The pattern is 여우알바.
As with many designs and buildings-even more important than many others-arts and crafts aesthetics continue to influence low-cost and highly commercialized product lines, especially the use of man-made and synthetic materials, which are often found in department stores and others today . Retail store. As a pioneer of the Art Nouveau movement, the Arts and Crafts movement focused on decorative arts craftsmanship and was personified by the influential textile designer William Morris. Through the use of curves, iron and glass in the design, Art Nouveau has been accepted by architects. The Art Nouveau style is characterized by winding lines, usually inspired by plants and flowers as well as geometric patterns.
Art Deco was a broad sense of design, permeating the numerous art and design forms of the early 20th century, from art and architecture to fashion and furniture, as well as household appliances and even vehicles. In part because arts and crafts represent an overarching philosophy of life as opposed to a distinct aesthetic style, its reach extends to virtually every aspect of decorative arts, design, and architecture. Thus, even less than arts and crafts, Art Nouveau was associated with the ability to completely change public attitudes and mores, but rather, it was often used to decorate and charm the viewer in a fairy-tale world of pleasure, sometimes with a touch of exoticism. Illustrator Aubrey Beardsley brought Art Nouveau to book design by illustrating Mort d’Arthur by Sir Thomas Mallory and serving as art editor for the renowned Yellow Book magazine in England.
In the early 1930s, a modified Art Deco style called Streamline Moderne (or Art Moderne) spread throughout the United States, simplifying the design and focusing on single-story structures in terms of architecture to better meet the needs of more traditional buildings such as stations. Service and diners. This movement, which sees itself as a revival of traditionalism, was accompanied by an artistic revival, establishing many enduring Islamic art and architectural forms, the most famous of which is its decorative art classics. The classical style of Islamic decoration, using unique gold stone, geometric and abstract plant elements, matured during this period. This decorative classic was finally adopted by all parts of the Islamic world.
Islamic artisans and artists, who were forbidden to depict people in sacred sites, developed an instantly recognizable aesthetic based on repeating geometric shapes. The mathematical elegance of these designs is that no matter how complex they are, they are always based on grids built using only a ruler and compass. Islamic design is based on Greek geometry, which teaches us that, based on the simplest assumptions, we can construct a significant amount of form-based evidence. Islamic models provide visual confirmation of the complexity that can be achieved with such simple tools.
Geometric patterns in Islamic art are often built on combinations of repeating squares and circles that can be overlaid and intertwined, as well as arabesques (with which they are often combined) to form intricate and complex motifs, including a wide variety of mosaics. Geometric patterns are used in various art forms in different parts of the Islamic world. In Islamic art and architecture, geometric patterns come in a wide variety of forms, including kilim rugs, Persian girih and Moroccan zellidge tiles, muqarnas ornamental vaults, jali perforated stone screens, ceramics, leather, stained glass, wood and metal products. In the history of art, models have been used from ancient Greece to the modern era.
Since ancient times, both in Islamic art and architecture, motives have always played an important role as a form of decoration, repetition and rhythm. The use of models is part of how Islamic art represents nature and objects in terms of their spiritual qualities, rather than their physical and material qualities. Plant motifs called arabesques are often used in repeating geometric motifs. A common feature of Islamic art is the covering of surfaces with geometric patterns.
Another familiar feature of this art, which should also express some of the basic characteristics of the Islamic spirit, is that it generally tends to have an orderly and symmetrical composition, especially a purely geometric decorative form. The architecture of the pre-modern Islamic world is largely related to geometric design and concepts. However, the pre-modern architectural design of the Islamic world also has a subtle connection with the blueprint.
Descriptive geometry was not used in pre-modern Islamic architecture until the early 20th century and was influenced by the West. Also, unlike in the West, where architectural drawings were usually preserved in sketchbooks (such as the French tradition of documenting geometric exercises) or treatises (such as Serlio), retaining a drawing was not common practice in the Islamic world. However, surviving documents pervasively refer to the use of geometry in the architectural design of medieval Islam.
These range from grid-based planes creating semi-abstract geometric patterns to semi-tectonic space designs. Most of these historical references included practical treatises on geometry by mathematicians and geometers for architects and craftsmen who had to apply these principles in their geometric designs. In addition, Spanish chroniclers often made samples of fabrics and clothing in order to have a reasonable understanding of the varieties used.
However, the use of color to decorate the body, as well as beads and perishable items such as feathers or objects of plant origin, about which there is no archaeological record, conceptually very far from the creation of models and separate visual arts. from ourselves. … The earliest known evidence of artistic behavior is the decoration of the human body, including the coloring of the skin with ocher and the use of beads, although both may have a functional origin.
In addition to using abstract motifs, artists working in the geometric style began to use figures of people and animals, considering them as the sum of geometric parts: bodies that become triangles, legs and arms that become line segments. Non-geometric objects, often presented in abstract form, included felines (especially jaguars and cougars), llamas, snakes, birds, sea creatures, and plants.
The garment had a simple pattern, usually with square patterns at the waist and fringes, as well as a triangle at the neck. The Incas preferred abstract geometric patterns, especially checkerboard patterns that repeated motifs (tocapus) on the surface of the fabric. Islamic designers used the full range of Archimedes tiles (composed of simple polygons) first discovered by the Greeks, but added and expanded them with extraordinary visual and spatial ingenuity.
The decorative elements used use many symmetries, which are now classified as belonging to different mathematical groups, but the subtlety and beauty of the design is unparalleled in modern mathematical thinking. Once completed, these elements combine to create the precise and decorative geometric shapes that make up the design. Most designs are based on a partially hidden geometric grid, providing a regular array of points; this will translate to a model that uses 2, 3, 4, and 6 rotational symmetry, which can fill a plane.
Geometric patterns in Islamic metalwork can form a grid embellished with these other motifs, or they can form a background pattern. The patterns very often match the patterns used in body painting. All model artists have one thing in common: they use all models in their art. Drawings in Inca art often use geometric shapes, are standardized and technically executed.