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This article deals with the history of the development of ornamentation in keyboard music, the principles of its formation and performance styles. Ornamentation is one of the greatest means of expression in keyboard performance. It has ancient historical roots. In keyboard music, ornamentation was subject to various changes depending on the period. Ornamentation manifests itself in various forms in keyboard music. Thus, ornamentation is not just a means of embellishment. It is considered as the main component in the creation of a work. Embellishments are also essential as an aesthetic factor. The purpose of this research is to review the principle of the embellishments’ historical development, to classify the types of ornamentation in music and to determine the role of embellishments in music. At the same time, the research clarifies the concept of the style of ornamentation in the keyboard music of Western Europe. The research methodology is based on a comprehensive musical-analytical, theoretical and historical analysis, a synthesis of the Western European and Russian musicologists’ scientific literature regarding the subject of ornamentation. The research includes links to articles published with regard to ornamentation in music encyclopedias, and the conclusions have been scientifically substantiated. The scientific novelty of the research. For the first time in the framework of the musical science of Azerbaijan, the features and principles of the ornamentation performance in Western European keyboard music were studied. The findings of the study can be used for future research. Conclusions. Ornamentation is important in the keyboard music of Western Europe and acts as its main means of expression. The development of ornamentation in keyboard music is directly related to the art of improvisation. So, embellishments are considered as the main means of expression in the art of improvisation. In keyboard music, ornamentation is not only an embellishment of the melody. Along with the structure of the melody, it also plays an important role in creating the rhythmic structure of the work, the artistic content of the work, and the shape of the texture. Musicologists have considered ornamentation from the point of view of various prisms and classified it in various forms. In the modern period, ornamentation is divided into two groups in the form of embellishments and free ornamentation. One of the main features of keyboard music in Western Europe is that it reflects the musical traditions of that period. It should be noted that the ornamentation in keyboard music underwent a period of rapid development in the Baroque era. The main characteristic feature here is the lack of regulation of decorations, its change depending on the school, style of performance. Later the concept of style in ornamentation was lost. Thus, in the classical era, the embellishments were already regulated and a common system of decorations in European keyboard music was adopted.

Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it, that might influence a person's perception of spiritual aesthetics. Therefore, this article explore what spiritual aesthetic means and how it relates to Islamic ornamentation. Furthermore, Islamic ornamentation should be considered a part of the interior of the Islamic architecture rather than just decorations added after the fact or to cover in gaps. Through the interplay of the people and interior space, these ornaments have the potential to engage with human aesthetics. Therefore, this research also focuses on the aesthetics and beauty of ornaments, which satisfy one of human psychological needs: to be in a beautiful environment. Because emphasis of the research is to explore how people perceive the aesthetics of Islamic ornamentation, a semiotics method was chosen because of its capacity to transcend literal meanings. The identification and evaluation of the aesthetic and religious qualities of the Islamic ornamentation brought out in this paper can be very helpful for the artists as well as scholars in understanding the Islamic art. Keywords: Islamic Ornaments, Islamic Architecture, Aesthetic Value, Spiritual Aesthetics, Islamic Art, Architectural Ornaments

The paper considers one of the categories of medieval jewelry – temporal rings with décor made of spirally twisted wire. The study characterizes finds from Eastern Europe known to date and provides data on jewelry from Central and South-Eastern Europe. The temporal rings of different design of their ends and spiral decorations are identified. Jewelry of this type is associated with the Byzantine jewelry tradition. The finds are concentrated in Slavic sites along the Danube, in Serbia, Bulgaria and Southeast Romania. They are not numerous in Central and Eastern Europe. Their chronology, as in the Danube-Balkan region, covers the 10th–14th centuries, the largest number of finds belonging to the second half of the 11th–13th century. Rings with a spiral decor could enter Northern Rus both as a result of trade and with settlers from the southern Rus lands. A small number of finds indicate that this type of jewelry did not become the subject of mass production outside the Danube-Balkan region.

Multān specializes in the making of traditional footwear called khussa. A khussa is a leather shoe usually embroidered on the upper side. The toe of the khussa is round. The design of the embroidery is traced by cut paper to be later embellished by craftsmen in factories and workshops or women in villages who can do embroidery on khussa. Khussas having filigree patterns have embroidery done with a metallic thread called ṫilla on specifically red, black, or skin-colored leather. The origin of shoes is difficult to be traced however it is evident that man invented shoes to protect himself from threats caused by natural elements i.e. weather, climate, and rough surfaces. The shoe has been a protector of human feet for centuries. This paper will explore the types and varieties of Khussa’s in Multan.

This visual essay reports on an artistic research residency that took place in and around Villa Empain in Brussels. The various explorations that were undertaken over a one- month period oscillated between the villa, the Vossenplein that houses a large flea market, and the studio space of the residency. A crucial part of the collaborative process was the continuous production and (re)adaptation ? the ‘transcoding’ ? of works across these various contexts. The term ‘transcoding’ refers not only to the jumping back and forth between ornament and structure, rest material and essence, but also between locations, scales and configurations. Where ? like in video transcoding ? the effect can be minimal or substantial depending on the settings. Our visual essay attempts to organise the (spatial, physical, material) results of these movements back and forth. It visually depicts the dialogues that took place across three sites and three artistic practices.

Starting from some ideas of H. Wolflin, O. Spengler pointed out an interesting problem of correlation between the evolution of art and social evolution. Regardless of the realness of their observations and conclusions, the idea of searching and analyzing such correlations seems to be very fruitful, and especially in the context of preliterate culture surviving due to archeology. This paper, drawing on the empirical archaeological data related to so called Incised and Stamped Pottery Cultures (ISPC) of Early Hallstatt period (XII-IX centuries BC) of Carpathian-Dniester region, aims to consider and verify the ideas of H. Wolflin and O. Spengler. For this purpose, and basing on the previously established by the author fivephase evolution scheme of ISPC of Carpathian-Dniester region (including such a key component of ISPC as Sakharna-Soloncheni culture), the dynamic of fine pottery ornamentation of these societies is analyzed. The analysis demonstrates that the evolution of pottery ornamentation of ISPC started from a minimal number of ornamental patterns and moved towards increasing their number. The parallel tendency was the increasing of the ornamented square of pots. These processes, as well as the innovativeness and openness to external influences, peaked in the fourth phase of Sakharna-Soloncheni culture; this phase was also the time of its greatest prosperity.

The article is dedicated to the architectural monument of Kazakhstan, the mausoleum of Aisha Bibi, called by the architect Т.K. Basenov «the jewel of memorial architecture of Kazakhstan and treasury of the Kazakh ornamental art». The mausoleums of Aisha Bibi and Babaji Khatun were built in the XI-XII centuries and are located 18 km southwest of Taraz city. The mausoleum is the identity key of the regional architecture of Kazakhstan in the XXI century.

El presente artículo pretende ofrecer una visión de la retórica y concepción del virrey en Nueva Granada durante el siglo XVIII y de espacios de poder como las Casas Reales de Santa Fe que debieron servir de cómodo aposento para la corte virreinal, como ocurría en las de Nueva España y el Perú, -a espejo de la madrileña-, pero que, se vieron parcialmente desatendidas entre dificultades económicas, disputas locales y proyectos arquitectónicos que nunca se cumplieron., This article aims to provide an insight into the rhetoric and conception of the figure of viceroy in New Granada during the 18th century; additionally, we aim to analyse spaces of power such as the Royal Palace of Santa Fe. Mirroring the Royal court in Madrid, constructions such as those in New Spain and Peru should have served as comfortable accommodations for the viceregal court. These spaces were partially neglected due to economic difficulties, local disputes and unfinished architectural projects.

Culture and tradition are vital constituents of traditional architecture. However, in the period of proliferation and modernism,traditional architecture is fast disappearing in most parts of Africa due to negligence and incredulity of its importance. Reassessment becomes necessary as traditional architecture can be a source of inspiration even in contemporary times. Throughreview scoped literature, this study takes a critical look at how culture affects ornaments of architecture in Nigeria with Yorubaas a case study. This paper explores significance of ornamentation in Yoruba palace architecture. This means the creative objectswithin the old palace (‘afin’) constructed when the city was formed, including the courtyards (‘akodi’) and other structures withinthe palaces. It concludes with attributes of different palace ornamentation with clear direction on key roles in the study palacecultural belief and traditions. Data was sourced from fieldwork, oral interviews and relevant literature. Purposively selectedphotographs of palaces ‘Afin’ are used in discussing the state of the architecture and sculpture objects, therefore raises theenquiry of their connotation for upcoming generations. In other words, ornamentation has a basic statement for which it wascreated (meaning); the mutual concern and relevance of such artifact, form, or object gives it a name, root and status in additionto identity as the material culture of the designing community. The study reveals the benefits of palace ornament to Yorubatradition and culture and the importance of culture and history of people if the memories of their past are celebrated and theircenotaphs and antique places of pride are intact. This paper suggests that elements of palace ornaments like art and heritage architecture in Yoruba palace ornamentation have become a natural occurrence

While the “symbolic” meaning of early body ornamentation has received the lion’s share of attention in the debate on human origins, this paper sets out to explore their aesthetic and agentive dimensions, for the purpose of explaining how various ornamental forms would have led interacting groups to form a cultural identity of their own. To this end, semiotics is integrated with a new paradigm in the archaeology of mind, known as the theory of material engagement. Bridging specifically Peirce’s pragmatic theory and Malafouris’ enactive take on aesthetics allows us to appreciate the formation of aesthetic ideals through the agentive effects of material signs. It is thus proposed that, by attending to the interrelation between form, effect, and affect, members of social groups would have come to appreciate the ways in which their ornamental culture resembles and differs from that of neighbouring groups. Following the Lund conception of cultural semiotics, I argue that models of Ego-culture would have come to evolve along Alter-cultures that also employ ornaments, and against Alius-cultures that have yet to develop or adopt personal decoration. The aesthetic ideals associated with early body ornaments must have therefore played a catalytic role in the formation and communication of group membership. I thus close by proposing that the origins of new cultural identities can be explained by tracing the co-development of ideas and ideals.

Despite the history of Baghdad city extends into a long history, most of the contemporary buildings of Baghdad have been shaped in the era of modernity. Furthermore, most of the buildings of modernity in Baghdad are types of modernity buildings in Iraq as a whole, and due to all the joints of change and development are taking place in Iraq starts from Baghdad. Accordingly, all selected buildings, which would be presented as case studies of modernity will be exclusively in Baghdad. Although the importance of this significant modernist product, which represents the identity of Baghdad, which should be preserved by the renewal and preservation policies, the problem of research was emerged as follow: new finishing materials have been used to cover their exterior facades, which are unrelated to the notion of modernity. The aim of this research is highlighting this Phenomena, which occurred after 2003 in Iraq, and characterized by changing the monuments of modernity buildings. This change was either by undergoing a lot of changes of their facades design or by covering them with new materials. Thus, the use of these materials, specifically plates of aluminum will be analyzed and then, discussed the effects implications, since these buildings represent a cultural and architectural heritage that establishes architectural successes. Consequently, the research methodology will depend on the choice of buildings that built in an important era (between 1950s and 1960s), analysis their facades before and after changes, in order to identify the reasons that resulted to the usage of such materials and suggest recommendations, which can address their negative impacts.

This paper attempts to vindicate the part played by certain Spanish aristocratic women in the management, conservation, and transmission of their artistic patrimony in the decades around the turn of the twentieth century by creating art collections and displaying them in their own homes. The works were exhibited in rooms that were decorated and furnished to suggest historical ambiences in which French trends rubbed shoulders with styles that had been developed in Spain throughout its history, turning their homes into devices that recreated past times. Similarly, retrospective views of Spanish art were the focus of leisure and entertainment activities driven by ladies from the upper echelons of society through the performance of tableaux vivants. The focus of this study will be Trinidad Scholtz Hermensdorff, Duchess of Parcent.

Ornamentation is one of the elements in mosque which is almost considered as a compulsory element by the common people. Most of these ornaments are using the precedent from Middle East, such as geometry, floral and arabesque (Utaberta, 2014). Many architects are using revivalism approach of past architectural building such as the Putra Mosque, glorious son of Malaysia. The Putra mosque adopts distinct Islamic architecture that calls on a foreign eclectic revivalism (historicism design approach) of the Persian (Iranian) vocabulary found during the glorification of Safavid period (Utaberta 2012). Ornamentation in Islamic building has recorded in many books. describe that one of the first ornamentation in Islamic Building found in Persia which is using revivalism approach in designing ornament in its column. Ornamentation is the key element that is used in most mosques all over the world. The aim of this writing is to provide the Charles Jencks’s approaches to evaluating ornamentation system in mosque especially in Malaysia.

Early Roman Period pottery of the Przeworsk culture included vessels covered with elaborate zonal decoration. They were particularly typical for sites from the eastern area of this culture. Undoubtedly, at least some of the ornamental motifs, featuring primarily on artefacts from sepulchral contexts, can be seen as a reflection of the spiritual culture of the investigated community. A unique ornamentation has been recorded on a cinerary urn discovered in the Przeworsk culture cemetery at Ostrow, Dist. Przemyśl, site 21. Some of the motifs featuring on the urn find no parallel among symbols known from the period. It cannot be ruled out that they are evidence of contact with Sarmatian tribes, which could have taken place in the upper Dniester basin. The discussed motifs were most likely a form of symbolic message, legible to the community in which they were created.

An ornamental and coloristic basis comprises the dominant ethnic determinant of Bashkir folk art. Within the structure of the development of modern ethnic design, the ornament is also one of the most proactive factors. Tamgas’ modular units, Turkic runic writing graphemes and traditional ornamental basic motifs together form a triad consisting of several dozen elementary, stylized graphical units and, as an aggregate, constitute the fundamental principle behind the entire pictorial information system of Eurasian Mongol–Turkic nomadic culture. Folk artists, while transforming them in various ways, have over the centuries created thousands of derivative variations. Identifying these well-established modification techniques of ornamental and Tamgas-type elements on the basis of comparative structural analysis provides us with new opportunities in the field of the creation of modern decorative compositions. The active application of graphical design software opens up limitless creative possibilities for the use of these traditional modification methods in the professional work of designers in various fields. A thorough theoretical study of the artistic heritage and creative development of ornamental and iconic structures’ transformation principles in schools will help in the comprehension of folk art traditions at a new level. Thus, the study of the abovementioned triad in this context provides great practical value for the successive development of regional ethnic design.

The Archaeological Journal, 10, 275-301

The word "ornamentation", used during the period considered in this article, means the improvement of the appearance of town centres through the planting of trees, the grading and fencing of commons, the establishment of promenades, and new concepts for the design of cemeteries. To some the word had a ring of superfluity, but to others the time had come to enrich the landscape in a way that would make it pleasing to the eye.

A decorative belt in the form of an indented frieze, which in Pskov is called a "runner" (begunok or begunets), surrounds the drums supporting the domes and graces the apses of Pskov churches to form one of their most distinguishing features. It consists of three bands, the two outer ones formed of quadrangles, while the inner one is made up of interlocking triangles whose apexes alternately point upward and downward (fig. 1). Above the begunki, on the drums, usually there are additional decorative "brows" formed by a series of indented arches. But these are not unique to Pskov and will not be dealt with in this paper. The ornamentation on the apses usually is composed solely of the Pskov begunok. The Pskov begunok has been described as an import from Novgorod,' the product of a Western influence,2 or an imitation of a pattern from a local folk craft in some other medium, such as wood carving.8 It is this writer's contention that it was invented in the middle of the fourteenth century by a Pskovian who independently devised his original design, which he derived from geometric figures available to most people in most ages. The originality versus the derivativeness of the Russian arts is a perennial topic of debate. However, even those who defend their uniqueness often argue that the more developed or sophisticated Russian arts are original only in the sense that they come from a native folk tradition. Little consideration is given to the possibility of entirely independent creation. The Pskov begunok gives an opportunity for establishing this last possibility. It also illustrates still another kind of uniqueness: the integrity of an art form in the sense that it is peculiar to a certain time and place. Neither influenced from outside nor integrated with the outside, it is only transported intact as a sign of origin. Pskovian masons were famous throughout Russia because they contributed many practical skills and useful ideas which were incorporated into the general composition of Russian architecture, but the begunok remained a particular kind of addition, a Pskovian signature to work done. The overwhelming influence of Novgorod, Vladimir-Suzdal, and Moscow in various periods of Russian art history has created crosscurrents which pose

The polychromic style of the Late Roman period is characterized by a combination of the following traits: a stable set of ornamental motifs, specific ornamentation techniques (embossing, stamping, granulating and filigree techniques) and bezel setting of semi-precious stones or jewelry glasses. Altogether, five stylistically distinct groups of polychromic articles can be distinguished in the Late Roman Period. The first stylistic group named Illerup–Kerch consists of objects decorated with thin gold plates embossed with the following designs: granulation, filigree patterns, concentric circles and serpents. They appear as early as the second third of the 3rd century AD and continue to exist up to the middle of the 4th century. The second stylistic group Berkasovo–Kishpek includes objects decorated mainly with thin gilded silver plates embossed with both the same and some new designs such as sidelong crosses, stars, triangles. These objects appear not earlier than the early 4th century and continue to exist during most of this century. The third stylistic group Gorgippia–Loo includes massive gold objects decorated all over with festoon patterns of soldered granulation and filigree, and with turquoise, carnelian and garnet inserts in the center of the girdle. While such objects are particularly common at the Caucasian sites (Armaziskhevi, Kldeeti, Loo) dated to the second half of the 2nd century and the first half of the 3rd century, they are also known in Bosporus (Gorgippia, Panticapaeum) and in the Kuban region (“Golden cemetery”). In addition, some of the Late Roman sites have yielded rare finds of objects executed in a technique similar to the technique of filigree incrustation. These objects constitute the fourth stylistic group Aragvispiri–Tanais. They were found at Komarov II (barrow 8); Adzhimushkai, 1841; burial with the Golden Mask of 1837; Berdyansk barrow; Tanais, 1972, etc. The fifth group Messaksudi–Kerch appears in the second third of the 4th century AD and combines characteristics of the previous two groups: ornaments of the third group (genuine granulation and filigree), but on thin gold plates. The main ornamental motif are granulated triangles which fill all the space between the bezels inserted with semiprecious stones and glasses. Nearly all items included in the third and fifth groups may have analogies among the objects of I.P. Zasetskaya’s stylistic group I of the Hunnic era polychrome products, but precede them and belong to the 3rd – 4th centuries AD.

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En este trabajo se da a conocer una muestra de las más destacadas cerámicas de época almohade que se conservan en el Museo Arqueológico de Borriana y que proceden de excavaciones arqueológicas realizadas en la ciudad y su entorno. Se presta especial atención a la decoración epigráfica pintada o incisa sobre la arcilla fresca y la estampillada. Del análisis de su decoración epigráfica se ha extraído información de notable interés que complementa aquella directamente derivada del análisis tipológico. This paper will present a sample of the most outstanding Almohad ceramics that are preserved in the Archaeological Museum of Borriana. These pieces have been found during the archaeological excavations that were carried out in the city and its surroundings. Special attention has been paid to the calligraphic decoration painted or engraved on the clay, as well as to epigraphic stamps. The analysis of the epigraphic decoration on these ceramic pieces have produced results that are complementary to those obtained from the typological analysis.

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Until the present time, my study of the music of the Aranda-speaking people of Central Australia has been in greater detail than my study of aboriginal music from other areas. This has been possible as a result of the large collection of sacred and ceremonial songs recorded in Central Australia by Mr. T. G. H. Strehlow. These recordings, supplied together with transcriptions and translations of texts, details of the function of each song, the reason for the performance, the place of performance, etc., has enabled me to consider many aspects of the music which would not otherwise have been possible. It is from this material that the main part of the present study on ornamentation has been taken. There are two types of sacred song which are obviously distinct in the mind of the Central Australian performer. The one, a ceremonial song of a particular totem in the particular locality, is a choral song performed by initiated men; the other is always performed by one person. In this latter group of songs, we find the charms which may be used, for instance, for making rain, or for causing bodily harm or other evil to an enemy. There are many musical features which differ in these two types of song. The melodic outline of the choral song is more extensive than that of the solo song. While both retain the characteristic descending scale pattern, the choral song can be divided into three sections. The first of these is from the upper third (very often a minor third) to the tonic; the next is from the upper tonic down to the third in the lower octave; the final section is a repetition of the first section (with slight alterations) in the lower octave. There are variations of this standard pattern. Sometimes the important interval of a third is anticipated, but never replaced in importance, by higher notes. Sometimes this interval is not the more usual third, but a major second, which, also, may be introduced by higher notes. Yet another variation is to omit the middle descending section altogether, and to proceed directly from the upper tonic to the first note of the final section. The melodic outline of the solo song may be similar to the first section of the choral song, but it is rarely found repeated in the lower octave, and it is probably an error on the part of the singer when this does happen. Decoration around an interval of a second or third is common, but more often the range is slightly extended, and the total distance covered, about a sixth. In this case the emphasis given to the higher notes is noticeably more than that given to the upper extension of the standard interval of a choral song. This differentiation of melodic outline gives rise to distinctive approaches to ornamentation. The main purpose of ornamentation is to embellish the important notes. Ornaments will therefore rarely be found on the fourth, fifth or sixth degrees of a choral song, while these same notes may be highly decorated in the solo song.

In the last fifteen years, research on the Slavic Gospel manuscript tradition have reached new and important achievements especially with the spread of computer technology and digitization process. Taking into account progress in the study of the Greek manuscript tradition, the author explains some basic guidelines: the textual structure of the Gospel book, the Menologion pericopes, the Gospel book ornamentation, the new editions. At the end the main essays on individual manuscripts or on particular issues are introduced. The Slavic Gospel, therefore, is still a key issue of Slavic studies in the field of Slavic paleography, textual criticism, and linguistic analysis.