervals between them.
rhythmic organization- this is the relative position of motifs on the compositional plane. Rhythm organizes a kind of movement in the ornament: transitions from small to large, from simple to complex, from light to dark, or the repetition of the same forms at equal or different intervals. Rhythm can be:
1) metric (uniform);
2) uneven.
Depending on the rhythm, the pattern becomes static or dynamic.
rhythmic scale determines the rhythm of motifs in vertical and horizontal rows, the number of motifs, the plastic characteristics of the shape of motifs, and the features of the location of motifs in rapport.
motive- part of the ornament, its main forming element.
Ornamental compositions in which the motif is repeated at regular intervals are called rapport compositions.
rapport- the minimum and simple in form area occupied by the motif and the gap to the adjacent motif.
The regular repetition of rapport vertically and horizontally forms a rapport grid. Rapports adjoin each other, without overlapping one another and without leaving gaps.
Depending on the shape of the surface they decorate, the ornaments are: monorapport or closed; linear rapport or tape; mesh-rapport or mesh.
Monorapport ornaments represent final figures (for example, coat of arms, emblem, etc.).
In linear rapport ornaments, the motif (rapport) is repeated along one straight line. A ribbon ornament is a pattern whose elements create a rhythmic row that fits into a two-way ribbon.
Mesh-rapport ornaments have two transfer axes - horizontal and vertical. A mesh ornament is a pattern whose elements are located along many transfer axes and create movement in all directions. The simplest mesh-rapport ornament is a grid of parallelograms.
In complex ornaments, it is always possible to identify a grid, the nodes of which make up a certain system of points in the ornament. Rapports of complex shape are built as follows. In one of the rapports of a rectangular grid, broken or curved lines are drawn outside to the right and upper sides, and to the left and lower - the same lines, but inside the cell. Thus, a complex structure is obtained, the area of \u200b\u200bwhich is equal to a rectangle.
With these figures, the area of the ornament is filled without gaps.
The composition of the mesh ornament is based on five systems (grids): square, rectangular, regular triangular, rhombic and oblique parallelogram.
In order to determine the type of grid, it is necessary to connect repeating
ornamental elements.
The rhythmic series suggests the presence of at least three or four ornamental elements, since too short a series cannot fulfill
organizing role in the composition.
The novelty of the composition of the ornament, as noted by V.M. Shugaev, a well-known specialist in the theory of ornament on fabric, is manifested not in new motives, but mainly in new rhythmic constructions, new combinations of ornamental elements. Thus, the rhythm in the composition of the ornament is given special importance. Rhythm, along with color, is the basis of the emotional expressiveness of the ornament.
Plastic in ornamental art, it is customary to call smooth, continuous transitions from one form element to another. If during rhythmic movements the elements are at some distance from each other, then during plastic movement they merge.
Ornamental forms, depending on the emotional impact, are conditionally divided into heavy and light. Heavy shapes include a square, cube, circle, ball, light ones - a line, rectangle, ellipse.
SYMMETRY
Symmetry- this is the property of a figure (or ornamental motif) to be superimposed on itself in such a way that all points occupy their original position. Asymmetry is the absence or violation of symmetry.
In the visual arts, symmetry is one of the means of constructing an art form. Symmetry is usually present in any ornamental composition; this is one of the forms of manifestation of the rhythmic principle in the ornament.
Basic elements of symmetry: plane of symmetry, axis of symmetry, axis of transfers, plane of grazing reflection.
Plane of symmetry - an imaginary plane that divides a figure into two mirror-equal parts
- figures with one plane of symmetry,
A figure with two planes of symmetry,
- with four planes of symmetry.
4. Rules for constructing an ornament.
Showing and explaining the construction of ornaments:
a) tape;
b) mesh.
5. Consolidation of the studied material.
1. Frontal survey:
What is the purpose of the ornament?
What types of ornaments, depending on the structure, do you know?
What types of ornaments, depending on the motives prevailing in them, do you know?
Find signs of ornaments different peoples world with the same motives.
What types of ornaments do you know?
What is an ornament? What is ornamental art?
What is rhythm in ornament? What is rapport?
What is called symmetry in art?
What is a plane of symmetry?
2. Exercise:
a) the construction of a ribbon ornament;
b) construction of a mesh ornament.
6. Summing up.
7. Homework.
Come up with your own ornaments in a circle, in a square and in a strip, using geometric shapes or vegetation.
§one. Emergence of the ornament. Basic concepts.
The ornament is a very ancient type of DPI. The language of each ornament is associated with the history and culture of the people. The creators of ornaments always turned to nature, using what they saw. Ornament is music. The rows of its lines are like the melody of some one eternal song in front of the universe.
Ornament is a part of our spiritual life, expressing a person's need for beauty. Having expressed in its rhythms an emotional attitude to life, ornamental art can become a kind of imprint of the psychological make-up of people of a certain era, nation, social stratum. Each nationality kept in the ornament the most characteristic, closest national character, aesthetic tastes, concepts of beauty. Folk craftsmen created patterns that were distinguished by a wide variety of individual motifs, where real observations of the nature around them intertwined with fabulous ideas.
Basic concepts:
· Ornament (pattern)- consistent repetition of individual pictorial motifs or their group.
· rapport- repetition of a part of the ornament (a group of elements) without any change in linear dimensions and shapes.
The ornament can be rapport and without rapport.
The ornament, being one of the most ancient types of decorative art, has retained not only traditions, but also the deep symbolism of ornamental motifs, compositional design and color scheme. By studying the ornament of any of the peoples, you can learn more deeply about its history, traditions, worldview.
The main means of expressiveness of the ornament:
- Rhythm Rhythmic alternation of similar or contrasting elements.
- A creatively thoughtful combination of individual components is called composition and consists of the alternation of individual figures and their rows, arranged horizontally, vertically and diagonally.
- It plays a very important role in all types of creativity - coloring harmonious combination of colors and their shades.
Classification of ornaments.
ornament type - classification of ornaments according to design features (stripe, rosette, mesh);
Ornament type - stripe. Ornament, located vertically, horizontally or around the circumference in the form of a strip, ribbon. The ornament in the strip is also called: ribbon, garland, frieze.
Ornament type - rosette. Rosette (from the word "rose" - a centrally symmetrical or mirror-symmetrical ornament.
Ornament type - mesh. The rapport of the mesh ornament can be either a stripe or a rosette, repeating many times, they completely fill the plane with themselves, as if they are tightened with a net.
Type of ornament : classification of ornaments according to the features of pictorial motifs (geometric. Floral ...).
Geometric ornament. At the heart of the geometric ornament are such pictorial motifs as geometric shapes and bodies (lines, zig-zags, dots, squares, circles, stars ...).
Floral ornament. Floral ornaments are based on pictorial motifs of floral themes (flowers, leaves, shoots, buds, trees, etc.).
zoomorphic ornament."Zoo" is an animal, "morph" is a form. The zoomorphic ornament is based on pictorial motifs from the realm of fauna (animals, birds, insects, fantastic animal creatures, etc.).
Anthropomorphic (humanoid) ornament."Anthropos" - a person, "morph" - a form. The anthropomorphic ornament is based on images of human figures, anthropoid gods, angels, and masks.
Font (calligraphic) ornament. The font ornament is based on pictorial motifs associated with letters, fonts, calligraphy - Russian and Arabic script, initial letters, initials, hieroglyphs, etc.
Heraldic (symbolic) ornament.
Heraldic ornamentation is based on motifs associated with the image of coats of arms, emblems, signs, symbols.
Sign(in art, design) - the pictorial part of the logo, as a rule, also includes the name (written - alphabetic or hieroglyphic - part, often also artistically designed) of the marked product, service, organization, event or person.
http://ru.wikipedia.org/wiki/Sign
Symbol in art there is a characteristic of an artistic image in terms of its meaningfulness, its expression of a certain artistic idea. Unlike allegory, the meaning of a symbol is inseparable from its figurative structure and is distinguished by the inexhaustible ambiguity of its content.
http://ru.wikipedia.org/wiki/Symbol
Coat of arms (Polish herb from German Erbe - inheritance) - an emblem, a distinctive sign, inherited, which depicts objects symbolizing the owner of the coat of arms (person, estate, clan, city, country, etc.). Heraldry is the study of coats of arms.
http://ru.wikipedia.org/wiki/Coat of arms
Braided ornament or "braid".
At the heart of a braided ornament (braiding) there are always pictorial motifs of weaving, regardless of what elements are involved in the ornament (vegetative, zoomorphic, etc.).
Practical work №1:
WOVEN ORNAMENT (with elements of zoomorphic and anthropomorphic) - “teratological style.
Historical information (read):
Wicker ornament in Russian books appeared with the advent of books from Bulgaria. It includes tightly intertwined harnesses or belts. Complex weaving of a cord-like appearance, tied in many places with knots. Basically, the headpieces were drawn in this way: the circles are repeated and connected with patterned ligature and knots, the initials are multicolored.
Wicker ornament "Balkan type". This is an interlacing of circles, eights, rectangles and squares. Strict symmetry. The "Balkan ornament" came to Russia in the 15th century, when the Turks were fighting for the Balkan Peninsula. Many artists and scribes left for Russia. By the end of the century in the court workshops of Moscow, a version of the luxurious “Balkan” ornament with multi-color coloring was developed. And a lot of gold. In the book ornament of the XIII-XIV centuries. appeared "monstrous" style. The Greek word teratos means monster. A tight weave of ribbons ending in snake heads. Legs, tongues, heads, tails, wings of animals are entangled with ribbon weaving. A similar ornament is known among the Balkan Slavs, in Scandinavia, Ireland, and on many works of the Romanesque style from different regions of Europe. This stylistic unity is based on a common origin from the animal ornament of the Eastern European nomads of the era of the migration of peoples. This art arose in the context of major movements, when contacts between European barbarians and nomads of the Eurasian steppes played a significant role.
The image of a predatory beast is most popular in ancient Russian applied art. In some cases, we can talk about a certain desire to convey the image of a lion, which is often mentioned in ancient Russian written sources - a brave and strong beast, the king of beasts. Images of real and fantastic animals play an important role in ancient Russian art. They decorated the temples of the cities of Vladimir and Suzdal, jewelry: bracelets and hoops. Used in the book trade, starting with the Ostromir Gospel.
- Make a copy of the teratological ornament, choosing a pattern of your choice (Internet, books, albums, cards).
- A4 sheet size, dimensions ornament no more than 150x220mm.
- Technique - achromatic graphics.
Repeating dots and lines may have been the first images created by human hands. Thousands of years have passed since then, but recurring drawings still adorn our clothes, dishes and house walls. What is an ornament? How it has changed over time, and how vintage ornaments and patterns can be used in the interior modern home? We will try to consider the most popular patterns and ornaments that arose in ancient times, and still have not lost either relevance or their bewitching beauty.
Mosaic with centric ornament, Brecci by Eidos Glass
What is an ornament?
Any ornament is inherently a set of consecutively repeating individual elements or their groups. Ornament rapport is the rhythmic repetition of one or more of these elements. The ornament not only decorates the plane on which it is applied, it sets a certain rhythm for it, giving completeness to the composition, and actively influences our perception of the surface. The pattern can easily make the plane appear closer or farther, higher or lower, visually bend it or wrap it in a spiral. In ancient times, patterns on clothes and household items were a kind of language that allows you to determine the gender, family and social status, the profession of the owner, or acted as talismans and amulets from evil spirits. Now they, as a rule, do not carry a special semantic load, although they often have their own rich history, which we are not even aware of.
All the endless variety of ornaments invented by man can be easily divided into 3 main groups:
- geometric ornaments
- plant ornaments (phytomorphic), which are various stylized images of plants
- meander ornaments in the form of a continuous broken line
Mosaic from various kinds ornament in modern interior Versace Home by Gardenia Orchidea
The selection of the most successful patterns in the history of mankind never stops. Some ornaments, invented many centuries ago, are still actively used in interior design in various styles.
geometric ornaments
The set of basic elements in geometric ornaments, of course, is small, but the possibility of their endless combination with each other is of greater interest. In modern interiors are actively used various options horizontal and vertical stripes that can significantly affect our perception of space, as well as squares, rhombuses, chevrons and circles.
Speaking of more complex geometric ornaments with a rich history, Special attention I want to pay attention to the tartan, which is sometimes called the Scottish check, and the quatrefoil, which, despite the name, refers specifically to geometric ornaments.
tartan
Classic tartan, Tecnofloor Industria Chimica
The tartan pattern is formed by the intersection of horizontal and vertical lines. different colors. Thus, a certain sequence of lines and squares is created, which is commonly called "plaid", although formally any fabric in a cage can be called "tartan". In the old days, each Scottish clan had its own original tartan coloring, which served as a clan identification mark. Outside of Scotland, the fashion for checkered fabrics spread thanks to Queen Victoria, a passionate admirer of the culture of this country.
For modern design the game with scale is very characteristic, so the usual small cell on the wallpaper can be replaced by a gigantic tartan, Wall&Deco wallpaper
Reminder: tartan is traditionally considered a "masculine" ornament and is often found in the decor of offices or nurseries for boys.
The cage in the interior creates a sense of stability and helps to organize the space. Wallpaper and interior fabrics with a tartan pattern can most often be found in interiors in the British spirit or country style. In a classic office, in a warm rustic kitchen with checkered curtains and a tablecloth, or in a family living room, tartan will help create an atmosphere of comfort, stability and intergenerational connection.
Quatrefoil
Mirror in the shape of a quatrefoil with sharp corners, Pottery Barn
The quatrefoil or shamrock (quadrofolia and trifolia, respectively) is a geometric ornament of identical circles partially intersecting each other. The pattern can be complemented by additional sharp corners at the junction of the circles.
The history of this motif is lost in the mists of time; it can be found in national Moroccan costumes, among ancient Christian symbols, and in medieval architecture. In European art, the cloverleaf became especially popular during the Renaissance, found in the decoration of furniture, the shape of windows and stained-glass windows of buildings.
Quatrefoil bed linen, Gracious Style
Like other geometric ornaments, the quatrefoil brings a clear rhythm to the interior, however, due to its rounded shapes, it looks softer and unobtrusive. This motif can often be found in interiors stylized in historical styles, such as Gothic or Renaissance, but in more modern variations it can also look organic.
Floral ornaments
From time immemorial, the natural world has served as the main source of creative inspiration, so new stylizations of leaves, flowers, fruits, trees, animals and birds appear in design almost every day. Nevertheless, some of the ornaments invented several thousand years ago turned out to be so successful that they still organically complement our interiors. That's for sure: "Everything new is a well-forgotten old."
Interior fabric with paisley pattern, Decobel
One of the most popular and, at the same time, the most ancient floral ornaments. You can also often find another name for it: Indian or Turkish cucumber. It is based on a drop-shaped curl called "buta", the first images of which appeared in ancient Babylon. Colorful Indian fabrics with intricate comma-shaped patterns came to Europe around the 17th century, but their popularity peaked at the time of the craze for exotic oriental motifs in the 19th century. During this period, analogues of Indian fabrics began to be widely produced in Europe, in which the Scottish town of Paisley was especially distinguished.
Modern styling of "Indian cucumber" in the form of a plywood screen, LZF
The paisley pattern is ubiquitous in the collections of wallpaper and interior fabrics of modern manufacturers. Bright " Indian cucumber» can be found in almost any oriental interior: Moroccan, Indian, etc. A more restrained and monochrome version of the pattern is quite suitable for a neutral decor of a modern interior in which you want to create a more cozy and warm atmosphere.
Damascus
Damascus in a classic interior, wallpaper Coordonne
Damascus is a complex floral ornament in the form of a lush flower, framed by intricate leaves, arranged in vertical stripes. It is believed that this pattern appeared in the capital of Syria, Damascus, back in the Middle Ages, eventually spreading throughout the world.
Damascus in a modern interior, Architects Paper ® , a brand of A.S. Creation Tapeten
Today, Damascus can be found, as in traditional classic interiors, as well as in glamorous living rooms and bedrooms, left with laconic modern furniture. For the first option, soft textured wallpaper with silk-screen printing is well suited, in the second, a more contrasting one, for example, a black and white version or a pronounced velvet texture of the pattern, is appropriate. This pattern is no less common in the decoration of ceramic tiles.
Combination of ornaments: the meander acts as a border for floral motifs, Versace Home by Gardenia Orchidea
The meander is a frieze ornament formed by a continuous line bent at a right angle. This is perhaps one of the oldest decorative patterns, known since the Neolithic, however, the most widely used in art. Ancient Greece. The meander adorns not only antique ceramics, mosaics and reliefs, but is also, for example, the trademark of the Givenchy brand.
Ceiling lamp with meander border, Versace Home by Gardenia Orchidea
Nowadays, the meander can most often be found in classic interiors in the form of a border or edge element. The edging of the carpet, the border on the wallpaper or the mosaic canvas with such an ornament looks both strict and elegant at the same time, giving the space a clear rhythm and order. Against the background of a meander, a minimalistic design will look equally organic. modern furniture, and classical furnishings in the Empire or Neoclassical style.
Reminder: note how varied the use of ornamentation is. Sometimes we don’t even notice that they surround us everywhere: from the pattern on the wallpaper to the decoration of dishes, lamps, carpets or pastel linen.
Ornament is universal language art and design that does not age, does not go out of fashion and pleases the eye at all times. Of course, it must be used wisely, given the general style of the interior, and it should be remembered that more than two varieties of ornament in one room are not recommended by experts.
Floral ornament, which flourished in the Yakut folk art of the 19th century, has no analogies among the native Siberian ornamental cultures. The presence of plant and flower motifs in the ornamentation of the Yakuts also distinguishes it from the ornamental cultures of the peoples of the North and more southern neighbors belonging to the Mongolian-speaking ethnic group. In the floral ornament of the Yakuts, its Turkic-speaking nature was most clearly expressed, i.e. poetic perception of the world based on the spiritualization of plant natural forces, honoring the spirits of herbs, trees, plants, which corresponds to traditional beliefs and folklore ideas. The floral ornament is most pronounced in the Yakut silver items: bracelets, belts, decorative solution front saddle bows. It is represented by various modifications of a winding stem with shoots, leaves, flowers extending from it, as well as a flourishing lyre motif and rosettes with plant filling.
One of the features of the Yakut floral ornament is the absence of a motif of herbs and fruits. The emphasis on the idea of growth and flowering, rather than fruiting, is obviously associated with local natural conditions: the rapid growth of vegetation during the white nights and the lack of traditions of fruit gardening on permafrost. The idea of fruiting was embodied in geometrized forms of ornament with cattle-breeding semantics, in contrast to the Slavic ornament, where it is expressed in plant forms associated with the traditions of agricultural cultures. Another feature of the Yakut floral ornamentation is the absence of the carpet principle of composition construction, which is so characteristic of the floral ornamentation of the peoples of the Caucasus and Central Asia. The Yakut ornament does not know the motif of weaving, it never merges with the background, its placement on the object is always associated with the shape and design of the thing. The floral ornament of the Yakuts is also alien to the symbolism of color, which is characteristic of the folk art of the Mongolian-speaking peoples. At the same time, a number of plant and flower motifs among the Yakuts are stylistically close to the floral ornament of the folk art of the Caucasus, Central Asia, Ancient Russia, with its roots in the art of Asia Minor. The central motif of this group of ornaments is a flourishing lyre, associated with the motif of the tree of life and the circle of mythological representations of the Yakuts. We associate its use in the center of cheprak and kychim embroidery with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. The latter lives in sacred tree Aal-Luk-Mas (tree of life), which is the source of abundance; her children are innumerable spirits of trees and herbs. As a filler for the lyre, both simple and complex motifs of a floral pattern act: herringbone, trefoil, palmette of the Middle Eastern type, a conditional flower with an underlined calyx, corolla and core. The image of flowers in the ornament has a profile character. Herringbone and shamrock motif, possibly of local origin; it is noted in the embroidery of other peoples of Siberia, in particular, the Evenks, in whom it is associated with the local flora. The lotus motif goes back to ancient Egyptian ornamental culture. In Russian floral ornament he does not meet. The tulip motif probably reflects ties with Persia, Iran through Central Asia. A lush flower, correlated by some researchers with the Mediterranean area of culture, is inherent in both ancient Russian and Caucasian art. Perhaps this is a modification of Sardaana, a flower from the lily family, beloved in Central Yakutia.
Yakut silver items are characterized by the motif of a curved stem with shoots, leaves, and flowers extending from it. Compositionally and stylistically, this motif is close to the Dagestan floral ornament of the tutta (twig, tree) and markharai (spiral-shaped stems, thickets) styles. However, the Dagestan floral ornament reflected the circle of Muslim ideas and was often combined with a bizarre script of religious texts. In the Yakut ornament, there is no motif of interweaving of stems, the motif of birds, as part of the ornamental composition. The profile image of a flower in Dagestan ornamentation is distinguished by a whimsically elongated core, sometimes twisted into a curl. Yakut ornamentation is freer and more constructive. Even in lush plant compositions, the logical hierarchy of ornamental elements is preserved, often there are simple geometric motifs that perform a clear constructive function.
In general, the Yakut floral and floral ornament reflects the oriental taste, manifested in the selection and combinations of floral patterns, which allows us to conclude that this group of ornaments has an “oriental” style. The figurative structure of plant ornamentation is associated with the Yakut ideas about the flowering earth, the ancient goddesses of the matriarchy period, personified in Yakut mythology.
lyre pattern
The central motif of the plant group of ornaments is a flourishing lyre (Fig. 6), associated with the motif of the tree of life and the circle of mythological representations of the Yakuts. We associate its use in the center of cheprak and kychim embroidery with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. As a filler for the lyre, both simple and complex motifs of a floral pattern act: herringbone, trefoil, palmette of the Middle Eastern type, a conditional flower with an underlined calyx, corolla and core. There are various versions about the semantics of the lyre-shaped motif - "kesyur oyuu" -. The lyre-shaped form is also a symbolic image of a plant breaking out of the ground. The lyre-shaped motif is widespread in the ornamentation of many peoples. It is considered as the world tree - the tree of life, the tree of fertility, the tree of ascension. It has apotropic and benevolent functions. The lyre-shaped motif is also associated with the cosmological view of the Yakuts, it is a symbol of growth, development, striving for light, for the highest deities of Aiyy. The middle main lyre-shaped motif is called “iye ke?uer”, branches rushing from it in different directions - “o?o ke?uer”, they are, at the same time, a symbol of the birth of new life, fertility, wealth.
Fig.6 Lyre-shaped motif
The lyre-shaped motif in ornamental art symbolizes a blessing for development and prosperity in the Middle World, therefore, an obligatory tradition in embroidery of this ornament is its symmetry and vertical arrangement. According to the ornamental canons of the Yakut craftswomen, only shoots that blossomed from the main motif could rush to all four sides. But sometimes an inverted lyre-shaped motif in shoes acts as a symbol of danger warning. Apparently, in this way, the craftswomen, through the embroidery of shoes, protected themselves from the demons and evil spirits of the Lower World.
The basis of the arrow-shaped ornament, called “aya yrbata”, consists of arcs and arrow-shaped figures extending upwards from the arcs, used in the ornamental art of the Yakuts mainly as a protective, warning sign. The meaning of the name of the pattern indicates that, perhaps, it has a magical-protective function. This is also emphasized by the location of the motif of the ornament - along the edges of clothing, household items. Perhaps in this way a person tried to protect himself from the influence of various evil spirits.
heart pattern
The heart-shaped pattern (Fig. 7) is traditionally used in the decoration of elegant mittens, leggings, saddlecloths, kychyms. Lush bloom heart-shaped motif in the ornamentation of all peoples is a symbol of love and harmony. It does not look like a lyre-shaped motif common in Yakut sewing. The middle, main, motif has the form of a common heart motif. Along the vertical axis of the ornament there are three motifs of a tree; they are not connected, as is usually the case in a lyre-shaped motif, with one trunk. Drawings of the motifs of the upper, directed upwards, the middle one, which is inscribed in the core, and the lower motif are the motifs of the common tree motif - shamrock, goggilistnik or seven-leafed.
Fig.7 Heart-shaped pattern
The lower tree usually goes upside down. Obviously, these motifs determine the trichonomic division of the Universe into the sky (the dwelling place of the gods), middle world, inhabited by people-aiyy, and the underground demonic world where he lives most of demons - abaasy. Thus, this composition of the ornament clearly shows the imaginary world of the ancestors: space in different dimensions - the tops, trunks and roots of trees correspond to the vertical, and branched lines extending from the core of the ornament correspond to the horizontal directions.
This pattern is usually embroidered with a common type of embroidery "tanalaydyy annyy"