Ornament (lat. OgpatepSht - decoration, outfit) is a pattern based on rhythmic alternation and an organized arrangement of geometric and pictorial elements. The ornament serves as an adornment of buildings, structures, objects (dishes, furniture, weapons, fabrics, tools, etc.) belonging to the sphere of decorative and applied arts. Ornament is also widely used in book and industrial graphics.

A characteristic feature of the ornament is its inextricable connection with the material, the purpose of the object and the shape of the surface that it organizes. The general stylistic principles of the art of ornament are also related to the characteristics and traditions. visual culture of each nation, have a certain stability throughout the whole historical period and have a pronounced national character.

The origin of the ornament refers to the earliest eras stories. The similarity of the ornament is found in

Fig. 5.21. Ornaments of the neolithic period

Fig. 5.22. Solar signs: a - in schemes; b - in ornaments

the period of the Paleolithic, and in the Neolithic it becomes more diverse and begins to occupy a dominant position as an element of decoration (Fig. 5.21).

Man has found numerous examples of the repetition of various elements in nature: in the coloring of animals, the plumage of birds, in the structure of plants, in the running of sea waves, etc. Motives borrowed from the environment, changed, acquiring ornamental and expressive forms.

The motive is the main element of the ornamental composition, which can be repeated many times. The motive can be simple, consisting of one element, or complex, consisting of several elements, plastically connected into a single whole.

For a long time, the ornament had the meaning of a talisman, was of a protective nature. In ancient times, people, decorating household items, clothes, dwellings with ornaments, believed that it protects from troubles, brings prosperity and happiness.

Honoring and deifying the forces of nature, man found their symbolic reflection in the ornament. For example with

Fig. 5.24. Symbols of water, plants and earth in ancient Slavic ornaments

Fig. 5.23. Swastika as an ornamental motive

the sun connected circles, rosettes, rhombuses, squares, crosses and spirals (Fig. 5.22). The cross, placed in a circle, symbolized the movement of the sun across the firmament. The swastika also signified the movement of the sun. Its ends could be bent in one direction or another. This is

Fig. 5.25. "Serpentine" patterns

depended on which sun was depicted: morning or evening. This sign is found in the ancient ornaments of Crete, India, Iran, in European ornaments (Fig. 5.23).

The symbols of the earth were straight horizontal lines, and the symbols of water were wavy ones. Wavy lines, placed vertically or obliquely, symbolized rain (Figure 5.24). In the patterns of the peoples of the Baltic countries, the image of a snake was a symbol of rain (Fig. 5.25).

Symbols-images of a female figure served as a designation of land and fertility. In the Slavic pantheon of gods, Makosh (Mo-kosh, Mokosha) was very revered - the goddess of fertility, water, patroness women's work... In embroidery and weaving ornaments, she was often depicted surrounded by horses, symbols of reproduction (Fig. 5.26). The depiction of a female figure as a symbol of fertility is characteristic of the ornaments of agricultural peoples. Cattle-breeding tribes often depict domestic animals and wild animals. For example, in Kazakh and Kyrgyz ornaments,

Fig. 5.26. Goddess Makosh. Drawing from Russian embroidery

Fig. 5.27. Ornaments: a - Kazakh; 5 peoples of the North

there are transformed images of ram antlers (Fig. 5.27, a), among the peoples of the North - deer antlers (Fig. 5.27, b).

As you can see, the ornament is closely related to folk art... In it, people tried to express their understanding of nature, peace, life, beauty and happiness.

Over time magical meaning ornamental motives have been forgotten, but thanks to their decorativeness they continue to live. Some elements of the ornaments have been preserved for centuries.

So, the theme of the ornament is closely related to its cultural background, and in the ornamentation it is quite fully reflected art style of its time.

In ancient Egypt, the figurative content of art was determined primarily by the influence of religion and the deification of the pharaoh. Hence - the strict canonicity of forms, symbolism, clear architectonics, monumentality, severity and grandeur.

The Egyptian ornament is based on stylized natural motives: a lotus flower, papyrus leaves, the sun in the form of a round disk, sphinxes, lions, snakes, etc. Ornaments are distinguished by a strict graphic language

Fig. 5.28. Ornaments Ancient egypt

and a minimum of color: red, yellow, blue, which is subsequently replaced by green (Fig. 5.28).

Quite different tendencies characterize the ornament of Ancient Greece, the art of which is full of life-affirming power. The Greeks sought to find the rational foundations of beauty, which they understood as the embodiment strict order and proportionality. Greek ornamentation is distinguished by combinations of horizontal and vertical lines with floral motifs. The ornament is characterized by regular and strict symmetrical shapes (Fig. 5.29). According to archaeologists, the Greeks loved color.

The art of Ancient Rome largely inherited the features Greek art, especially in the ornament. However, the Romans interpret the same motives differently. Floral motifs are woven into lush garlands, figures of people and animals are accompanied by military symbols. Roman ornaments are distinguished by their splendor, pomp and some cumbersomeness.

Fig. 5.29. Ornaments of Ancient Greece

Fig. 5.30. Medieval ornaments

Fig. 5.31. Renaissance ornaments

Fig. 5.32. Baroque ornament

Fig. 5.33. Rococo style ornament

During the Middle Ages, ornaments were distinguished by fantastic and fairy-tale designs based on plant and animal motives. The medieval ornament is symbolic. Natural motives are interpreted conventionally and stylized. Simple rectilinear geometric shapes turn into wicker curvilinear ones (Fig. 5.30). Through the elaborated decorative and ornamental means in the Middle Ages, the inner world, state and experiences of a person were indirectly transmitted, which was not in ancient art.

During the Renaissance, a secular humanistic culture was formed that affirms the value of the human person. During this period, art strives for clarity and harmony. The motifs of acanthus and oak, vine, tulip are widely used in the ornaments, located against the background of plant curls and patterns (Fig. 5.31). In addition, animals and birds were often depicted in combination with a naked human body.

The ornament of the Baroque style is built on tense contrasts, sharply opposing the earthly and the heavenly, the real and the fantastic, however, like all baroque art. Baroque ornamentation is distinguished by a variety and expressiveness of forms, splendor, splendor and solemnity. It is also characterized by decorativeness and dynamics, the predominance of curvilinear forms and asymmetry (Fig. 5.32).

IN early XVIII in. 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, the absence of clear constructiveness (a favorite motif is a shell) (Fig. 5.33).

During the period of classicism at the end of the 18th century. there is a revision of the ideals of ancient aesthetics. The ornament regains static and poise, clarity and clarity. It consists mainly of straight lines, squares, rectangles, circles and ovals, it becomes restrained in color (Fig.5.34).

IN early XIX in. the domination 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... Typical 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.

Acquaintance with the art of ornament involves the study of ornamental motives and compositional patterns for constructing ornaments.

Depending on the nature of the motifs used, the following types of ornament are distinguished.

Fig. 5.34. Ornament of the era of classicism

Geometric ornament represents regular geometric elements: straight and curved lines, squares, rectangles, triangles, circles, ovals, etc. Many motives derived from geometric elements in different combinations, have their own names: stars, roses, crosses, zigzags, braids, meanders, etc. (fig.5.35).

Floral ornament is one of the most common ornaments after geometric. His motives are stylized images of plants and their parts: leaves, flowers, fruits, stems, etc. The floral ornament has great possibilities in terms of interpreting natural forms, which are not only stylized, but can also look realistic, three-dimensional (Fig. 5.36).

Zoomorphic ornament depicts stylized figures or parts of figures of real and fantastic animals and birds (Fig. 5.37).

Ornithomorphic ornament - special case zoomorphic ornament. His motives are images of birds and parts of their figures. This ornament is popular among many peoples and often has a deep religious and symbolic meaning (Fig. 5.38).

Anthropomorphic ornament is a composition composed of images of male and female human figures or individual elements of the human body (Fig. 5.39).

Fig. 5.36. Floral ornaments

Fig. 5.37. Zoomorphic ornament

Fig. 5.39. Anthropomorphic ornament

Fig. 5.41. Calligraphic ornament

Fig. 5.38. Ornithomorphic ornament

Fig. 5.40. Teratological ornaments

Fig. 5.42. Schemes for constructing ribbon ornaments

Teratological ornament is

the most mysterious and interesting genre ornament. His motives are characters created by human fantasy. These fantastic creatures can simultaneously have signs of different animals or animals and humans. For example, mermaids are fish women, centaurs are horses with a human torso, sirens are birds with a female head, etc. The motives of teratological ornaments are shown in Fig. 5.40.

Calligraphic ornament is composed of individual letters or text elements, expressive in their plastic pattern and rhythm. The art of calligraphy has developed most fully in countries such as China, Japan, a number of Arab countries, a certain sense replacing the fine arts. Calligraphic motifs very often appear in a complex combination with geometric and floral elements (Fig. 5.41).

Fig. 5.43. Types of centric ornaments

Heraldic ornament is an ornament in which signs, emblems, coats of arms, elements of military equipment - shields, weapons, flags are used as motives.

Astral ornament contains stars, clouds, sun, moon as motives.

Landscape ornament - an image of decoratively reworked natural landscapes. Especially often he

Fig. 5.44. Types of mesh ornaments

used and is now used on textiles in Japan and China.

Combined ornament contains various combinations of the above motives and is the most common type of ornamental composition. Ornament is the most ordered type of compositional construction. It obeys the laws of harmony and proportions, all kinds of symmetry can be observed in it.

The organizing principle of any ornamental composition is rhythm. It can be ascending and decreasing. The rhythmic repetition in the ornament of motifs, their inclinations, spatial turns, gaps between them and other elements is essential characteristic ornament.

The repeating motif of the ornamental pattern is called rapport (from French rapport - return). The repetition of the rapport vertically and horizontally forms a rapport grid.

According to the form of compositional schemes, the following types of ornaments can be distinguished.

A ribbon ornament is an ornament in which the rapport is repeated many times, developing in one direction. Moreover, the motifs in the ribbon ornament can be located in a straight line, such an ornament is called strip. In some cases, the rapport is repeated along a curved contour, called a border. In architecture, arts and crafts and costume design, the ribbon ornament (frieze, border, border) most often has a horizontal position. His composition is based on different types symmetry. In fig. 5.42 shows diagrams for constructing ribbon ornaments, showing seven ways of constructing a pattern according to the laws of symmetry. There can be much more of such compositional structures due to the variability of the elements.

A closed ornament is an ornament in which ornamental motifs are located in a circle, square, rectangle, triangle, etc. The construction of an ornament based on central-axial symmetry, when the rapport rotates around the central axis, is called centric. The motives in such an ornament are placed from the center along the rays, filling the entire surface bounded by the circle, and when the axis rotates, they are completely aligned. The most typical example of such an ornament is a rosette, or rosette, which has received the greatest popularity in gothic art(fig. 5.43).

A mesh ornament is an ornament in which a repeating rapport fills the entire decorative surface, developing in two directions: horizontally and vertically. The cell of such a rapport grid can have various shapes: square, rectangle, regular triangle, rhombus, parallelogram, etc. This type of ornament is often used in architecture when decorating walls, floors, ceilings; in a suit, in fabrics (Fig. 5.44). Mesh ornaments often called rapport compositions.

5. Give examples of the use of ribbon, mesh and closed ornaments. Explain the relationship of the ornament with the shape and purpose of the product.

6. Give examples and analyze the nature of ornamental motives and ornamental design of clothes in national costumes different nations.

§ 7. Use of natural forms in ornamental composition

The variety of living and inanimate nature is an inexhaustible source of inspiration for creative person... Only in contact with nature does a person know its beauty, harmony and perfection.

Ornamental compositions, as a rule, are created on the basis of the transformation of natural forms.

Transformation - change, transformation, in this case, decorative processing of natural forms, generalization and highlighting the essential features of an object using certain techniques.

Techniques for decorative processing can be as follows: gradual generalization of the form, adding details, changing the outline, saturating the form with an ornament, transforming a three-dimensional form into a planar one, simplifying or complicating its design, highlighting a silhouette, replacing a real color, various colors of one motif, etc. ...

In decorative art, in the process of transforming the form, the artist, while preserving its plastic expressiveness, seeks to highlight the main, the most typical, rejecting minor details.

The transformation of natural forms should be preceded by sketches from nature. Based on real images, the artist creates decorative ones based on creative imagination.

The artist's task is never limited to simple embellishment. Each decorative composition should emphasize, reveal the shape and purpose of the object being decorated. Her stylistic, linear and color scheme is based on a creative rethinking of nature.

Transformation of plant forms into ornamental motives

The richness of the plant world with its forms and color combinations led to the fact that plant motifs have long occupied a dominant position in ornamentation.

Vegetable world in many ways it is rhythmic and ornamental. This can be seen by looking at the arrangement of leaves on a branch, veins on a leaf, flower petals, tree bark, etc. At the same time, it is important to see the most characteristic in the plastic form of the observed motive and to realize the natural connection between the elements of the natural pattern. In fig. 5.45 shows sketches of plants, which, although they convey their image, are not an absolute copy. Performing these drawings, the artist traces the rhythmic alternation of elements (branches, flowers, leaves), while trying to reveal the most important and characteristic.

To transform a natural form into an ornamental motif, you must first find a convincing artistic expression an object. However, generalizing the form, it is not always necessary to abandon small parts, as they can give the form more decorative and expressiveness.

Sketches from nature contribute to the identification of the plastic features of natural forms. It is advisable to make a series of sketches from one object from different points of view and in different angles, emphasizing the expressive sides of the object. These sketches are the basis for the decorative processing of the natural form.

To see and recognize the ornament in any natural motive, to be able to reveal and display the rhythmic organization of the elements of the motive, to expressively interpret their form - all this constitutes the requirements necessary for an artist when creating an ornamental image.

Fig. 5.45. Natural sketches of plants

In the process of decorative processing of plant forms big role such means of artistic expression as line, spot, point and color play. Graphic tools can suggest, and in some cases even predetermine the nature of the transformation of plant motifs.

Fig. 5.47. Spot solution of motives

In decorative work, a special role belongs to line drawing, since the line most sharply conveys all the nuances of the plastic form, the peculiarities of the transitions of some elements into others, the rhythmic movement of these elements. However, some parsimony of a linear graphic language can lead to dryness and even schematism in sketches. Therefore, it is very important to study nature and first focus on nature sketches, which help to better study the plastic features of the form.

Fig. 5.46. Linear solution of motives

Fig. 5.48. Nasturtium. Linear spot solution

In a linear interpretation of the model, three solutions are distinguished:

1) the use of thin lines of the same thickness (for ornamentation of small-scale motifs);

2) the use of thick lines of the same thickness (if the drawing needs to be given activity, tension, monumentality);

3) the use of lines of different thickness. Such a solution to the drawing has great pictorial and expressive possibilities, but it is rather difficult. To achieve continuity, lines of one thickness must be combined to form their own pattern in the drawing, which must oppose the pattern of lines of a different thickness. Or rather, it should be a composition of lines of different thickness (Fig. 5.46).

The stained interpretation of motives contributes to the maximum silhouette generalization of forms. It can be a black silhouette on a white background and a white silhouette on a black background. The artistic language of the spot is strict and restrained. However, a stain can also reveal an infinite variety of conditions (Figure 5.47).

The most widely used is the linear-spot treatment of plant motifs (Fig. 5.48). In this case, it is very important to organize spots and lines into a harmonious composition. The spots need to be structured into a single pattern, interesting in itself, in rhythm and silhouette. But it is also necessary to connect ornamental-logically lines with rhythmically scattered spots, so that both of them, joining together, create an integral graphic image. It should be noted that the stain can be used as a lining for a linear solution of the motive.

Fig. 5.49. Transformation of the plant motif. Academic work

In fig. 5.49 presents examples of working on the transformation of a plant form using a linear, spot and linear-spot solution.

Considering the features of the transformation of plant forms into ornamental motifs, it should be noted that the color and coloration of natural motives is also subject to artistic transformation, and sometimes to a radical rethinking. Not always the natural color of a plant can be used in an ornamental composition. A plant motif can be solved in a conventional color, a pre-selected color, in a combination of related or related contrasting colors. A complete rejection of the real color is also possible. It is in this case that he acquires a decorative convention.

Transformation of forms of the animal world into ornamental motives

Drawing from nature of animals and the process of transforming their forms has its own characteristics. Along with sketches from nature, the acquisition of skills for working from memory and imagination is an essential circumstance. It is necessary not to copy the form, but to study it, remember character traits, in order to then generalize them from memory. An example is the sketches of birds shown in Fig. 5.50, which are executed by a line.

Fig. 5.50. Sketches of birds from memory and presentation

Fig. 5.52. Examples of the transformation of a cat's body shape into a decorative motive.

Academic work

The subject of plastic rethinking of animal motives can be not only the figure of the animal, but also the various texture of the cover. It is necessary to learn to identify the ornamental structure of the surface of the investigated object, to feel it even where it does not appear too clearly.

Unlike visual arts in arts and crafts, the identification of the typical occurs in a different way. The features of a specific individual image in ornamentation sometimes lose their meaning, they become superfluous. Thus, a bird or an animal of a particular species can turn, as it were, into a bird or an animal in general.

In the process decorative work the natural form acquires a conventional decorative meaning; this is often associated with a violation of proportions (it is important to clearly understand why this violation is allowed). The figurative principle plays an essential role in the transformation of natural forms. As a result, the motif of the animal world sometimes acquires the features of fabulousness, fantasticness (Fig. 5.51).

The paths of transformation of animal forms are the same as those of plant ones - it is the selection of the most essential characteristics, the exaggeration of individual elements and the rejection of secondary ones, the achievement of the unity of the ornamental structure with the plastic form of the object and the harmonization of the external and internal ornamental structures of the object. In the process of transforming animal forms, such expressive means as a line and a spot are also used (Fig.5.52).

So, the process of transformation of natural forms can be divided into two stages. At the first stage, full-scale sketches are performed, expressing in an accurate, laconic graphic language the most characteristics natural form and its textured ornamentation. The second stage is directly creative process... The artist, using a real object as a primary source, fantasizing, transforms it into an image built according to the laws of harmony of ornamental art.

The ways and principles of the transformation of natural forms considered in this paragraph allow us to conclude that an important, and maybe the main point in the transformation process is the creation of an expressive image, the transformation of reality in order to reveal its new aesthetic qualities.

What is an ornament? Here are some definitions ...

Ornament- This special kind artistic creation, which, according to many researchers, does not exist in the form independent work, he only decorates this or that thing, but, nevertheless, “he ... is a rather complex artistic structure, for the creation of which various expressive means are used. Among them are color, texture and mathematical foundations ornamental composition - rhythm, symmetry; graphic expression of ornamental lines, their elasticity and mobility, flexibility or angularity; plastic - in relief ornaments; and, finally, the expressive qualities of the natural motives used, the beauty of the painted flower, the bend of the stem, the patterning of the leaf ... ”.
The term ornament is associated with the term decor, which “never exists in pure form, it consists of a combination of the useful and the beautiful; functionality is at the core, beauty comes after it. " The decor must support or emphasize the shape of the product.
Ornament- one of the most ancient types of human visual activity, in the distant past, it carried a symbolic and magical meaning, sign, semantic function. But early decorative and ornamental elements might not have semantic meaning, but to be only abstract signs in which they expressed a sense of rhythm, form, order, symmetry.

Ornament(Latin ornemantum - decoration) - a pattern based on the repetition and alternation of its constituent elements; intended for decorating various items (utensils, tools and weapons, textiles, furniture, books, etc.), architectural structures(both outside and in the interior), works plastic arts(mainly applied), primitive peoples also the human body itself (coloring, tattooing). Associated with the surface that it decorates and visually organizes, the ornament, as a rule, reveals or accentuates the architectonics of the object on which it is applied. The ornament either operates with abstract forms, or stylizes real motives.

Executed in one plane, highlighted in relief or cut in depth, one-color or illuminated with paints, which serves as a decoration in architecture different parts buildings (floors, ceilings, cornices, friezes, capitals of columns, the walls themselves, etc.), and in artistic and industrial industries it is used to give a beautiful look to all kinds of products (vases and other vessels, jewelry, carpets, fabrics for clothes and indoor decoration, wallpaper, furniture, etc.).

And more .... The word " ornament", Which is called one of the most ancient types of human artistic activity, comes from the Latin word ornamentum, which means" decoration ". And, at first glance, the very question "what is an ornament" contains an exhaustive answer: it is an ornament. A number of widespread and generally accepted definitions of ornament are formulated on the basis of the concept of "decoration". For example, in the dictionary of V.I. Dahl "ornament - decoration, embellishment, especially in architecture"; in F.A. Brockhaus and I.A. Efron's ornament is understood as "an image serving ... decoration of various parts ..."; in the Great Soviet Encyclopedia, it is "a pattern designed to decorate various objects."

The meaning of the name of this type of artistic activity, like the definitions given above, unambiguously indicates that ornament is an artistic phenomenon that does not have an independent meaning, because, being an ornament, it always depends on the object with which it is associated, revealing and emphasizing its merits ... But, defining an ornament as a decoration, we, in essence, do not answer the question “what is it”, but in fact we are talking about its purpose, ie. about why the ornament was created, about the function it performs in relation to the object. After all, if to the question “what is the sun”, say “the source of life on earth”, the thought will be expressed correctly, but it cannot be an answer to the question, because it only determines the role that the sun plays in a number of life processes, but absolutely not explains what it is. Thus, comprehending the ornament from the position of ready-made images already realized in objects or works of art as decoration is not sufficient to obtain an exhaustive answer to the question of what an ornament is.

Greek meander

Floral ribbon ornament

Ribbon ornament in Russia

BASIC CONCEPTS ABOUT ORNAMENT

TYPES OF ORNAMENTS

REGULARITIES OF ORNAMENTAL CONSTRUCTIONS

The concept of the composition of the ornament

Proportions

Rhythm and plastic

Symmetry

Static and dynamic compositions

Compositional solutions for patchwork

ORNAMENTAL COMPOSITION LAWS AND RULES

ASSEMBLY OF BLOCKS

1. TYPES OF ORNAMENTS

Ornament is one of the means of decorating works of decorative and applied art. The art of ornament is very ancient. It arose in the Paleolithic era. Ornamental images have an exceptional ability to deliver aesthetic pleasure, have a strong impact on a person, sometimes awakening in him unconscious feelings associated with genetic memory, cause chains of associations. The main regularity of the ornament is the periodic repetition of the motive, and this is what makes an aesthetic impression. 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 (from Lat. Ornamentium - decoration) is a pattern consisting of rhythmically ordered elements and designed to decorate various items (utensils, weapons, furniture, clothing, etc.), architectural structures, objects of decorative and applied art. Ornaments are divided into the following types: technical, symbolic, geometric, floral, calligraphic, fantastic, astral, landscape, animal, object (or material) 2.

All ornaments can be conditionally divided into pictorial and non-pictorial (geometric, symbolic).

Geometric ornaments include ornaments, the motives of which consist of various geometric shapes, lines and their combinations.

Geometric ornament plays a leading role in patchwork. The technology of joining parts simple in shape is simpler than joining parts of complex geometric or curved shapes. Simple, laconic outlines are visually perceived better than complex and multi-part forms. That is why it is the geometric ornament that is the most

we will use it in patchwork.

Geometric shapes do not exist in nature. Geometric correctness is an achievement of the human mind, a way of abstraction. Any geometrically regular shape looks mechanical, dead. The fundamental principle of almost any geometric form is a real-life form, generalized and simplified to the limit.

One of the main ways to create geometric patterns

This is a gradual simplification and schematization (stylization) of motives, which initially had a pictorial character.

Elements of geometric ornament: lines - straight, broken, curved; geometric figures- triangles, squares, rectangles, circles, ellipses, and complex shapes obtained from combinations of simple

figures. Fine is called an ornament, the motives of which

reproduce specific objects and forms of the real world

Plants (floral ornament), animals (zoomorphic motives), humans (anthropomorphic motives), etc. The real motives of nature in the ornament are significantly processed, and not reproduced, as in painting or graphics. In ornament, natural forms require one or another measure of simplification, stylization, typification and, ultimately, geometrization. This is probably due to the repeated repetition of the ornament motif.

Figurative ornament is also used in patchwork, but mainly in

applicative variants.

Nature and the world around us are at the heart of ornamental art. In the creative process

design of an ornament, one has 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 simplistic in an ornament.

A natural form is transformed by the power of imagination with the help of conventional forms, lines, spots into something completely new. Existing form simplified to an extremely generalized, familiar geometric shape. This makes it possible to repeat the shape of the ornament many times. What was lost by the natural form during simplification and generalization returns to it when using artistic ornamental means: rhythm of turns, different scale, flatness of the image, color solutions of forms in the ornament.

How does the transformation of natural forms into ornamental motives take place? First, a sketch from nature is performed, which conveys the similarities and details as accurately as possible (the stage of "photographing"). The meaning of reincarnation is the transition from sketching to a conventional form. This is the second stage - transformation, stylization of the motive. 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, are consistent with the capabilities of the visual medium.

IN artistic creation using a textile patch as a graphic material at the stage of conception, searching for an ornamental solution, one should take into account and use the technological capabilities of various work with

flap. This applies to the greatest extent to patchwork, and in particular to patchwork mosaics. >>> to the beginning

2. REGULARITIES OF ORNAMENTAL CONSTRUCTIONS

2.1. CONCEPT OF ORNAMENTAL COMPOSITION

Composition (from Lat. Composito) - composition, arrangement, construction; the structure of a work of art, due to its content, nature and purpose. The creation of a composition from scraps of fabric is the choice of an ornamental and coloristic theme, drawing, plot, determination of the overall and internal dimensions of the work, as well as the relative position of its parts.

Ornamental composition - this is the composition, construction, structure of the pattern.

The elements of the ornamental composition and at the same time its expressive means include: point, spot, line, color, texture... These elements (means) of composition in the work are transformed into ornamental motives. Speaking about the patterns of ornamental compositions, first of all it is necessary to say about proportions. The proportions determine other regularities in the construction of ornamental compositions (I mean rhythm, plasticity, symmetry and asymmetry, statics and dynamics). >>> to the beginning

2.2. PROPORTIONS

Proportions and proportional relationships in any art play a decisive role. There can be no work of art without correctly chosen proportions.

Proportions are the proportions of elements in relation to the whole and one to another, giving a product or ornament an aesthetic expressiveness and harmonious completeness.

The issues of proportionality of linear quantities, areas, rhythmic movements, tonal relationships can be solved in two ways: 1) dividing into equal parts (in this case, the impression of rest, balance, stability

Statics); 2) division into unequal parts (impression

movement, diversity - dynamics) in accordance with the rule of the "golden section".

"Golden ratio" ("golden proportion") is such proportionality of parts among themselves and in relation to the whole, in which the whole relates to the greater part as most of to a lesser one. Mathematically, this is expressed

so: Bypassing a number of transformations, we get: In the artistic

In practice, a rectangle with an aspect ratio of 21:34 is considered the most aesthetic, the most beautiful in shape. The "Golden Ratio" is considered to be the ideal expression of proportionality.

Following the rule of the "golden ratio", the cloth from the rags must be divided into a central field and a border. Division is performed on the smaller side, since the ratio between smaller values

Harmonious will be perceived: a square as a special case of a rectangle or a rectangle, the sides of which correspond according to the rule of the "golden ratio" or close to it. The rule of the "golden ratio" can be expressed in a number of numbers: 1, 2, 3, 5, 8, 13, 21, 34, etc. Each subsequent number in this row is equal to the sum of the two previous numbers.

This series is called the Fibonacci series (after the Italian mathematician who lived at the turn of the 12th-13th centuries).

Using this series, you can get the dimensions of the paintings, perceived harmoniously. To do this, you need to multiply the unit of the size of the canvas by two adjacent (or through one) numbers of the row a. For example:

1) unit of size 10 cm: rectangles 30X50, 30x80, 20X50, 210X340 cm will be harmonious;

2) calculation of the dimensions of a blanket assembled from blocks: if a single block has dimensions of 30X30 cm, then the width

From the time of Upper Paleolithic people decorated clothes, dishes, houses with bizarre lines and figures. Millennia passed, but this tradition remained unshakable. Until now, we wear clothes in a Scottish cage, glue wallpaper with "cucumbers", buy dishes painted in Khokhloma or Gzhel. So what are patterns and what important role have they performed for a long time?

Definition

To find out what a pattern is, let's look in the dictionary. It indicates that this word means a drawing that combines lines, colors, shadows. Moreover, it does not have to be man-made. A striking example of this is the winter patterns on the window on a frosty day.

Historically, the word comes from such lexemes as "to see", "to see". In the Old Russian language, they meant not only "to see", but also "to comprehend the essence." Hence the expressions "ripen at the root", "mature person". Our ancestors created patterns to convey the most important spiritual information. This explains their application to hidden parts of objects: bottom, reverse side.

Through patterns they told about the structure of the universe, eternal values... They often served as a talisman. That is why they were embroidered along the edges of clothing, in the area of ​​the heart, etc. Often, the patterns revealed to those around them information about social status its owner, his family, a totem animal. When people wanted to draw attention to the graphic beauty of the drawing, they used another word - "adornment".

Ornament

We figured out what a pattern is. However, there is one more word in Russian - ornament. It appeared much later and traces its origin from the Latin ornamentum ("decoration"). This concept began to denote a special type of patterns based on the rhythmic alternation of symbols. The ornament is based on "rapport" (from French - "response, return"). This is the name of the repeating part of the pattern.

Once upon a time, ornaments performed a magical function, protecting people from hostile forces. Evil in ancient times was associated with chaos, disorder. It was believed that it was in such a formless state that the world stayed until the creator created an ordered cosmos. Applying an ornament, people became like gods. They harmonized the space, arranging symbols in a certain order, and thus created a talisman against evil spirits.

Main motives

Ornaments can consist of a wide variety of elements. Allocate:

• Geometric patterns that include lines, dots, stars, diamonds, circles, crosses, and other abstract shapes. Such drawings are the earliest. They are found on household items created 17-12 thousand years ago.
• Floral ornament, in which flowers, fruits, leaves and branches alternate.
• Zoomorphic images, where real or mythical animals are stylized.
• Anthropomorphic ornament depicting human figures or individual body parts.
• Subject patterns dating back to the times of Ancient Rome. In such an ornament, weapons are used as motives, musical instruments, Houseware.
• Calligraphic pattern when letters and words are applied to the surface. Such an ornament is widespread in Japan and China.
• Landscape drawings. Celestial bodies Natural phenomena are also often adorned with Japanese and Chinese textiles.

Generic symbols

The patterns in the folk style are distinguished not only by their beauty. They carry information about the foundations of the universe. The most ancient motives appear in the ornaments of different peoples inhabiting our planet. Let's take a look at some of them.

• The circle is originally associated with celestial bodies: the sun, the moon. This is an ideal form, symbolizing wholeness, unity, infinity, repetition. As the seasons follow each other, so in life, sooner or later, everything will return to normal.
• The spiral is the world code, according to which the development of everything in our universe takes place.
• The cross is a combination of two opposite principles, which merge with each other in the center.
• The rhombus is a symbol of fertility, good harvest and femininity. It can often be seen on the bride's wedding dress.
• The swastika is found in all cultures, there are a lot of such symbols among Russian patterns. It displays the rotation of the universe around the sacred center. The swastika symbolizes well-being and creativity.

Traditional Russian patterns

Since ancient times, our ancestors decorated clothes, dishes, linen, furniture, and individual parts of buildings with ornaments. The patterns are dominated by symbols of fertility and security signs associated with various elements. Great importance had the color used.

• Red was considered beautiful, it was associated with fire, the sun. He also guarded life.
• White is the color of purity, protection from dark forces.
• Blue is a symbol of water, endless sky and strength. They embroidered men's clothing.
• Green was associated with the forest, the help of natural elements.
• Black is a fertile land. We see him on women's clothing, he protects motherhood.

For each case, the Russian people had their own ornaments that played the role of spells.

Modern patterns

Currently, we are still surrounded by ornaments, although their sacred meaning has gradually been forgotten. We admire more the external forms of the elements, beautiful color combinations. Ethnic ornaments are in fashion - Scottish cage, "crow's feet", "Indian cucumber", Damascus, etc. Needlewomen knit sweaters, mittens and scarves using Norwegian winter patterns (snowflakes, deer, stars).

Modern designers assign an important role to the ornament, as it is able to transform the surface. In the interior, with its help, you can visually reduce or enlarge the room, create a feeling of stability or airiness, curvature or roundness.

Most of us are not fully aware of what patterns are. But they still harmonize the space around, at the same time giving us aesthetic pleasure. Pay attention to the wallpaper pattern, bed linen and tableware decor. Perhaps it is they who make our home cozy and drive away bad thoughts?