Title of the article:

GEOMETRIC MOTIFS IN PRINT TEXTILE. ON THE RECURRENT GEOMETRIC MOTIFS IN RUSSIAN PRINTED FABRICS

Author(s):

Ekaterina V. Morozova

Information about the author/authors

Ekaterina V. Morozova — PhD in Art, Associate Professor, A. N. Kosygin Russian State University (Technologies, Design, Art), Sadovnicheskaya St. 33, 117997 Moscow, Russia. ORCID ID: https://orcid.org/0000-0002-0663-0498. E-mail: morosowa8888@mail.ru

Section

History of Arts

Year

2020

Volume

Vol. 56

Pages

pp. 262–273

Received

March 22, 2019

Date of publication

June 28, 2020

DOI:

https://doi.org/10.37816/2073-9567-2020-56-262-273

Index UDK

7.01 + 745:677.02

Index BBK

85.125

Abstract

Geometric ornament in its rudimentary form emerges in the Paleolithic. During the Neolithic period, it appears to us already in a fully-shaped form, in which stable ornamental motifs and constructions become visible. Representatives of highly developed agricultural cultures come to reflect nature in geometric symbols. One can select an ornament from pits-circles forming stripes, borders, rhombic mesh ornaments. The appearance of textiles is directly related to this period. In Neolithic ceramics, textiles were a technical imprint sometimes used to decorate items together with ornaments. Here you can also see the continuity of elements found in the Paleolithic (points-pits) and ornamental solutions (Seating). These ready-made ornamental solutions were further developed in Russian printing. Circle, square, rhombus, isosceles triangle — have become the most common motifs. The circle has a special place in the padding. It makes any motif enclosed in it more symmetrical, which allows you to place the elements of the ornament on the plane of the fabric evenly, i.e., to coordinate them with the lattice structure of the ornament. A square and a rhombus can fill the entire plane without gaps. Therefore, they often participate in the construction of the lattice, merging into one with it. An equilateral triangle is most often used to fill the background evenly. The phenomenon of permanence of geometric motifs in the ornament can be explained not only by deep original semantic meaning, but also by schemes of their location on the surface of objects that arose in the course of development. In addition, geometric patterns are the most convenient method to solving a technically complex problem of the evenly plane filling. Their symmetry and convenient fitting into lattice structures are especially instrumental for the consistency of certain ornamental geometric shapes. 

Keywords

geometric ornament, abstraction, Neolithic ceramics, Russian heel, mathematical methods, lattice constructions, symmetry, recurrent motifs, symmetry groups.

References

1 Beschastnov N. P., Zhuravleva T. A. Khudozhestvennoe proektirovanie tekstil'nogo pechatnogo ornamenta [Artistic design of textile printed ornament]. Moscow, Izdatel'stvo MGTU im. A. N. Kosygina Publ., 2008. 294 p. (In Russian)

2 Bol'shov S. V., Bol'shova N. A. Znakovaia sistema ornamenta [The symbolic system of ornament]. In: Mif i simvol [Myth and symbol]. Available at: http://www.mith.fantasy-online.ru/articles-4.html (accessed 10 January 2019). (In Russian)

3 Gushchin A. S. Proiskhozhdenie iskusstva [The origin of art]. Moscow, Iskusstvo Publ., 1937. 114 p. (In Russian)

4 Morozova E. V. Kompozitsionnaia struktura rapportnogo risunka [Compositional structure of a rapport pattern]. Moscow, Izdatel'stvo MGTU im. A. N. Kosygina, 2011. 32 р. (In Russian)

5 Morozova E. V. Geometricheskie motivy semantika, gruppa simmetrii i ikh ustoichivost' v ornamental'nom traditsionnom pechatnom tekstile [Geometric motifs semantics, symmetry group and their stability in ornamental traditional printed textiles]. In: Materialy mezhdunarodnoi nauchno-tekhnicheskoi konferentsii “Dizain, tekhnologii i innovatsii v tekstil'noi i legkoi promyshlennosti” (INNOVATsII-2015) [Proceedings of the international scientific and technical conference “Design, technologies and innovations in textile and light industry” (INNOVATIONS-2015) ]. Moscow, Izdatel'stvo RGU im. A. N. Kosygina Publ., 2015, part 4, pp. 129–132. (In Russian)

6 Okladnikov A. P. Utro iskusstva [Morning of art]. Leningrad, Iskusstvo Publ., 1967. 135 p. (In Russian)

7 Rybakov B. A. Iazychestvo drevnikh slavian [Paganism of the ancient Slavs]. Moscow, Nauka Publ., 1981. 607 p. (In Russian)

8 Stasov V. V. Russkii narodnyi ornament (shit'e, tkani, kruzhevo) [Russian folk ornament (sewing, fabrics, lace) ]. St. Petersburg, Tipografiia tovarishchestva “Pol'za” Publ., 1872. Vol. I. 25 p. (In Russian)

9 Chernai I. L. Istoki tekstil'nogo iskusstva pervobytnogo naseleniia lesnoi i lesostepnoi zon RSFSR [Origins of textile art of the primitive population of the forest and forest-steppe zones of the RSFSR: PhD Dissertation]. Moscow, 1983. 178 p. (In Russian)

PDF-file

Download

Illustrations