Types of ornaments. Ornament as a type of decorative composition

What is an ornament? This is a pattern that was formed under the influence of a certain culture. People decorate their clothes, household items and their homes with such designs. Previously, ornament played a big role in human life. How is it used today? Read about it below.

Definition

What is an ornament? This is a pattern that consists of ordered elements. It is based on rhythm, that is, a repeating part called report. The definition of an ornament must be sought in its origin.

Ornamentum is a Latin word. It means decoration. Such decor was used on household items. They decorated clothes, dishes, weapons and architectural structures. Most often, the ornament carried a certain semantic load. Where did people get their inspiration for creativity? From environment. The first ornaments were floral, only later they became geometric. Why?

With the development of exact sciences, people began to think that everything should be built not by inspiration, but according to strict formulas, which in art are called canons. How is the connection between ornament and mathematics manifested? This can be seen by looking at the repetition of part of the ornament. The report serves as a kind of starting point. It organizes the ornament, gives it rigor and ease of perception. There is no need to examine the product from all sides; the brain can independently complete part of the picture, which is repeated at equal intervals.

Story

We understand what an ornament is, but how did it appear? The first information about it can be found in the Paleolithic era. Even then, people realized that organized information is better perceived by humans. In the Neolithic, ornament began to actively develop. Its flourishing occurs together with the development of the Egyptian state. It was during that era that people actively mastered ceramic art. Using threads and reeds, they applied designs to vases and vessels. Moreover, the images had sacred meaning.

Most often, it was not everyday objects that were decorated, but ritual items. Gifts were brought to the gods and pharaohs in decorated jugs. In the Roman Empire, people began to depict on vases not only geometric and floral decor, but also scenes from life. They decorated amphorae and flowerpots. The history of the emergence of ornament is inextricably linked with the development of culture. People decorated clothes not to make them look presentable, but to appease evil spirits.

Over time, the ornament began to carry everything less sense. With the development of monistic religion, people stopped attaching symbolism great importance. Patterns and ornaments were applied to dishes only for decorative purposes. But still, this layer of culture, which still plays a big role in the development of art.

Types of ornaments

• Technical. What is an ornament? This is a pattern, the very first decor of the product was the one that came out by itself, regardless of a person’s desire. For example, when weaving, the ornament was obtained from the interweaving of threads. That is, by intertwining them in the same sequence, not a chaotic, but an ordered pattern appeared. The same applies to the process of making ceramic products. When unscrewing, the master had to level the pots with stacks, the imprint of which was imprinted on the product.
• Symbolic. Over time, people realized that if the drawing works, then it can be controlled. And so they began to put certain symbols on the product. And they immediately began to attach sacred significance. For example, people depicted the sun in a circle, and a Greek meander as a wave.
• Geometric. Gradually, the symbols began to be given a clear form. This is how geometric patterns appeared. Moreover, at this stage of development, people began to pay attention not only to shape, but also to color.
• Vegetable. This ornament is still considered the most popular. It is easier to depict than geometric. Each country had its own motives. On ancient Greek vases you can see an image of a grapevine, and on Japanese vases - a chrysanthemum flower.
• Calligraphic. With the development of writing, not only images, but also letters began to be added to the ornament. Even illiterate craftsmen often decorated their products with incomprehensible symbols, which they painstakingly copied from the alphabet. This type of decor is especially widespread in Eastern and Arab countries.
• Fantastic. This ornament combined all the previous types. You can often see fantastic animals, birds and other manifestations of human imagination. This type of decor reached its heyday in the Middle Ages. Then the church forbade the masters to depict a person.
• Astral. From the name it is clear that in this ornament main role the heavenly body was playing. Clouds, other planets and stars could also be seen in it.
• Landscape. It is almost impossible to find such an ornament on ceramic products. But on textiles this type of decor is often found.
• Animalistic. Images of animals and birds have always inspired artists. Therefore, our smaller brothers often became objects of stylization.
• Anthropomorphic. Man often imprints himself in his creation. Male and female figures in all sorts of poses often decorated both household items and clothing.

Ornament in clothes

Only at the end of the 19th century. patterns on clothes ceased to play a big role. After the war, people began to move to cities; they had a lot of worries about finding work and caring for their families. Therefore, clothing began to serve only one purpose - to protect the human body from the cold and prying eyes. Of course, when the world got better, designers and fashion designers began to instill in people the desire to dress beautifully. But in their work, ornaments and patterns had only decorative meaning.

Our ancestors attached great importance to embroidery and weaving. By encoding various words and sentences using ornaments, women tried to protect their family from the influence of evil spirits, damage and the evil eye. People believed in symbolism and actively applied it in life.

Decoration of dishes

Since ancient times, household items have been richly decorated. Ornaments and patterns decorated plates, mugs, bowls and vases. But the ornament began to play on them decorative role already in 1000 AD. e. With acceptance Christian faith, the kings tried to eradicate all kinds of reminders of paganism. Therefore, utensils began to be decorated with floral, geometric or fantastic patterns. And the patterns on the dishes began to gradually become simpler. Today it is difficult to find a service with a complex interweaving of lines along the edge. Increasingly, plates are decorated with a single printed image.

Ornament in the interior

People have always paid special attention to interior decor. But the ornament as a form decorative composition could only be found in the houses of rich people or in the palaces of kings. The peasants decorated their huts with patterns only on the outside. But the palaces were richly decorated from the inside with stucco. And most often it was a floral ornament. It can be found on the ceiling and even on the floor. Mirrors, chandeliers and, of course, furniture were often decorated with patterns that have a report.

Where can you find the ornament today?

Although modern Europeans still have superstitions, they no longer try to protect themselves from the influence of evil spirits by using patterns on clothing. But tattoos with sacred meaning are often applied to the body. People take patterns both from and from Slavic folklore, and from Roman or Egyptian art.

But the inhabitants of the east still pay tribute to ornaments. Like their ancestors, they decorate clothes and household items. Moreover, they do this not for the sake of good memory, but because they believe that patterns bring prosperity, health and happiness to the house.

• Embroidery on clothes was applied mainly to those places through which evil spirits could penetrate. These were the cuffs, collar and hem.
• According to American art historians, such a popular meander in Greece is a drawing of a trap. It was precisely this place that ancient hunters placed to capture wild animals. Today, an ornament with a meander often adorns decorative items that are so beloved by our contemporaries.
• The Celtic design consists of tied knots. And these lines are considered symbolic; they indicate the intertwining of people’s lives and destinies.

Ornament (Latin ogpatepSht - decoration, outfit) is a pattern built on the rhythmic alternation and organized arrangement of geometric and figurative elements. The ornament serves as decoration for buildings, structures, objects (dishes, furniture, weapons, fabrics, tools, etc.) belonging to the sphere of decorative and decorative arts. The 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 associated with the characteristics and traditions visual culture of each people, have a certain stability throughout the whole historical period and have a pronounced national character.

The origin of the ornament dates back to the most ancient eras of history. A similar pattern is found in

Rice. 5.21. Neolithic ornaments

Rice. 5.22. Solar signs: a - in diagrams; b - in ornaments

the Paleolithic period, and in the Neolithic era 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 color of animals, the plumage of birds, in the structure of plants, in the running of sea waves, etc. Motifs borrowed from the environment changed, acquiring ornamental and expressive forms.

A motif is the main element of an ornamental composition that can be repeated many times. The motif 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 and was of a protective nature. In ancient times, people, decorating household items, clothes, and homes with ornaments, believed that it protected from troubles and brought prosperity and happiness.

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

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

Rice. 5.23. Swastika as an ornamental motif

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

Rice. 5.25. "Snake" patterns

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

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

Image symbols female figure served as a symbol of earth 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 patterns, she was often depicted surrounded by horses, symbols of reproduction (Fig. 5.26). The image of a female figure as a symbol of fertility is typical for the ornaments of agricultural peoples. Among pastoral tribes, domestic animals and wild animals are more often depicted. For example, in Kazakh and Kyrgyz ornaments

Rice. 5.26. Goddess Makosh. Drawing from Russian embroidery

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

there are transformed images of ram horns (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 sought to express their understanding of nature, the world, life, beauty and happiness.

Over time, the magical meaning of ornamental motifs was forgotten, but thanks to their decorative nature they continue to live. Certain elements of ornaments have been preserved for centuries.

So, the theme of the ornament is closely related to its cultural background, and the ornamentation 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 basis of the Egyptian ornament is stylized natural motifs: lotus flower, papyrus leaves, the sun in the form of a round disk, sphinxes, lions, snakes, etc. The ornaments are distinguished by a strict graphic language

Rice. 5.28. Ornaments of Ancient Egypt

and a minimum of color: red, yellow, blue, which subsequently gives way to green (Fig. 5.28).

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

Art Ancient Rome largely inherited the features Greek art, especially in ornament. However, the Romans interpreted 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 splendor, pomp and some bulkiness.

Rice. 5.29. Ornaments of Ancient Greece

Rice. 5.30. Medieval ornaments

Rice. 5.31. Renaissance Ornaments

Rice. 5.32. Baroque style ornament

Rice. 5.33. Rococo style 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 rectilinear geometric shapes transform into woven curvilinear ones (Fig. 5.30). Through the developed decorative and ornamental means, they were indirectly transmitted to the Middle Ages. inner world, the state and experiences of a person, which was not in ancient art.

During the Renaissance, a secular humanistic culture was formed, affirming the value human personality. 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 (Fig. 5.31). 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 (Fig. 5.32).

IN early XVIII V. 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) (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 again acquires staticity and balance, clarity and precision. It consists mainly of straight lines, squares, rectangles, circles and ovals, and becomes restrained in color (Fig. 5.34).

IN early XIX V. the dominance of classicism ends with the Empire style (from the French empire - empire), which draws its artistic ideals from the art of 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 art, and reflects the aesthetics of the era.

Getting to know the art of ornament involves studying ornamental motifs and compositional schemes for constructing ornaments.

Depending on the nature of the motives used, there are the following types ornament.

Rice. 5.34. Classical era ornament

Geometric patterns represent regular geometric elements: straight and curved lines, squares, rectangles, triangles, circles, ovals, etc. Many motifs derived from geometric elements V different combinations, have their own names: stars, rosets, crosses, zigzags, braids, meanders, etc. (Fig. 5.35).

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

A 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. Its motifs 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).

An anthropomorphic ornament is a composition made up of images of male and female human figures or individual elements of the human body (Fig. 5.39).

Rice. 5.36. Floral ornaments

Rice. 5.37. Zoomorphic ornament

Rice. 5.39. Anthropomorphic ornament

Rice. 5.41. Calligraphic ornament

Rice. 5.38. Ornithomorphic ornament

Rice. 5.40. Teratological ornaments

Rice. 5.42. Schemes for constructing ribbon ornaments

Teratological ornament is

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

A calligraphic ornament is made up of individual letters or text elements, expressive in their plastic design and rhythm. The art of calligraphy has most fully developed in countries such as China, Japan, a number of Arab countries, in a certain sense replacing fine art. Very often, calligraphic motifs appear in a complex combination with geometric and floral elements (Fig. 5.41).

Rice. 5.43. Types of centric ornaments

A heraldic ornament is an ornament in which signs, emblems, coats of arms, and elements of military equipment - shields, weapons, flags - are used as motifs.

The astral ornament contains stars, clouds, sun, and moon as motifs.

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

Rice. 5.44. Types of mesh ornaments

was and is currently used on textiles in Japan and China.

The combined ornament contains various combinations of the motifs listed above and is the most common type of ornamental composition. Ornament is the most orderly form compositional construction. It obeys the laws of harmony and proportions, and all types of symmetry can be observed in it.

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

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

Based on the shape of the compositional schemes, the following types of ornaments can be distinguished.

Ribbon ornament is an ornament in which rapport is repeated many times, developing in one direction. Moreover, the motifs in a ribbon ornament can be located in a straight line; such an ornament is called striped. In some cases, the rapport is repeated along a curved contour, called a border. In architecture, decorative and applied arts, and costume design, ribbon ornaments (frieze, border, border) most often have a horizontal position. His composition is based on different types symmetry. In Fig. Figure 5.42 shows diagrams for constructing ribbon ornaments, showing seven ways to construct a pattern according to the laws of symmetry. Such compositional structures can be much more due to the variability of 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, it is called centric. The motifs in such an ornament are placed from the center along the rays, filling the entire surface limited by the circle, and when the axis rotates, they are completely aligned. The most typical example of such an ornament is the rosette, or rosette, which gained 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 repeat grid can have a variety of shapes: square, rectangle, regular triangle, rhombus, parallelogram, etc. This type of ornament is often used in architecture when decorating walls, floors, and ceilings; in a suit, in fabrics (Fig. 5.44). Mesh patterns are often called rapport compositions.

5. Give examples of using ribbon, mesh and closed patterns. Explain the connection between the ornament and the shape and purpose of the product.

6. Give examples and analyze the nature of ornamental motifs and ornamental design of clothing in national costumes different peoples.

§ 7. Use of natural forms in ornamental composition

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

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

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

Decorative processing techniques may include the following: gradual generalization of the form, adding details, changing the outline, saturating the form with ornaments, transforming a volumetric form into a flat one, simplifying or complicating its design, highlighting the silhouette, replacing the real color, various color scheme one motive, etc.

IN decorative arts in the process of transforming the form, the artist, while maintaining its plastic expressiveness, strives to highlight the main, most typical, abandoning secondary details.

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

The artist's task is never reduced to simple decoration. Each decorative composition should emphasize and reveal the shape and purpose of the object being decorated. Her style, linear and color solutions are based on a creative rethinking of nature.

Transformation of plant forms into ornamental motifs

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

Vegetable world largely 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 what is most characteristic in the plastic form of the observed motif 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. When making these drawings, the artist traces the rhythmic alternations of elements (branches, flowers, leaves), while trying to identify the most important and characteristic.

To transform a natural form into an ornamental motif, you must first find a convincing one artistic expression an object. However, when generalizing a form, it is not always necessary to abandon small details, since they can give the form greater decorativeness and expressiveness.

Sketches from life help to identify the plastic features of natural forms. From one object, it is advisable to make a series of sketches from different points of view and in different angles, emphasizing the expressive aspects of the object. These sketches are the basis for decorative processing of natural forms.

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

Rice. 5.45. Life sketches of plants

In the process of decorative processing of plant form, such means of artistic expression as line, spot, dot and color play an important role. Graphic means can suggest, and in some cases even predetermine the nature of the transformation of plant motifs.

Rice. 5.47. Spot solution of motives

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

Rice. 5.46. Linear solution motives

Rice. 5.48. Nasturtium. Line-spot solution

When interpreting the model linearly, three solutions are distinguished:

1) application fine lines of the same thickness (for ornamental motifs of a small scale);

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 thicknesses. This design solution has great visual and expressive possibilities, but is quite difficult. To achieve integrity, lines of the same thickness must unite, forming their own pattern in the drawing, which must resist the pattern of lines of a different thickness. More precisely, it should be a composition of lines of different thicknesses (Fig. 5.46).

The spot interpretation of the motifs contributes to the maximum silhouette generalization of forms. It can be a black silhouette on a white background or a white silhouette on a black background. Artistic language spots are strict and reserved. However, the spot can also reveal an infinite variety of states (Fig. 5.47).

The most widely used is the linear-spot interpretation 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 terms of rhythm and silhouette. But it is also necessary to ornamentally and logically connect the lines with the rhythmically scattered spots, so that both of them, when combined, create a holistic graphic image. It is worth noting that the stain can be used as a lining for a linear solution to the motif.

Rice. 5.49. Transformation of the plant motif. Study work

In Fig. Figure 5.49 shows examples of work on the transformation of plant form using linear, spot and linear-spot solutions.

Considering the features of the transformation of plant forms into ornamental motifs, it should be noted that the color and flavor of natural motifs are also subject to artistic transformation, and sometimes radical rethinking. The natural color of a plant cannot always be used in an ornamental composition. The 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 it acquires a decorative convention.

Transformation of animal forms into ornamental motifs

Drawing animals from life and the process of transforming their forms has its own characteristics. Along with sketches from life, an essential factor is the acquisition of skills in working from memory and from imagination. It is necessary not to copy the form, but to study it, memorize its characteristic features, so that later you can generally depict them from memory. An example is the sketches of birds presented in Fig. 5.50, which are made by line.

Rice. 5.50. Sketches of birds from memory and imagination

Rice. 5.52. Examples of transforming the shape of a cat's body into a decorative motif.

Study work

The subject of plastic reinterpretations of animal motifs can be not only the figure of the animal, but also the varied texture of the cover. You need to learn to identify the ornamental structure of the surface of the object under study, 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. Features of a specific individual image in ornamentation sometimes they lose their meaning, they become redundant. Thus, a bird or animal of a particular species can turn into a bird or animal in general.

In progress 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 a significant role in the transformation of natural forms. As a result, the motif of the animal world sometimes takes on the features of a fairy-tale, fantastic quality (Fig. 5.51).

The ways of transforming animal forms are the same as plant ones - this is the selection of the most essential characteristics, exaggeration of individual elements and rejection of secondary ones, achieving the unity of the ornamental structure with the plastic form of the object and harmonization of the external and internal ornamental structures of the object. In the process of transformation of animal forms, such means of expression, like a line and a spot (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 made, expressing the most accurate, concise graphic language characteristics natural form and its textured ornamentation. The second stage is directly creative process. The artist, using a real object as a primary source, fantasizes and transforms it into an image built according to the laws of harmony of ornamental art.

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

Many cultural concepts are based on material manifestations national consciousness: household items, clothing, style of housing construction, and so on. It is quite obvious that these phenomena are studied by scientists as closely as possible, starting from external manifestations and ending with the sacred meaning inherent in them.

Ornaments are of particular interest in this regard, since they simultaneously identify a particular culture or nationality, and at the same time are common to completely different, sometimes diametrically opposed cultures.

Types of ornaments

At this stage of development of cultural studies, it is customary to distinguish four main types of these decorative elements. One of the most common is considered a geometric pattern, which is characterized by an abundance of clear lines, dots and geometric shapes.

The next most popular is the floral ornament, which is based on the image of various leaves or flowers arranged in a certain order and specific shapes. This type of decoration of clothing and household items is very characteristic of our Slavic culture.

Zoomorphic ornaments have become approximately as widespread as floral ornaments. In a sense, they are even close to each other, since elements of flora are often found in this kind of images. However, the main emphasis in this case is on animals (both real and fictional).

Finally, culturologists distinguish the so-called anthropomorphic type of ornament, the concept of which is based on a person.

In this article we will define what a floral ornament is, what cultures it is typical for and what it symbolizes.

Historical roots

In general, the depiction of flora elements is characteristic of almost all cultures, since this tradition is directly related to the concept of the world tree.

This cult is considered one of the oldest and most widespread. For the Slavs in the era of paganism, it occupied one of the dominant places, being the basis of the worldview as a whole.

Egyptian culture

Floral ornamentation was also characteristic of the culture of Ancient Egypt. Some researchers even argue that this particular part of the globe and culture can be called the birthplace of floristic patterns, due to extremely favorable natural conditions.

The Egyptians depicted mainly lotus and reed, which were the most common and revered as sacred plants.

Art of the East

Floral ornaments were no less popular among the Sumerians and Assyrians. Most often, these peoples depicted daisies and daisies, which, from their point of view, personified the sun. You could also often find images of cones, pomegranates, palm trees and ears of corn.

Persian tradition

If in previous cases the image was quite schematic, then in this case there is a much greater desire for a naturalistic image. Floral ornaments of Persian decor most often included carnations, anemones and daffodils.

Ancient Greece

Naturally, one cannot help but say that such elements were very often used in Hellenic culture. Along with geometric figures, there were also floral ornaments and patterns depicting palm, laurel branches, vines and even algae, which is directly related to the territorial location of Greece.

Slavic culture

As mentioned earlier, our culture is also completely no stranger to the use of this kind of elements. Floral ornaments and patterns are most firmly established in Ukrainian culture, but before that they were actively used by all Slavs.

Most often, plants were depicted such as hops, poppy, wheat ears, periwinkle, oak and grape leaves, and viburnum. As a rule, these elements were depicted in red on a white background.

Secret meaning

It is quite obvious that the floral elements of the ornament were never depicted as simple decoration. From time immemorial, the image of this or that figure or phenomenon had a hidden sacred meaning. Viburnum on clothes and household items, for example, symbolized not only cosmic harmony, but also prosperity, health and strength of the family.

Oak leaves embroidered on men's shirts and towels were supposed to bring strength and courage to their owners.

Grape leaves and bunches meant the strength and happiness of the family, healthy offspring and all sorts of benefits associated with the family hearth. Poppies were supposed to protect the owner from evil in all its manifestations.

Ornament stripes

As you know, there are two main ways to depict symbolic elements - in the form of a single line (parts of the pattern follow one after another) and circular.

The floral pattern in the strip represents constant repetition and alternation of various elements. Wheat ears, for example, can alternate with hops. This kind of arrangement was most often used in clothing, since it had a kind of protective function. As a rule, patterns of this type were placed on cuffs, belts, at the collar and on skirts. Girdling with plant elements was extremely important for the people. important, which has largely survived to this day.

Linear images were also used in home decoration - often plant elements can be found around the perimeter of doors, on house shutters, tables and other interior items.

Circular image

Along with the above method of application and placement, there was another. An ornament in a circle, floral or otherwise, was more often used in decorating dishes and jewelry, although in meaning it did not differ from patterns made in stripes.

The circular image of certain elements also symbolized the cyclicality, repetition and infinity of life.

Ornament is a pattern built on the rhythmic alternation of depicted motifs.

The term “ornament” is associated with the word “decoration” (from Lat. ornemantum- decoration). Ornament - part material culture society, one of the oldest types visual arts a person, which in the distant past carried symbolic and magical meaning, iconicity. Every era, style, national culture developed their own system, so the ornament is a sign that the works belong to a certain time, people, or country. The purpose of the ornament was to decorate objects, fabrics, and homes. At the same time, it carried both magical and informational meaning. Thus, the ornament applied to the neck of the vessel “protected” it from the penetration of evil spirits. The same applied to clothing and houses and objects interior, etc. Ornament has achieved special development where conventional forms of reflecting reality predominate: on Ancient East, in pre-Columbian America, in Asian cultures of antiquity and the Middle Ages, in European Middle Ages. IN folk art Since ancient times, principles and forms of ornament have evolved that largely determine national artistic traditions.

Depending on the nature of the motifs, the following types of ornaments are distinguished:

- geometric- consists of points, lines and geometric shapes.

- vegetable- made up of stylized leaves, flowers, fruits, branches, etc.

- zoomorphic- includes stylized images of real or fantasy animals

- anthropomorphic- uses male and female stylized figures or individual parts of the human body as motifs

- combined.

All Oornaments represent an alternation of repeating parts. The minimum area of ​​a repeating pattern is called rapport(from French rapport - return). Repeating repeat horizontally and vertically forms a repeat grid.

Motive- this is part of the ornament, its main element. The motif can be simple, consisting of one element, or complex, consisting of many elements plastically connected into a single whole. The repeat of an ornament includes a motif (or group of motifs) and the distance to the adjacent motif (group).

According to the nature of the alternation of rapports, all ornamental compositions are divided as follows:

1. Ribbon ornament- rapport is repeated many times, developing in one direction. In this case, the motifs in a ribbon ornament can be located in a straight line; such an ornament is called a “straight stripe”, or a striped ornament. In some cases, the rapport is repeated along a curved contour, called a “border”. In architecture, decorative arts and costume, most often the ribbon ornament has a horizontal direction. But it can also be located vertically or along an inclined line.

When constructing, the basis of the composition is laid different kinds symmetry: mirror symmetry, vertical, horizontal or diagonal. And various principles of rhythmic construction of elements - repetition, alternation, including color and tone.

2. Centric ornament- based on central axial symmetry, when rapport rotates around a central axis. The motifs in such an ornament are placed from the central point along the rays, filling the entire surface limited by the circle, and when rotated they are completely aligned. The most typical example of a centric ornament is a rosette, which represents the motif of a blossoming flower. This is very ancient look ornamental construction, known back in Ancient Egypt and most popular in Gothic art.

3. Mesh pattern- repeating rapport fills the entire surface to be decorated, developing in two directions - horizontally and vertically. The cell of such a repeat grid can have a variety of shapes - in the form of a square, rectangle, regular triangle (equilateral), rhombus, parallelogram, regular pentagon and hexagon, etc. This type of ornament is often used in architecture when decorating floors, walls, ceilings, and also in a suit when designing textiles - almost all fabric patterns are mesh patterns.

Description of the stages of work.

1. Consider one of the options for constructing a square geometric ornament. Let's draw a square 4 by 4 cells. At first it will be built as a centric ornament. Those. the report will rotate from the center of the square. And then we will make it tape and mesh.

2. Draw auxiliary diagonal lines and rhombuses.

3. Connect the corners of the large square with the corners of the small rhombus. We get an interesting pattern. Please note that the report in this case is one eighth of a square. This part rotates 45 degrees around the center.

4. We choose which form - more complex or simple - we like. Erase the extra construction lines.

5. From one blank you can make many different ornaments in shape and color.

6. Choose one of the options.

7. Now this square will be the report of our ribbon ornament. We can rotate it 90 degrees. We decorate the ornament with additional elements.

8. We make a mesh ornament from our ornamental square. We can use an additional element and alternate colors a little.