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Which clippings match 'Ornamental' keyword pg.1 of 1
13 MARCH 2013

Chinoiserie at Lincolnshire's Belton House

"Hand painted C18th Chinese wallpaper at Belton in the Chinese Bedroom with a continuous scene of a garden party. Cornice, dado and other joinery painted to imitate bamboo."

(National Trust, UK)

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TAGS

18th centurybamboobedroom • Belton House • Chinese • Chinese Bedroom • Chinese wallpaper • Chinoiseriecontinuous scenedecordecorationdecorative artsdepictionEast Midlands • furnishings • garden party • great country house • hand-paintedinterior designLincolnshire • National Trust • National Trust Images • oriental • orientalismornamentalpaintingscenery • stately home • UKvisual designvisual patternwallpaper

CONTRIBUTOR

Simon Perkins
12 MARCH 2013

Examples of Chinese ornament selected from objects in the South Kensington museum and other collections

"We have long been familiar with the power of the Chinese to balance colours, but we were not so well acquainted with their power of treating purely ornamental or conventional forms ; and in the chapter in the Grammar of Ornament on Chinese Ornament I was led, from my then knowledge, to express the opinion that the Chinese had not the power of dealing with conventional ornamental form : but it now appears that there has been a period in which a School of Art existed in China of a very important kind. We are led to think that this art must in some way have had a foreign origin; it so nearly resembles in all its principles the art of the Mohammedan races, that we may presume it was derived from them. It would be no difficult task to take a work of ornament of this class, and, by simply varying the colouring and correcting the drawing, convert it into an Indian or Persian composition. There is of course, in all these works, something essentially Chinese in the mode of rendering the idea, but the original idea is evidently Mohammedan. The Moors of the present day decorate their pottery under the same instinct, and follow the same laws as the Chinese obeyed in their beautiful enamelled vases. The Moorish artist takes a rudely–fashioned pot or other object, and by a marvellous instinct divides the surface of the object, 'by spots of colour, into triangles of proportionate area, according to the form and size of the object; these triangles are then crossed by others."

(Owen Jones, 1867)

Owen Jones (1867). "Examples of Chinese Ornament Selected from Objects in the South Kensington Museum and Other Collections: By Owen Jones. One Hundred Plates", S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England.

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TAGS

1867 • ceramic glaze • ceramicsChinesecolourcompositioncultural heritagecultural significance of objectsdecorationdecorative arts • enamel • enamelled vases • flowersformglazeIndianInternet ArchiveIslamicmaterial culture • Mohammedan • Moorish • Moors • motifMuslim • object surface • orientalismornamentalornamental formOwen JonesPeoples Republic of China • Persian • pigmentpotspottery • rudely fashioned • South Kensingtonsymbolic meaning • vase • visual appearancevisual designvisual grammar • visual heritage • visual motifvisual pattern

CONTRIBUTOR

Guannan (cassie) Du
01 MAY 2012

Graphic Design Communication students recreate an ornamental display font through contemporary and traditional processes

"Stage one Graphic Design Communication students have been developing a new ornamental display font with highly Individual characters inspired by drawing digitally and laser cut manufactured to the exacting standards reminiscent of a traditional font foundry.

Level tutor Nigel Bents and Associate Lecturer Paul Oakley will further support students by printing typographic posters at the New North Press."

(Graphic Design Communication at Chelsea College of Art and Design, 16 October 2011)

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Adobe Illustratoralphabetbeing smart with technology • Bodoni • Chelsea College of Art and Design • compositor • contemporary font design • craftcraft nostalgiacraft skillscreative practicedesignerdisplay fontdrawing digitallyearly twentieth centuryfont • font design • graphic design communication • hybrid processindividual character • laser cut • laser cuttingmovable typenew crafts • New North Press • new techniques • Nigel Bents • ornamental • ornamental alphabet • ornamental display font • ornamental font • Paul Oakley • posterprintingprinting processrecreationrendered on the screenskillsstudentstechniquetechnology • traditional font foundry • traditional practicestraditional processtype • type founding • typographertypographic postertypographyUKvisual communicationwoodblock printing

CONTRIBUTOR

Simon Perkins
02 NOVEMBER 2008

Architecture, sculpture, and natural form

"in 2001, Peter Wollen wrote a rather impressionistic piece on Situationism for the New Left Review, in which he discussed the Danish artist Asger Jorn and his 1948 essay, 'What is Ornament?'. Jorn, a founding Situationist and also an appallingly sloppy painter, had a quaint view of art:

For Jorn, the pairing of European versus oriental ran together with other pairings, such as classical versus spontaneous, idealist versus materialist, Apollonian versus Dionysiac, with Jorn supporting the second term throughout–oriental, materialist, spontaneous, Dionysiac, and so on.

Further, for Jorn:
the nature of art is not to imitate the external forms of nature (naturalism) but to create natural art. Natural sculpture which is true to its material will be identical to nature's forms without seeking to imitate.

Jorn thus compares a minaret to a horsetail, and a totem–pole to a chestnut branch; the non–Western forms are seen as more organic, more rooted in the natural world."
(Conrad H. Roth)

[A critique of a romantic and 'essentialist' view of art and design.]

TAGS

2001architecture • Asger Jorn • decorative artsdesignessentialism • essentialist • formidealismmaterial culture • materialist • minaretnaturalnature • ornament • ornamental • Peter Wollen • sculpturesituationist • what is ornament

CONTRIBUTOR

Simon Perkins
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