Where is floral design used and what does it mean? Floral ornament Floral ornament of the 19th - 20th centuries

Repeating dots and lines may have been the first human-made images. Thousands of years have passed since then, but repeating patterns still decorate our clothes, dishes and the walls of our houses. What is an ornament? How has it changed over time, and how can ancient ornaments and patterns be used in the interior of a modern home? We will try to consider the most popular patterns and ornaments that arose in ancient times, and have still not lost either their relevance or their bewitching beauty.

Mosaic with centric design, Brecci by Eidos Glass

What is an ornament?

Any ornament inherently represents a set of sequentially repeating individual elements or their groups. Rapport of ornament is the rhythmic repetition of one or more of these elements. The ornament does not just decorate the surface on which it is applied, it gives it a certain rhythm, giving completeness to the composition, and actively influences our perception of the surface. A pattern can easily make a plane appear closer or further, higher or lower, visually bend it or wrap it into a spiral. In ancient times, patterns on clothing and household items were a kind of language that made it possible to determine the gender, family and social status, and profession of the owner, or acted as talismans and amulets against evil spirits. Now, as a rule, they do not carry much meaning, 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 patterns
• plant ornaments (phytomorphic), which are various stylized images of plants
• meander patterns in the form of a continuous broken line

Mosaic from various types 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 patterns

The set of basic elements in geometric patterns is, of course, small, but of greater interest is the possibility of their endless combination with each other. In modern interiors they are actively used various options horizontal and vertical stripes that can significantly influence our perception of space, as well as squares, rhombuses, chevrons and circles.
Speaking of more complex geometric patterns with a rich history, Special attention I would like to highlight tartan, which is also sometimes called Scottish check, and quatrefoil, which, despite the name, refers specifically to geometric patterns.

Tartan

Classic tartan, Tecnofloor Industria Chimica

The tartan pattern is formed by the intersection of horizontal and vertical lines of different colors. Thus, a certain sequence of lines and squares is created, which is usually called “tartan”, although formally “tartan” can be called any checkered fabric. In the old days, each Scottish clan had its own original tartan color, which served as a clan identification mark. The fashion for tartan fabrics spread beyond Scotland thanks to Queen Victoria, a passionate admirer of the culture of this country.

For modern design Playing with scale is very typical, so the usual small checkered pattern on wallpaper can be replaced by giant-sized tartan, Wall&Deco wallpaper

Memo: Tartan is traditionally considered a “masculine” pattern and is often found in the decor of boys’ offices or nurseries.

A cage in the interior creates a feeling of stability and helps 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 country kitchen with checkered curtains and a tablecloth, or in a family living room, tartan will help create an atmosphere of comfort, stability and connection between generations.

quatrefoil

Quatrefoil mirror with sharp corners, Pottery Barn

The quatrefoil or trefoil (quadrofolia and trifolio, respectively) are a geometric pattern 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, quatrefoil became especially popular during the Renaissance, found in furniture decor, the shape of windows and stained glass windows of buildings.

Quatrefoil bed linen, Gracious Style

Like other geometric patterns, the quatrefoil brings a clear rhythm to the interior, but due to its rounded shape, it looks softer and more unobtrusive. This motif can often be found in interiors stylized as historical styles, for example, Gothic or Renaissance, however, 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 well forgotten old.”

Interior fabric with paisley pattern, Decobel

One of the most popular and, at the same time, the most ancient plant 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 during 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 especially distinguished itself.

Modern styling of the “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. The bright “Indian cucumber” can be found in almost any eastern interior: Moroccan, Indian, etc. A more restrained and monochrome version of the pattern is quite suitable for the neutral decor of a modern interior, in which you want to create a more comfortable and warm atmosphere.

Damascus

Damascus in a classic interior, Coordonne wallpaper

Damascus is a complex floral ornament in the form of a lush flower, framed by an intricacy of 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

Nowadays, damask can be found, as in traditional classic interiors, and in glamorous living rooms and bedrooms, left with laconic modern furniture. For the first option, dim ones are good textured wallpaper with silk-screen printing; in the second, a more contrasting one is appropriate, for example, a black and white version or a pronounced velvet texture of the pattern. This pattern is no less common in the decor of ceramic tiles.

Combination of ornaments: meander acts as a border for floral motifs, Versace Home by Gardenia Orchidea

A meander is a frieze pattern formed by a continuous line curved at a right angle. These are perhaps one of the oldest decorative patterns, known since Neolithic times, however, they were most widespread in the art of Ancient Greece. The meander decorates not only antique ceramics, mosaics and reliefs, but is also, for example, a trademark of the Givenchy brand.

Lamp sconce with meander border, Versace Home by Gardenia Orchidea

Nowadays, meanders can most often be found in classic interiors in the form of a border or edge element. The edging of a carpet, a border on wallpaper or a mosaic canvas with such an ornament looks both strict and elegant, giving the space a clear rhythm and orderliness. Against the backdrop of a meander, a minimalist design will look equally organic. modern furniture, and classical furnishings in the Empire or Neoclassical style.

Memo: Notice how varied the use of ornament is. Sometimes we don’t even notice that they surround us everywhere: from the pattern on the wallpaper, to the decor of dishes, lamps, carpets or pastel linen.

Ornament is a universal language of art and design that does not become outdated, does not go out of fashion and pleases the eye at all times. Of course, you need to use it wisely, taking into account the general style of the interior, and remember that experts do not recommend using more than two types of ornament in one room.

Floral ornament in different historical periods

Floral ornament of the 19th - 20th centuries

The largest master involved in the creation of artistic industrial ornaments, working using similar methods, was Karl Krumbholtz, the author of such books as “Drawing in the Art Industry” (Dresden, 1849), “Flowers and Ornament” (Dresden, 1849) , “Floral Ornament” (Dresden, 1878), etc. The images, executed after a thorough analysis of natural plants, were characterized, first of all, by the lack of volume and the widespread use of color. K. Blossfeld, a teacher at the University of Berlin, also enjoyed enormous authority as an ornamental artist at the end of the 19th and beginning of the 20th centuries. He used photography to analyze plants. The same ornamental design that is used in industry today originated in the 1920s. The opinion that on fabrics, porcelain, wallpaper, etc. ornaments should be applied, made using slightly modified technologies of previous historical periods, at this time is changing radically.

The art of ornament is very ancient. It arose in the Paleolithic era. Ornamental images provide aesthetic pleasure, which has a strong impact on a person, causing chains of associations that allow one to understand and appreciate the work. The main pattern of the ornament is the periodic repetition of the motif. Ornament is also characterized by the translation of real forms and objects into conventional ornamental images, high degree decorative generalization, lack of aerial perspective (flat image).

Ornament has always been widely used as a decorative design for products needed by people in everyday life and practical activities. It forms the basis of decorative and applied arts. Handicrafts, ceramics, and textiles are not without ornament.

All ornamental designs, according to their visual capabilities, are divided into three types: figurative ornament, including a specific drawing of a person, animals, plants, landscape or architectural motifs, a drawing of inanimate objects or a complex emblem;
non-figurative ornament, formed from geometric elements, abstract forms, devoid of specific subject content;
combined ornament, which is a combination of figurative motifs or individual elements, on the one hand, and abstract forms, on the other.

Ornament is classified 1. according to visual motifs: plant, geometric, animalistic, anthropological, calligraphic, fantastic, astral, etc.

2.By style: antique, gothic, baroque, etc.

3.By nationality: Ukrainian, Belarusian, Greek, etc.

4. According to the visual form: planar, relief (small elevation), relief (small depression inward).
Characteristics of ornaments based on figurative motifs.

The primary form of ornament is technical ornament resulting from labor activity human (the texture of clay products processed on a potter's wheel, the pattern of the simplest cells in fabric, spiral-shaped turns obtained when weaving ropes).

Technical ornament

Symbolic the ornament arose and was formed on the basis of images of animals, people, tools in rock paintings, and on fabric. The evolution of conventional images has led to the fact that ornamental images are often symbols. Having appeared in Ancient Egypt and other countries of the East, symbolic ornament still plays an important role today, for example, in heraldry (image of a hammer and sickle, double-headed eagle, etc.). Geometric the ornament was formed on the basis of technical and symbolic ornaments. It always places emphasis on the strict alternation of rhythmic elements and their color combinations. The fundamental principle of almost any geometric shape is real existing form, generalized and simplified to the limit (Greek meander - wave, circle - sun, etc.)

Vegetable ornament is the most common after geometric. He is characterized by his favorite motifs, different for different countries at different times. If in Japan and China favorite plant- chrysanthemum, then in India - beans, beans, in Iran - cloves, in Russia - sunflower, chamomile. IN early middle ages The vine and trefoil were especially popular, in the late Gothic period - thistle and pomegranate, in Baroque times - tulip and peony. In the 18th century, the rose “ruled”; Art Nouveau brought the lily and iris to the fore. Floral ornament has the greatest potential in terms of the variety of motifs used and execution techniques. In some cases, the motifs are interpreted in a realistic, three-dimensional manner, in others – in a more stylized, conventionally flat form.

Calligraphic the ornament is made up of individual letters or text elements, expressive in their plastic pattern and rhythm. The art of calligraphy has most fully developed in countries such as China, Japan, and Arab countries, in a certain sense replacing fine art.

At the core fantastic The ornament consists of fictitious images, often of symbolic and mythological content. Fantastic ornaments with images of scenes from the life of animals became especially widespread in the countries of the Ancient East (Egypt, Assyria, China, India, Byzantium). In the Middle Ages, fantastic ornamentation was popular due to the fact that religion prohibited the depiction of living beings.

Astral the ornament affirmed the cult of the sky. Its main elements were images of the sky, sun, clouds, and stars. It is most widespread in Japan and China.

Landscape the ornament was especially often used and is used on textiles made in Japan and China.

IN animal (animalistic) In the ornament, both realistic and more conventional, stylized images of birds, animals, etc. are possible. In the latter case, the ornament to a certain extent approaches the fantastic ornament.

Subject, or material ornament arose in ancient Rome and was subsequently widely used during the Renaissance, during the times of Baroque, Rococo, and Classicism. The content of the subject ornament consists of objects of military life, everyday life, musical and theatrical art.

Anthropomorphic the ornament uses male and female stylized figures or individual parts of the human body as motifs.

The nature of the ornament also depends on national images, ideas, customs, etc. For example, the ornamentation of the Ukrainians is completely different from the ornamental forms of the Arabs.

Ukrainian ornament

Arabic ornament

Arabesque from fr. arabesque - Arabic) is the European name for the ornament of medieval art of Muslim countries. The arabesque, built on a geometric grid, is based on the principle of endless spatial development of repeating groups of ornamental motifs. Arabesque is distinguished by repeated rhythmic layering of homogeneous forms, which creates the impression of an intricate, whimsical pattern.

The combination of ornaments, their dependence on the material and shape of the object, as well as the rhythm form the decor that is an integral feature a certain style.Style in the art of any era is a historically established unity figurative system, means and methods of artistic expression. The basis of any style is a uniform system of artistic forms generated by an ideological and methodological community that arose in certain social and economic conditions. When forming the figurative system of a new style, ornament is one of the most important components of it and is among those means of artistic expression that make it possible to accurately determine whether any architectural monument or work of decorative and applied art belongs to a given style.

By style features the ornament can be antique, gothic, byzantine, baroque, etc.

Gothic ornament

Renaissance ornament.

During the Middle Ages, ornaments were distinguished by fantastic and fairy-tale designs based on plant and animal motifs. The medieval ornament is symbolic. Natural motifs are interpreted conventionally and stylized. Simple straight lines geometric shapes transform into wicker curvilinear ones. Through the developed decorative and ornamental means in the Middle Ages, the inner world, state and experiences of a person were indirectly transmitted, which was not the case in ancient art.

During the Renaissance, a secular humanistic culture was formed, affirming the value of the human person. During this period, art strives for clarity and harmony. The ornaments widely use motifs of acanthus and oak, grapevine, tulip, located against a background of plant curls and patterns. In addition, animals and birds were often depicted in combination with a naked human body.

The Baroque style ornament is built on intense contrasts, sharply contrasting the earthly and the heavenly, the real and the fantastic, as is the case with all Baroque art. Baroque ornamentation is distinguished by its variety and expressiveness of forms, splendor, splendor and solemnity. It is also characterized by decorativeness and dynamics, the predominance of curvilinear forms and asymmetry.

At the beginning of the 18th century. The Baroque style is transformed into the Rococo style. The ornament acquires lightness, airiness, mobility and picturesqueness. It is characterized by openwork, curved, curvilinear forms, lack of clear constructiveness (a favorite motif is the shell).

During the period of classicism at the end of the 18th century. there is a revision of the ideals of ancient aesthetics. The ornament again acquires staticity and balance, clarity and precision. It consists mainly of straight lines, squares, rectangles, circles and ovals, becoming restrained in color.

At the beginning of the 19th century. the dominance of classicism ends with the Empire style (from the French empire - empire), which draws its artistic ideals from the art of the Greek archaic and imperial Rome. Empire style ornamentation is characterized by severity, schematism, severity, solemnity and pomp, and military armor and laurel wreaths are used as motifs. Characteristic color combinations: scarlet with black, green with red, blue with bright yellow, white with gold.

So, the ornament of each period reveals a connection with the spiritual life of society, architecture, decorative arts, reflects the aesthetics of the era.

Ornaments based on the nature of the surface are divided into flat and embossed

Relief ornament

A special group includes those that combine relief and color. Relief patterns, for example carving on ganch (a Central Asian type of gypsum), are unique. The tradition of decorating homes with carved plaster has existed in Central Asia since the first centuries of our era. Excellent examples of such carving can be seen in the architectural monuments of Khorezm, Samarkand, and Bukhara.

Gunch carving

A clearly defined rhythm, as well as stylization, is the basis of all ornaments. Report(motif) - repetition of the same group of elements in a pattern.

One motivic is a pattern in which the same motif is rhythmically repeated. For example, one motif is the famous ancient Greek pattern called “meander”.

Meander

The rhythmic repetition of two different motifs is often found in the ornament.

Depending on the purpose and purpose There are three types of ornament, which are considered to be basic: ribbon, mesh and compositionally closed.

Ribbon ornament looks like a ribbon or strip. This pattern consists of repeating elements and is limited on two sides - top and bottom. The ribbon ornament is divided into frieze, border and border.

Floral ornament, the flowering of which was observed in the Yakut folk art of the 19th century, has no analogues among the original Siberian ornamental cultures. The presence of plant and floral 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 Mongol-speaking ethnic group. The floral ornament of the Yakuts most clearly expressed its Turkic-speaking nature, i.e. poetic perception of the world based on the spiritualization of plant natural forces, veneration of the spirits of herbs, trees, plants, which corresponds to traditional beliefs and folklore ideas. Floral ornamentation is most pronounced in Yakut silver items: bracelets, belts, decorative solution front bow of saddles. It is represented by various modifications of a climbing stem with shoots, leaves, flowers extending from it, as well as a motif of a flourishing lyre 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: rapid growth of vegetation during white nights and lack of traditions fruit gardening on permafrost. The idea of ​​fruiting was embodied in geometric forms of ornament with pastoral semantics, in contrast to the Slavic ornament, where it is expressed in plant forms associated with the traditions of agricultural crops. Another feature of the Yakut floral ornament is the absence of the carpet principle of composition, so characteristic of the floral ornamentation of the peoples of the Caucasus and Central Asia. The Yakut ornament does not know the weaving motif, it never merges with the background, its placement on an object is always connected with the shape and design of the thing. The floral patterns of the Yakuts are also alien to the color symbolism characteristic of the folk art of Mongol-speaking peoples. At the same time, a number of plant and floral motifs among the Yakuts are stylistically close to the floral patterns of folk art of the Caucasus, Central Asia, Ancient Rus', 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 ideas of the Yakuts. We associate its use in the center of saddle cloth and kychim embroideries with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. The latter lives in the sacred tree Aal-Luk-Mas (tree of life), which is the source of abundance; her children are countless spirits of trees and herbs. Both simple and complex motifs of plant patterns act as filler for the lyre: herringbone, trefoil, palmette of the Middle Eastern type, a conventional flower with an emphasized cup, corolla and core. The image of flowers in the ornament has a profile character. The herringbone and trefoil motif may be of local origin; it is noted in the embroidery of other peoples of Siberia, in particular the Evenks, who are associated with the local flora. The lotus motif dates back to ancient Egyptian ornamental culture. It is not found in Russian floral designs. The tulip motif perhaps reflects connections with Persia, Iran through Central Asia. The 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 favorite flower in Central Yakutia from the lily family.

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 marharai (spiral-shaped stems, thickets) styles. However, the Dagestan floral ornament reflected the range of Muslim ideas and was often combined with the intricate script of religious texts. The Yakut ornament lacks the motif of interlacing stems and the motif of birds as parts 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 more free and constructive. Even in lush plant compositions, a logical hierarchy of ornamental elements is preserved; simple geometric motifs are often present that perform a clear constructive function.

In general, the Yakut plant-floral ornament reflects the oriental taste, manifested in the selection and combinations of plant patterns, which allows us to draw a conclusion about the “eastern” style of this group of ornaments. The figurative structure of plant ornaments is associated with the Yakut ideas about the flowering land, the ancient goddesses of the matriarchal period, personified in Yakut mythology.

Lyre pattern

The central motif of the plant group of ornaments is the flourishing lyre (Fig. 6), associated with the motif of the tree of life and the circle of mythological ideas of the Yakuts. We associate its use in the center of saddle cloth and kychim embroideries with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. Both simple and complex motifs of plant patterns act as filler for the lyre: herringbone, trefoil, palmette of the Middle Eastern type, a conventional flower with an emphasized cup, corolla and core. There are different 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 common in the ornamentation of many nations. It is considered as a world tree - the tree of life, the tree of fertility, the tree of ascension. It has apotropaic and benevolent functions. The lyre-shaped motif is also associated with the cosmological view of the Yakuts; it is a symbol of growth, development, the desire for light, for the highest deities of Aiyy. The middle main lyre-shaped motif is called “iye ke?uer”, the branches rushing from it in different directions are “o?o ke?uer”, they are at the same time a symbol of the birth of new life, fertility, and wealth.

Fig.6 Lyre motif

The lyre-shaped motif in ornamental art symbolizes a blessing for development and prosperity in the Middle World, therefore, a mandatory tradition in the embroidery of this ornament is its symmetry and vertical arrangement. According to the ornamental canons of Yakut craftswomen, only the shoots that blossomed from the main motif could rush to all four directions. But sometimes an inverted lyre-shaped motif in shoes acts as a symbol of danger warning. Apparently, in this way, craftswomen protected themselves from demons and evil spirits of the Lower World through shoe embroidery.

The basis of the arrow-shaped ornament, called “aya yrbata,” is made up of arcs and arrow-shaped figures extending upward 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 it may have a magical-protective function. This is emphasized by the location of the ornamental motif - along the edges of clothing and household items. Perhaps in this way the person tried to protect himself from the influence of various evil spirits.

Heart pattern

The heart-shaped pattern (Fig. 7) is traditionally always used in the decoration of elegant mittens, leg guards, saddle cloths, and kychyms. Lush flowering The heart-shaped motif in the ornamentation of all nations is a symbol of love and harmony. It does not look like the lyre-shaped motif common in Yakut sewing. The middle, main, motif has the shape of a common heart motif. Three tree motifs are located along the vertical axis of the ornament; they are not connected, as is usually the case in a lyre-shaped motif, by one trunk. The designs of the top motif, directed upward, the middle one, which is inscribed in the core, and the bottom motif are motifs of the common tree motif - trefoil, gogglyfoil or seven-leafed leaf.

Fig.7 Heart-shaped pattern

The lower tree usually goes upside down. Obviously, these motives determine the trichonomic division of the Universe into the sky (the habitat of the gods), the middle world inhabited by the aiyy people, and the underground demonic world where most of the demons live - the abaas. Thus, this composition of the ornament clearly shows the imaginary world of our ancestors: space in different dimensions - the verticals correspond to the tops, trunks and roots of trees, and the horizontal directions - branched lines extending from the core of the ornament.

This pattern is usually embroidered using the common type of embroidery “tanalaidy annyyy”

§1. The emergence of 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 his lines are similar to the melody of some eternal song before the universe.

Ornament is a part of our spiritual life, expressing the human need for beauty. Having expressed in its rhythms an emotional attitude to life, ornamental art can become a kind of imprint of the psychological makeup of people of a certain era, nation, or social layer. Each nationality retained in its ornament the most characteristic, the closest to the national character, aesthetic tastes, and concepts of beauty. Folk craftsmen created patterns distinguished by a wide variety of individual motifs, which intertwined real observations of the nature around them with fabulous ideas.

Basic concepts:

· Ornament (pattern)– sequential repetition of individual graphic motifs or a group of them.

· Rapport– repetition of part of an ornament (group of elements) without any change in linear dimensions and shapes.

· The ornament can be rapport And without rapport.

Ornament, being one of the most ancient types of DPI, has retained not only traditions, but also the deep symbolism of ornamental motifs, compositional design and color scheme. By studying the ornament of any nation, you can learn more deeply about its history, traditions, and worldview.

The main means of expressiveness of the ornament:

• Rhythm–rhythmic alternation of similar or contrasting elements.
• The creative combination of individual components is called composition and consists of alternating individual figures and their rows located horizontally, vertically and diagonally.
• Plays a very important role in all types of creativity - coloring harmonious combination of colors and their shades.

Classification of ornaments.

Type of ornament – classification of ornaments according to design features (stripe, rosette, mesh);

Type of ornament - stripe. An ornament located vertically, horizontally or circumferentially in the form of a strip or ribbon. An ornament in a stripe is also called: ribbon, garland, frieze.

The type of ornament is a rosette. Rosette (from the word “rose” - a centrally symmetrical or mirror-symmetrical ornament.

The type of ornament is mesh. The repeat of a mesh ornament can be either a stripe or a rosette; when repeated many times, they fill the plane completely, as if they are covered with a mesh.

Type of ornament : classification of ornaments according to the features of visual motifs (geometric. Floral...).

Geometric ornament. The geometric ornament is based on such figurative motifs as geometric figures and bodies (lines, zig-zags, dots, squares, circles, stars...).

Floral ornament. The basis of the floral ornament is figurative motifs of floristic themes (flowers, leaves, shoots, buds, trees, etc.).

Zoomorphic ornament.“Zoo” is an animal, “morph” is a form. The zoomorphic ornament is based on figurative motifs from the fauna kingdom (animals, birds, insects, fantastic beasts, etc.).

Anthropomorphic (humanoid) ornament.“Anthropos” means man, “morph” means form. The anthropomorphic ornament is based on images of human figures, humanoid gods, angels, and masks.

Font (calligraphic) ornament. The font ornament is based on visual motifs associated with letters, fonts, calligraphy - Russian and Arabic script, drop caps, initials, hieroglyphs, etc.

Heraldic (symbolic) ornament.

The heraldic ornament is based on motifs associated with the image of coats of arms, emblems, signs, and symbols.

Sign(in art, design) - the visual part of the logo, as a rule, also including the name (written - alphabetic or hieroglyphic - part, often also artistically designed) of the branded product, service, organization, event or person.

http://ru.wikipedia.org/wiki/Sign

Symbol in art there is a characteristic of an artistic image from the point of view 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) is an emblem, a distinctive sign passed on by inheritance, which depicts objects symbolizing the owner of the coat of arms (person, class, clan, city, country, etc.). Heraldry deals with the study of coats of arms.

http://ru.wikipedia.org/wiki/Coat of arms

Braided ornament or “wickerwork”.

The basis of a wicker ornament (braid) always contains figurative motifs of weaving, regardless of what elements are involved in the ornament (floral, zoomorphic, etc.).

Practical work No. 1:

WETTER ORNAMENT (with elements of zoomorphic and anthropomorphic) - “teratological style.

Historical information (read):

Wicker patterns in Russian books appeared with the advent of books from Bulgaria. It includes tightly intertwined harnesses or belts. Complex weaving of a rope-like appearance, tied in many places with knots. This is basically how the headbands were drawn: the circles are repeated and connected with patterned ligature and knots, the initials are multi-colored.

Braided ornament of the “Balkan type”. This is an interweaving of circles, eights, rectangles and squares. Strict symmetry. The “Balkan ornament” came to Rus' in the 15th century, when the Turks fought for the Balkan Peninsula. Many artists and scribes left for Rus'. By the end of the century, the Moscow court workshops had developed a version of the luxurious “Balkan” ornament with multicolor colors. And a lot of gold. In the book ornament of the 13th–14th centuries. a “monstrous” style appeared. The Greek word teratos means monster. A close interweaving of ribbons ending with snake heads. The legs, tongues, heads, tails, and wings of animals are entangled with ribbon weaves. A similar ornament is known among the Balkan Slavs, in Scandinavia, Ireland and in many works of the Romanesque style from different regions of Europe. The basis of this stylistic unity is the common origin of the animal ornaments of the Eastern European nomads of the era of 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 most popular image of a predatory beast 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. Important role V ancient Russian art play images of real and fantastic animals. They decorated the churches of the cities of Vladimir and Suzdal, as well as jewelry: bracelets and hoops. Used in the book craft, starting with the Ostromir Gospel.

Guidelines:

• Make a copy of the teratological ornament, choosing a sample of your choice (Internet, books, albums, cards).
• Sheet size A4, overall dimensions of the ornament no more than 150x220mm.
• Technique – achromatic graphics.