Floral ornament in the strip drawings. Floral ornament

The main motif of the ornament is, first of all, Live nature: sea ​​waves, more or less stylized, widespread from the vase-painting of archaic Greece to Japanese art, the stalactites that adorn the Alhambra in Granada, Mount Fuji in Japanese art, a halo of flame surrounding some images of the Buddha; celestial bodies, including the sun, used in many ornaments from the time of ancient Egypt to the era of Louis XIV, the moon, often in the form of a sickle, which we find in the art of Islam and in the time of Diane de Poitiers, stars, where the number of rays varies in depending on the country and on the era and, finally, lightning, sometimes stylized beyond recognition.

Flora can be stylized and naturalistic in a simplified way, or reproduced in a realistic and highly complicated manner. Trees are often depicted on fabrics, leaves sometimes appear as a mass of foliage, sometimes separately, for example, a papyrus leaf in Egypt, a laurel and acanthus leaf in Greece; or the leaves are deformed and stylized until they completely lose their resemblance to a living leaf and turn into a play of curved lines, which we can see in the stucco ornaments of some Muslim buildings. Flowers are extremely common, for example, the lily in Aegean art, the rose in Gothic, and the hyacinth in Turkish faience paintings. Talented craftsmen skillfully subordinate the flower motif to the shape of the object being decorated: in Egypt, a blue lotus was depicted on triangular or elongated objects, and a white lotus was depicted on rounded and wide surfaces. water lily. Fruits are rarely depicted without leaves, much more often with a branch, as, for example, bunches and leaves of grapes in the art of Christian peoples. Plant motifs both in the East and in the West are characterized by the predominance of curved lines: plant shoots and curls that unwind and twist in a spiral; scallops and garlands suspended by the ends, so frequent in Roman art and the art of the period of classicism, wreaths found in the same era. There are also rosettes inscribed in a circle, which are either an open flower depicted from above (lotus in India; chrysanthemum in Japan), or a flower with six petals obtained by crossing arcs with a compass (a common motif in folk art). Another floral decorative motif, the palmette, was widespread in countless varieties. Usually the palmette is located vertically, but it is also found upside down, as well as horizontal and diagonal.

It is not surprising that plant motifs are a favorite theme of ornaments in many countries of the world. This is understandable. Almost any plant in its structure is ornamental. It is built on the principle of repeating some elements (leaves, flowers, tendrils, etc.), has radial or bilateral symmetry, and the smooth bends of the shoots seem to be parts of imaginary circles.

The simplest examples of plant motifs have bilateral symmetry and are built on the basis of auxiliary squares (Fig. 51).

Rice. 51. An example of bilateral symmetry in a plant motif

A more complex technique is mirror reflection with a shift. As a result, there is a sequential alternation of various elements. (It is curious that there are many plants in the world in which the leaf arrangement corresponds to the above example).

In more lush floral ornaments, there are usually all the techniques described above: shifts, rotations, the use of auxiliary grids, drawing details based on circular arcs, etc. (Fig. 52).

Rice. 52. An example of using various methods of ornamental symmetry to build a floral ornament

Animal motifs also often served decorative purposes. An elephant in Buddhist countries, a ram in the ornaments of ancient Rome and the Renaissance, snakes in Khmer art.

From the marine fauna, fish were used, as well as the dolphin in ancient Greek and Roman art, during the Renaissance in Italy and France; carp in Chinese art. The octopus is widely used in Cretan and Mycenaean decorations. Various mollusk shells, and especially the scallop, are often found in the decorative art of France during the era of Louis XV and Louis XVI.

Masters of decorative art widely used images of insects: the scarab in ancient Egypt, the butterfly in all types of art in China and Japan, the bee in the French Empire, the dragonfly in Japanese products and in European art of the early twentieth century.

However, images of birds found the greatest use in all countries and in almost all types of decorative art due to the symbolic meaning that they were given: a falcon in Egypt, an eagle in Rome, Byzantium and the German Empire, a peacock in Christian art, a crane and a tangerine duck in China. and Japan. But often the motif of a bird was used only in decorative purposes: Corinthian vases, some Muslim dishes, medieval Spanish fabrics, fabrics from the era of Louis XVI and Zuni pottery.

In addition to real animals depicted in their entirety, parts of the body of animals were used as decorative motifs: bull heads, already known from primitive art, lion paws in Egyptian furniture, protoms in the art of the Greeks, as well as fabulous creatures such as Egyptian sphinxes or griffins and chimeras. Greek and Roman antiquity, Byzantium and the Renaissance, dragons, phoenix and tao-cho masks in Chinese art. These monsters should also include fantastic beasts with two bodies and one head - a motif that is more common than is commonly believed, and even one-headed creatures with three bodies.

Man, of course, is very often used as an ornamental plot, sometimes in the form of a schematic representation, sometimes stylized, sometimes realistic.

In the decorative art of all countries, we find images of men and women singly or in groups, in calm and majestic poses or, conversely, in dynamic movement and even in unbridled dance. The figures may be naked or in robes that cover almost the entire body.

There are also caricature images (Greek terracotta, carved ornaments of Gothic folding benches).

The human face also served as a decor motif, and on its basis the mascaron was born.

Some separate parts were also used human body: eye, heart, leg, hand, which could have four or even three fingers (Muslim art).

The forms of the human body were also used to create fantastic creatures: centaurs and sirens of antiquity, angels of the Christian world, cupids (Italian putti), half-figures and especially Renaissance grotesques with bodies growing out of plants.

Landscape with or without human figures is rarely used, or is reduced to a house with one or two trees. There is also the theme of waves and clouds (mainly in Chinese ornamentation). Figures are taken as the basis, the contour of which is made up of segments of arcs. The elements of such figures sometimes resemble a piece of a sheet, the dome of a temple, or a swirling crest of a wave. Then the resulting contour is repeatedly circled with various lines separated by small gaps. They seem to combine the elements of the pattern into a single whole.

Sometimes the elements of the pattern are built according to the law of mirror symmetry, however, the covering lines pass only along the upper contour. Often, the elements of the ornament line up, as it were, in two tiers.

inanimate objects form an important part of the decor. Suffice it to recall the Gothic scrolls and ribbons of the 18th century, armor and trophies, vases and a cornucopia of the era of Louis XIV and garden tools from the time of Louis XVI, as well as Greek ships, Dutch windmills, Japanese bridges and fans, French hot air balloons.

The number and variety of objects used in the decorative arts preclude any possibility of classification. It can be said that everything that ever came out of the hands of a person subsequently served as an ornamental motif.

6.4. Complex motives

In this category, we can include motifs with a dual purpose, utilitarian and decorative. Here we will first consider the inscriptions: rectilinear writing of Chinese characters, Kufic Arabic writing, Roman capital letters. The inscription has a semantic meaning and at the same time is an ornament. Most often it is placed on the curbs.

Ancient Greek and medieval Gothic letters were much less used in decorative art than Arabic script, which sometimes dissolves so much in the interweaving of lines decorating the background that it becomes an ornament itself.

The decorativeness of the Arabic script sometimes prompted Christians to use it simply as a decoration (“Comments by St. Beata on the “Apocalypse” of the 11th century with the inscription “There is no god but Allah”), on Muslim fabrics there are letters that are turned upside down with a vertical stroke in order to achieve more decorative effect. The inscriptions were placed on stone, and on ceramics, on simple and precious metals, and on fabrics.

Symbolic motifs follow. They are diverse and largely repeat the motives mentioned above. Thus, the triangle symbolizes mountains on the ceramics of Neolithic China and pre-dynastic Egypt; circle, spiral and motifs close to them in Ancient China have a cosmological meaning, they depict the sky, the movement of stars, clouds and thunder; a circle divided in two by a spiral - the sign "yin-yang" - denotes the inseparability of the male and female principles.

Among plant motifs of a symbolic nature, the tree of life in Mesopotamia and Iran, the rose as a royal symbol of medieval England, the lily in France are well known; the lotus flower in Buddhist art should also be mentioned. As for the symbolic motifs drawn from the fauna, in previous section We have already talked about birds.

Christian art of the East and West used a whole range of symbolic motifs - from fish, an early Christian symbol, to epigraphic ones - IHS and chrysm; this also includes a lamb, a peacock and a phoenix, a palm tree, an anchor, a dolphin wrapping around a trident, and, of course, in the first place the cross, which exists in many versions, each of which is very decorative.

In some cases, we see a combination of several symbols: for example, on the sarcophagi from the Lateran Museum, christ is depicted above the cross.

Following the symbolic motifs, we also mention heraldic motifs. One can see emblems in the form of a circle in Muslim art, in particular, used to decorate lamps in mosques.

Japanese family crests are also circle-shaped. Sometimes they make up the only pattern of an object and are depicted in gold against a background of black lacquer or on ceramics, they also form the decor of a tsuba or serve as a pattern for luxurious fabrics. In all cases, a very successful decorative effect is achieved.

In Europe, the coat of arms motif is found mainly in medieval art. Since the very purpose of the coat of arms is to emphasize prestige, not only families had coats of arms, but also states, cities, guild corporations and all sorts of other social groups.

The shape of the coat of arms varies depending on the era; in Gothic France it is more decorative than in later centuries. Coats of arms have various forms in different countries, both Italian and German armorial shields cannot be confused with French ones. Later, various elements began to be added to the shield, which complicate it in a decorative sense: such additions were a helmet or crown placed above the shield, lions or other animals that support it, and under it a ribbon with a motto.

Some coats of arms of the German countries are so overloaded with details that they lose their artistic value to a large extent. In heraldic art, first of all, laconicism is valued: from a decorative point of view, the simplest coats of arms are the best.

6.5. Principles of constructing an ornament

Various systems decor let you extract greatest effect from selected motives. The main one is repetition, which in itself, if the motive is well chosen, gives a good decorative effect.

Repetition gives value to an insignificant element; its regularity can create a sense of magnitude and order, calm and confident strength. We often see repetition in borders, ribbons and friezes.

The inversion (reverse arrangement) of the pattern gives the same motif alternately in opposite directions and thus avoids monotony.

Alternation performs the same role, placing the motif now in a vertical, now in a horizontal direction. You can also alternate between flat and embossed, straight and curved elements; and finally, the artist can achieve a special effect by alternating colors or even just light and dark tones.

Symmetry has two similar motifs on either side of the axis, depicted or imaginary - absolute symmetry.

There is also a relative symmetry, which is achieved not by the juxtaposition of similar parts, but by the balance of masses; partial symmetry is reduced to the details of the motif.

According to the motifs used in the ornament, it is divided into geometric, consisting of abstract forms, natural, which includes plant, stylizing leaves, flowers, fruits, etc.; zoomorphic (animal), stylizing figures or parts of figures of real or fantastic animals; anthropomorphic, using a person for the motive; landscape and inanimate objects.

Complex motifs include inscriptions, symbols, heraldic themes and have a dual purpose, utilitarian and decorative.

6.5.1. Use of auxiliary lines

Let us give examples of constructing a geometric ornament using a lattice.

An unexpected result can be obtained if nine small squares of the auxiliary lattice are inscribed in a large square (Fig. 53).

Rice. 53. An example of an ornament from squares based on an auxiliary lattice

More complex mosaic ornaments based on a grid (Fig. 54).

Rice. 54. An example of a complex ornament based on an auxiliary lattice

If we make a number of additional constructions on the basis of the standard grid, we will get an even more complex ornament (Fig. 55).

Rice. 55. An example of an ornament based on a standard grid using additional constructions

Grids are given as auxiliary techniques in the figures, using which it is not at all difficult to reproduce any of the ornaments below.

The lattice of the first segments is based on concentric circles inscribed in squares adjacent to each other (Fig. 56).

Rice. 56. An example of an ornament based on concentric circles

If you connect checkerboarded circles inscribed in squares, a beautiful “flexible” network appears. In its cells there are squares, the geometric severity of which only emphasizes the smoothness of the contours of the lines connecting the circles (Fig. 57).

Rice. 57. An example of an ornament based on circles arranged in a checkerboard pattern

Based on a square grid, it is possible to build a simple but beautiful ornament, the principle of construction of which is not so obvious without auxiliary lines (Fig. 58).

Rice. 58. An example of an ornament based on a square grid

The development of the previous ornament by adding diamond-shaped elements and turning lines into stripes (Fig. 59).

Rice. 59. An example of an ornament based on diamond-shaped elements

Another example of how a grid can be used to create an ornament of "compressed crosses" (Fig. 60).

Rice. 60. An example of constructing an ornament using a grid

The diagonals of the squares become the sides of the diamond-shaped element of this ornament. Circles fit into the other two ornaments, on the basis of which mirror-symmetrical spirals are drawn (Fig. 61).

Rice. 61. An example of building a complex ornament using a grid

Some patterns based on interlacing stripes are easily built on the basis of a "square" lattice. For drawing others, it can be useful to divide the grid squares with horizontal or vertical lines.

This approach to the construction of a geometric ornament is also true for other types of ornament.

6.5.2. Construction of a braided ornament

With the help of auxiliary grids, it is possible to build enough complex elements ornaments, which are intertwined ribbons.

First, a flat image is built on the basis of a fine grid (Fig. 62).

Rice. 62. An example of constructing an ornament, which is an interlacing ribbon

Then the sequence of passage of some strips under or over others is selected, and the grating is erased (Fig. 63).

Rice. 63. An example of finalizing an ornament, which is an intertwining ribbon

Below are examples of an ornament in the form of intertwining ribbons. A grid was also used in their construction (Fig. 64).

Rice. 64. An example of an ornament, in the form of interlacing ribbons

Here is another helpful trick. First, create a thread-like pattern using the lattice (Fig. 65).

Rice. 65. An example of creating an ornament, in the form of interlacing ribbons, (initial stage)

Then make sure that each line acquires a certain thickness, and then decide in what sequence the resulting stripes will intertwine (Fig. 66).

Rice. 66. An example of creating an ornament, in the form of interlacing ribbons, (final stage)

Some patterns based on interlacing stripes are easily built on the basis of a "square" lattice.

For drawing others, it can be useful to divide the grid squares with horizontal or vertical lines (Fig. 67).

Rice. 67. An example of creating an ornament in the form of interlacing ribbons using a complex lattice

Due to the deformation of the lattice in the vertical or horizontal direction, any ornament, including “wicker”, can be stretched in one direction or another. To draw two interlacing ribbons, it is often enough to use only four horizontal auxiliary lines.

6.5.3. Using circles

By rotating the original element around the center, various rosettes are created.

What happens if you rotate the circle? Suppose the pivot point is on its circumference.

Then we get a rosette of circles, each of which touches its neighbor at two points (in the center and one of the points of the arc) (Fig. 68).

There are four such circles in the figure, and for the convenience of further constructions, they are inscribed in a circle of larger diameter.

Let's use the drawing as an auxiliary grid of lines. Let's leave only the right halves of the circles.

The result is a figure reminiscent of the Hindu symbol of development, known in the twentieth century as the swastika (Fig. 69).

Rice. 68. An example of building a rosette from circles

Rice. 69. An example of constructing a figure in the form of a "swastika", obtained on the basis of auxiliary circles

If the pivot point is outside the circle, then in the resulting rosette the formed circles may either not touch each other at all, or touch the neighboring circle only at one point (Fig. 70).

Rice. 70. An example of building a rosette based on auxiliary circles

Removing parts of the arcs as auxiliary lines, we get beautiful design, sometimes found in gothic architecture(Fig. 71).

Rice. 71. An example of constructing a "Gothic" figure obtained on the basis of auxiliary circles

The number of auxiliary circles obtained by rotating the original one can be different, for example three (Fig. 72).

Rice. 72. An example of constructing a figure obtained on the basis of three auxiliary circles

If there are only two of them, it is easy to build a figure known as the ancient oriental symbols of the unity of opposite entities - Yin and Yang (Fig. 73).

Rice. 73. An example of constructing a figure obtained on the basis of two auxiliary circles

In many complex and beautiful ornaments, the technique of rotating circles underlying them is guessed. Take a look at the next technique (Fig. 74).

Rice. 74. An example of constructing an ornament obtained by rotating circles

Each of the four circles of this ornament is obtained by mirroring the neighboring circle. Inside each circle, without difficulty, you can find elements of arcs transformed into lines of a plant motif. The trick just described works.

By shifting the circles horizontally, it is easy to get the links of one chain.

6.5.4. Meanders

The classic meander could be diluted with various elements of inserts. In this case, these are lattice squares (Fig. 75).

Rice. 75. Classic meander with elements of inserts

Intermittent meander. Rectangles inscribed into each other were used as inserts (Fig. 76).

Rice. 76. Broken meander

When two meander lines are combined, an image of a swastika appears - a very ancient symbol of evolution (Fig. 77).

Rice. 77. Combination of two meander lines

It's not hard to see in the curves wavy lines the same meander principle, only devoid of its geometric clarity (Fig. 78).

Rice. 78. Using the meander principle when constructing wavy lines

Rounding the curls of the previous ornament, we get circles connected in a similar way (Fig. 79).

Rice. 79. Meander Variation

6.5.5. Tiled motifs

The stylized images of the trunks of some trees resembled modern roof tiles. In this example, it also resembles fish scales or bird feathers (Fig. 80).

Rice. 80. Stylized images of tree trunks, reminiscent of modern roof tiles

A step forward along the path of generalizing the image - the elements of the ornament have become extremely generalized, geometric (Fig. 81).

Rice. 81. Generalization of the image of tree trunks

Another version of the "tiled" ornament (Fig. 82).

Rice. 82. Variant of "tiled" ornament

In the future, such techniques were used as parts of a more complex composition.

Starting from the “tiled” motif, an ornament is created based on the rotations of its constituent elements. The voids that have arisen between the parts are filled (Fig. 83).

Rice. 83. Ornament based on rotations of its constituent elements

State budget educational institution

initial vocational education

professional lyceum № 24, Sibay

Methodological development of a lesson in the discipline

"Fundamentals of composition and color science"

on the topic: « Ornament. Types of ornaments»

Developed by: master of p / o I qualification category

G.K. Zainulina

EXPLANATORY NOTE

Modern world culture is the owner of a huge heritage in the field of all types of fine arts. Studying the greatest monuments of architecture, painting, sculpture and decorative and applied art, one more area of ​​artistic creativity cannot be ignored. It's about decoration. Using the role of one or another object, an ornament (lat. Ornamentum - decoration) cannot exist separately outside a certain work of art, it has applied functions. The work of the arts is the object itself, decorated with an ornament.

Upon careful study of the role and function of the ornament, it becomes obvious that its significance in the system of expressive means of a work of art is much greater than the decorative function, and is not limited to only one applied character. Unlike color, texture, plasticity, which cannot exist outside a certain object without losing its imagery, an ornament can retain it even in fragments or when redrawing. In addition, stability is inherent in a number of ornamental motifs, allowing a certain motif to be used over a long period of time and on various objects, in different materials, without depriving it of the logic of its ornamental form.

Ornament is part of the material culture of society. A careful study and development of the richest heritage of this component of world artistic culture contributes to the education of artistic taste, the formation of ideas in the field of cultural history, and makes the inner world more significant. Creative development of decorative and ornamental art of previous eras enriches the practice of contemporary artists and architects.

Lesson topic. Ornament. Types of ornaments.

Lesson goals. 1. Familiarization of students with the ornament, with its types. Tell

about the structure of ornaments, about the diversity and unity of ornaments

tal motives of countries and peoples.

2. Formation of skills and knowledge. Develop the ability to analyze

to establish, establish connections and relationships. Develop skills

plan their activities, the memory of students.

3. Cultivate friendliness, friendliness. Generate messages

strength, responsibility and determination.

Lesson type. Lesson of communication of new material.

Educational and methodological support and TCO. Textbook by N.M. Sokolnikov “Fine Arts”, “Fundamentals of Composition”, illustrations, reproductions of great artists.

During the classes

1. Organizational moment.

a) checking the attendance of students according to the journal;

b) appearance check;

c) checking the availability of educational supplies.

2. Checking homework.

Front poll:

a) What is coloristics (color science)?

b) Tell us about the history of the development of color science.

c) What contribution did Leonardo da Vinci make to the history of the development of color?

d) Tell us about the idea of ​​Leonardo da Vinci's six-color color scheme.

e) What contribution to the history of the development of color science was made by Newton, Roger de Piles, M.V. Lomonosov and Runge?

3. Communication of new material.

An ornament is a pattern built on rhythmic alternation and an organized arrangement of elements.

The term "ornament" is related to the word "decoration". Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic and combined.

Rhythm in an ornament is the alternation of pattern elements in a certain sequence.

The pattern can be flat and voluminous. A flat pattern is created by completely or partially superimposing one form on another by interpenetrating these figures.

A flat pattern can be repeated many times. This repetition is called motive, or rapport.

Of the ornaments, the most common are ribbon, mesh and compositionally closed.

A ribbon (strip) ornament is built from identical, repeating or alternating elements arranged along a curved or straight line.

Repeating elements of the same size create monotony and monotony of the rhythm, alternating elements give rise to a more “lively” composition with a growing and undulating rhythm.

Alternating or repeating elements can be different in size, that is, they are built on the contrast of shapes (large, medium, small) with their different movements. Contrast helps to reveal the figurative characteristics of the forms used.

Contrast can also manifest itself in the distribution of black and white spots of tone, when some spots are enhanced and others are weakened.

Of great importance is the principle of light contrast, which is expressed in the fact that any color darkens on light, and brightens on dark. This phenomenon applies to varying degrees to both achromatic (black and white) and chromatic colors.

The ribbon ornament can be in the form of a horizontal, vertical or inclined strip. Such an ornament is characterized by openness, that is, the importance of its continuation. Let us follow successively how a strip ornament is built, located vertically, horizontally or in the form of an inclined strip. We draw a strip for the ornament required in width, breaking it into squares, rectangles, respectively, and draw axes of symmetry in them. Then, previously stylized forms, taken, for example, from sketches of plants, are placed on a plane, building alternating elements of the ornament.

After that, we look at whether we are satisfied with what happened. If not, we add smaller or medium-sized forms (according to the principle of the three-component nature of these forms).

Completing the composition, you need to determine where the darkest and lightest spots will be, how they will be repeated on the plane, where the gray spots will be located and what they will complement - dark or light elements of the ornament.

At the heart of the mesh ornament is a cell with an ornamental motif inscribed in it - rapport. Cell size may vary.

Mesh ornament is typical for fabrics to a greater extent. A cell can be repeated multiple times. The mesh ornament is built similarly to the strip ornament. The main task in its construction is to correctly plot the axes of symmetry.

Symmetry in art is the exact regularity of the arrangement of objects or parts of an artistic whole.

Origin History

Ornament(Latin ornemantum - decoration) - a pattern based on the repetition and alternation of its constituent elements; designed to decorate various items. Ornament is one of ancient species pictorial activity of a person, in the distant past, carried a symbolic and magical meaning, symbolism. At the time when man moved to settled way life and began to make tools and household items. The desire to decorate your home is characteristic of a person of any era. And yet, in ancient applied art, the magical element prevailed over the aesthetic, acting as a talisman against the elements and evil forces. Apparently, the very first ornament adorned a vessel molded of clay, when the invention of the potter's wheel was still far away. And such an ornament consisted of a series of simple indentations made on the neck with a finger approximately at an equal distance from each other .. naturally, these indentations could not make the vessel more convenient to use. However, they made it more interesting (pleased the eye) and, most importantly, "protected" from the penetration of evil spirits through the neck. The same applies to the decoration of clothes. Magic signs on it they protected the human body from evil forces. Therefore, it is not surprising that spell patterns were placed on the collar, sleeves, and hem. The emergence of the ornament goes back centuries and, for the first time, its traces were captured in the Paleolithic era (15-10 thousand years BC). In the Neolithic culture, the ornament has already reached a wide variety of forms and began to dominate. Over time, the ornament loses its dominant position and cognitive significance, retaining, however, an important streamlining and decorating role in the system of plastic art. Each era, style, consistently emerging national culture worked out its own system; therefore, the ornament is a reliable sign of the belonging of works to a certain time, people, country. The purpose of the ornament was determined - to decorate. Ornament reaches a special development where conditional forms of reflection of reality prevail: in the 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, stable principles and forms of ornamentation have been formed, which largely determine national artistic traditions. For example, in India, the ancient art of rangoli (alpona) - an ornamental pattern - prayer, has been preserved.

Types and types of ornament

There are four types of ornaments:

Geometric ornament. Geometric ornament consists of dots, lines and geometric shapes.

Floral ornament. The floral ornament is made up of stylized leaves, flowers, fruits, branches, etc.

zoomorphic ornament. The zoomorphic ornament includes stylized images of real or fantastic animals.

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

Types:

Ornament in a strip with a linear vertical or horizontal alternation of motif (ribbon). This includes friezes, borders, frames, borders, etc.

closed ornament. It is arranged in a rectangle, square or circle (rosette). The motive in it either does not have a repetition, or is repeated with a rotation on the plane (the so-called rotational symmetry).

To geometric include ornaments, the motifs of which consist of various geometric shapes, lines and their combinations.
In nature, geometric shapes do not exist. Geometric correctness is an achievement of the human mind, a way of abstraction. Any geometrically correct forms look mechanical, dead. The fundamental principle of almost any geometric shape is a real-life form, to the limits generalized and simplified. One of the main ways to create a geometric ornament is the gradual simplification and schematization (stylization) of motifs that originally had a pictorial character.
Elements of geometric ornament: lines - straight lines, broken lines, curves; geometric shapes - triangles, squares, rectangles, circles, ellipses, as well as complex shapes obtained from combinations of simple shapes.

Fine an ornament is called, the motifs of which reproduce specific objects and forms of the real world - plants (vegetative ornament), animals (zoomorphic motifs), humans (anthropomorphic motifs), etc. The real motives of nature in the ornament are significantly processed, and not reproduced, as in painting or graphics. In the ornament, natural forms require some measure of simplification, stylization, typification, and, ultimately, geometrization. This is probably due to the repeated repetition of the motif of the ornament.

Nature and the world around us are the basis of ornamental art. In the creative process of designing an ornament, it is necessary 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 simplified in an ornament.
natural form with the help of conventional forms, lines, spots, it is reincarnated by the power of imagination into something completely new. The existing form is simplified to an extremely generalized, familiar geometric form. This makes it possible to repeatedly repeat the shape of the ornament. What was lost by the natural form during simplification and generalization returns to it when using artistic ornamental means: the rhythm of turns, different scales, flatness of the image, coloristic solutions of forms in the ornament.

How does the transformation of natural forms into ornamental motifs take place? First, a sketch is made from nature, which conveys the similarity and details as accurately as possible (the “photographing” stage). The meaning of reincarnation is the transition from sketching to conditional form. This is the second stage - transformation, stylization of the motif. 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, is consistent with the possibilities of a visual medium.

Patterns of compositional constructions

THE CONCEPT OF ORNAMENT COMPOSITION

Composition(from lat. compposito) - compilation, arrangement, construction; the structure of a work of art, determined by its content, character and purpose.
Creating a composition from scraps of fabric is the choice of an ornamental and coloristic theme, pattern, plot, determining the overall and internal dimensions of the work, as well as the relative position of its parts.
ornamental composition- this is the compilation, construction, structure of the pattern.
The elements of the ornamental composition and at the same time its expressive means include: dot, spot, line, color, texture. These elements (means) of the composition in the work are transformed into ornamental motifs.
Speaking about the patterns of ornamental compositions, first of all, it is necessary to say about the proportions. Proportions determine other patterns of constructing ornamental compositions (meaning rhythm, plasticity, symmetry and asymmetry, statics and dynamics.

RHYTHM AND PLASTIC

Rhythm in an ornamental composition they call the pattern of alternation and repetition of motifs, figures and intervals between them. Rhythm is the main organizing principle of any ornamental composition. The most important characteristic of an ornament is the rhythmic repetition of motifs and elements of these motifs, their inclinations and turns, the surfaces of motif spots and the intervals between them.
rhythmic organization- this is the relative position of motifs on the compositional plane. Rhythm organizes a kind of movement in the ornament: transitions from small to large, from simple to complex, from light to dark, or the repetition of the same forms at equal or different intervals. Rhythm can be:

1) metric (uniform);

2) uneven.

Depending on the rhythm, the pattern becomes static or dynamic.
rhythmic scale determines the rhythm of motifs in vertical and horizontal rows, the number of motifs, the plastic characteristics of the shape of motifs, and the features of the location of motifs in rapport.
motive- part of the ornament, its main forming element.
Ornamental compositions in which the motif is repeated at regular intervals are called rapport compositions.

rapport- the minimum and simple in form area occupied by the motif and the gap to the adjacent motif.

The regular repetition of rapport vertically and horizontally forms a rapport grid. Rapports adjoin each other, without overlapping one another and without leaving gaps.

Depending on the shape of the surface they decorate, ornaments are: monorapport or closed; linear rapport or tape; mesh-rapport or mesh.

Monorapport ornaments represent final figures (for example, coat of arms, emblem, etc.).

In linear rapport ornaments, the motif (rapport) is repeated along one straight line. A ribbon ornament is a pattern whose elements create a rhythmic row that fits into a two-way ribbon.

Mesh-rapport ornaments have two transfer axes - horizontal and vertical. A mesh ornament is a pattern whose elements are located along many transfer axes and create movement in all directions. The simplest mesh-rapport ornament is a grid of parallelograms.

In complex ornaments, it is always possible to identify a grid, the nodes of which make up a certain system of points in the ornament. Rapports of complex shape are built as follows. In one of the rapports of a rectangular grid, broken or curved lines are drawn outside to the right and upper sides, and to the left and lower - the same lines, but inside the cell. Thus, a complex structure is obtained, the area of ​​\u200b\u200bwhich is equal to a rectangle.

With these figures, the area of ​​the ornament is filled without gaps.
The composition of the mesh ornament is based on five systems (grids): square, rectangular, regular triangular, rhombic and oblique parallelogram.

In order to determine the type of grid, it is necessary to connect repeating

ornamental elements.

The rhythmic series suggests the presence of at least three or four ornamental elements, since too short a series cannot fulfill

organizing role in the composition.

The novelty of the composition of the ornament, as noted by V.M. Shugaev, a well-known specialist in the theory of ornament on fabric, is manifested not in new motives, but mainly in new rhythmic constructions, new combinations of ornamental elements. Thus, the rhythm in the composition of the ornament is given special importance. Rhythm, along with color, is the basis of the emotional expressiveness of the ornament.
Plastic in ornamental art, it is customary to call smooth, continuous transitions from one form element to another. If during rhythmic movements the elements are at some distance from each other, then during plastic movement they merge.

Ornamental forms, depending on the emotional impact, are conditionally divided into heavy and light. Heavy shapes include a square, cube, circle, ball, light ones - a line, rectangle, ellipse.

SYMMETRY

Symmetry- this is the property of a figure (or ornamental motif) to be superimposed on itself in such a way that all points occupy their original position. Asymmetry is the absence or violation of symmetry.
In the visual arts, symmetry is one of the means of constructing an art form. Symmetry is usually present in any ornamental composition; this is one of the forms of manifestation of the rhythmic principle in the ornament.
Basic elements of symmetry: plane of symmetry, axis of symmetry, axis of transfers, plane of grazing reflection.
Plane of symmetry - an imaginary plane that divides a figure into two mirror-equal parts

- figures with one plane of symmetry,

A figure with two planes of symmetry,

- with four planes of symmetry.

4. Rules for constructing an ornament.

Showing and explaining the construction of ornaments:

a) tape;

b) mesh.

5. Consolidation of the studied material.

1. Frontal survey:

What is the purpose of the ornament?

What types of ornaments, depending on the structure, do you know?

What types of ornaments, depending on the motives prevailing in them, do you know?

Find signs of ornaments different peoples world with the same motives.

What types of ornaments do you know?

What is an ornament? What is ornamental art?

What is rhythm in ornament? What is rapport?

What is called symmetry in art?

What is a plane of symmetry?

2. Exercise:

a) the construction of a ribbon ornament;

b) construction of a mesh ornament.

6. Summing up.

7. Homework.

Come up with your own ornaments in a circle, in a square and in a strip, using geometric shapes or vegetation.

An ornament is a pattern that consists of rhythmically ordered elements. He stylizes real motives, schematizing them and operating with abstract forms. Such a pattern serves to fill some surfaces and to frame or separate individual parts. According to the motifs used, one can distinguish between geometric, zoomorphic, heraldic, grotesque, arabesque and floral ornaments. It is worth noting that such decoration should be in harmony with the purpose and nature of the decorated object itself.

The actual forms of plants, animals or objects may only be used if they do not overshadow the other components of the decoration and do not damage the overall impression. Therefore, you can usually find natural forms in a specially selected stylized form. Such a natural form is depicted in the main features with the addition of some patterns and curls in a style appropriate to the subject. However, a floral ornament can be suitable for any decoration, unlike other objects, forms of people or animals.

The drawings of many ornaments are determined by the material, rhythm and shape of the object, they form a decor and are an integral feature of a certain style. We can say with confidence that the floral ornament is the most common pattern after the geometric one. For him, the characteristic and certain favorite motifs that are used are important.

To make an original interpretation of the form, only a floral ornament is used, because. compared to other types, it has more opportunities for creating original motives or performance techniques. Various forms of flowers, leaves and fruits are used in the image, together or separately. The artist draws the original forms, color and scale, which change in his hands and obey the laws of symmetry. When a patterning style is chosen, then all the typical features are enhanced, and everything random is removed. These changes can be very significant, to the extent that the original material is transformed beyond recognition.

The most sought-after ornament in professional field animators and designers are vector pictures. They can be used to create some colorful products in advertising or printing. The packaging design also provides for a vector ornament - this helps to create exclusive and original works. It is worth noting that ready-made thematic ornaments help designers save time, which is always so lacking.

Often designers also use floral - this is a linear vertical or horizontal alternation of the motif. plinths on the wallpaper, various paintings on the facades of houses, as in villages and villages (this is especially used in Ukraine). You need to be able to compose such a pattern correctly so that it is harmonious, and the painting is beautiful and original. It is very important for any such pattern that it be in the same color scheme as the main field of products.

Floral ornament - special kind decor, performed using the same plant motif repeated many times (a bunch of leaves, a bunch of grapes, a flower, etc.). It is used as a decoration for household items, architectural structures, weapons, tools, etc. over the millennia. This type of ornament is the second most common after the geometric one.

Floral ornament in different historical periods

The appearance of this type of decor is connected, first of all, with the transition of mankind from cattle breeding to agriculture and, accordingly, with the advent of agricultural magic. For example, archaeologists have discovered figurines of the Trypillia period (IV-III centuries BC) of cult purpose, decorated with sprouts and sown grain. In the sculptures, through the ornament, a simple formula for the success of agricultural work is expressed - “grain + earth + rain = harvest”.

AT early period In the development of floral ornament, it was always combined with geometric. The most common figure at that time - a rhombus - was divided into parts, each of which depicted a sprout. On some Trypillia figurines you can see clearly visible leaves, spikelets and other cultivated plants. If we compare the motifs of Trypillian ornaments and European canonical textiles, we can see a whole group of similar features. The theme of an arable field and a sprout is widely developed in the ornament of all agricultural cultures of the world. For example, embroideries made on Russian fabrics very often contain images of a sprout between vertical straight or wavy lines. Thus, the Neo-Eneolithic motif of rain-water is combined with the power of a growing ear.

During the transition from the Bronze Age to the Iron Age, the theme of the furrow begins to be traced in the ornament. Many compositions include images of animals guarding plants. As the visual skills of the masters improve, the elements used in the ornaments become more detailed and recognizable. An example is textiles dating from the 6th - 5th centuries BC. e, found in the burials of the Altai Mountains. These fabrics are decorated with various flowers, lotuses, blossoming trees.

There are also many examples of complex floral ornaments made by the masters of antiquity.

In ancient Greece, the so-called palmettes are very often used - fan-shaped palm leaves.
In ancient Egypt, lotuses and other flowers usually become motifs for ornaments.
In Iran and India, craftsmen often make patterns containing plant motifs that are complex in execution.

Similar ornaments are used to decorate buildings, clothing and utensils, and in the 1st century BC. n. e. and later, during the Middle Ages. In the Renaissance, the great artists Sandro Botticelli, Pisanello, Giacomo Bellini introduced a significantly improving three-dimensionality into the floral ornament. In the XVII-XVIII and XIX centuries. the art of creating patterns was greatly influenced by the work of ornamental graphic artists (D. Maro, J. Lenotre, Ch. Lebrun, and others). 19th century becomes one of the heydays of the plant pattern. Discrete motifs of flowers and twigs decorate textiles, porcelain, wallpaper, etc. The 19th and 20th centuries were the time of great interest in oriental floral ornaments. In particular, great attention is paid to Japanese motives and techniques.

Floral ornament XIX - XX century

By the end of the 19th century, there was a large number of various schools of technical drawing. They developed techniques for making ornaments, which are known today. At that time, the focus was on motive. It was believed that it is he who is the key link in the imagery of the entire pattern as a whole, as well as the object on which it is applied. The most difficult and at the same time universal was the method of "perfect forms". This technique belonged to the classics, and existed in various forms since the beginning of the 19th century. It is based on the use of an idealized plant. At the same time, the artist makes a huge number of analytical sketches from nature, which are then compared with the ornaments of previous centuries. Further, in accordance with his own creative ideas and based on certain laws of construction, he creates an image.

Karl Krumbholtz, the author of such books as "Drawing in the Art Industry" (Dresden, 1849), "Flowers and Ornament" (Dresden, 1849) , "Vegetal ornament" (Dresden, 1878), etc. For images executed after a thorough analysis of natural natural plants, were characterized, first of all, by the lack of volume and the widespread use of color. K. Blossfeld, a lecturer at the University of Berlin, also enjoyed great prestige as an ornamental artist in the late 19th and early 20th centuries. He used photography to analyze plants. The same ornament design that is used in industry today originated in the 20s of the last century. Opinion about what is on fabrics, porcelain, wallpaper, etc. ornaments should be applied, made according to slightly modified technologies of previous historical periods, at this time it changes radically.