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Wednesday 29 June 2011

CLASSICAL HISTORICAL PERIOD

June 29th, 2011

Classicism contrasts with the philosophy of art and life called romanticism. Classicism stresses reason and analysis, while romanticism stresses imagination and the emotions.

Classical art looks to the past for its models. It often revives ancient Greek and Roman values, and is then called neoclassicism. Classical artists follow formal rules of composition more closely than romantic artists do. Classicists know that reality is complex. But they try to approach reality through simple structures. For example, the classical playwright concentrates on essentials by restricting a play to a single line of action that could happen within one day, in one place, or in nearby places.

The main point on how and why classical period emerged and developed to the world response the thinkers who lived and taught there prepared the ground for much of Western philosophy for the next 2000 years. This is big political influence. During the 5th century BCE, under the brilliant leadership of Pericles, the city- state of Athens rose to become the political and cultural focus of the Greek world.

“Beauty consists in the proportions…”- Galen, Greek Physician, 129- c.200 CE (See Page 4 at the Figure 1 “The Parthenon”)

The Parthenon is a masterwork of visual illusion, which tells us a lot about the genius of its creators. Their subtle visual feature and dimensions definitely sets it apart from the rest of the temples in Greece.



Figure 1 “The Parthenon”

The big influence for architectural and interior designs has social life, because many of the Greek statues that survive today are actually Roman copies. In many ways the Romans simply copied the art of the Greeks, although they later went on to create their own artistic identity. The Romans created monumental architecture and statues that celebrated the glories and wealth of their rule- Arch of Constantine (See Below at the Diagram 2 “Arch of Constantine”), for example.



Diagram 2 “Arch of Constantine”

The Arch of Constantine was dedicated in 315 by the senate and people of Rome along the triumphal route after Constantine’s defeat of Maxentius at the Milvian Bridge in 312. It was also designed to commemorate Constantine’s tenth anniversary of rule. The current state of conservation of the arch is particularly good and provides people with an excellent way to experience what Roman monumental architecture is like. That’s how interiors & architectural designs are important to society from early civilizations to the present day.

In economical way all these architectural and interiors designs are good, because of the new styles, original and luxurious buildings the cities became a greater. Apperiate more jobs, perspectives for people in their professions, new living conditions, incomes and etc.

TODAY’S CLASSICAL INTERIOR DESIGNS



Figure 3 “A classical entrances to a home inspired by Greek and Roman culture.”



Figure 4 “Classic interior design is derived from Greek and Roman design.”

This type of interior design is based upon order, balance, and perfect harmony (See above at Figure 4 Figure 4 “Classic interior design is derived from Greek and Roman design.”). Classical design does not include any modern elements or current influences. Instead, classic interior design is steeped in tradition. In order to distinguish classical design from other types of design, it is important to understand the idea behind a focal point.
Classically designed rooms often contain large focal points. A primary element in classical style is the use of a focal point around which visual balance is achieved (See above at Figure 3 “A classical entrances to a home inspired by Greek and Roman culture.”). A grand, marble fireplace flanked on either side by matching, gilded light sconces and crowned with an elaborate, gold framed mirror would be good example of classical balance. Once a designer has chosen the focus of a room- all other items within the room are placed in order to enhance the look of the chosen focal point.

The color palette common to classical interior design style takes it cue from the empire periods of history where color choices were often inspired by nature. Consider various yellows, blues, greens, browns as well as softer, muted hues like terracotta’s, greys and pinks. Adding some ebony (black) accenting within a well-planned design scheme can enhance the classical feel.
As with most other materials used inside of a classical space, fabrics should be understated. Linen, cotton and other durable fabrics are often used to create a classic theme. Designers who wish to add a bit of a splash to a classical room may choose to use taffeta and silks along with cotton and linen. Velvet is also used in abundance, though velvet is best used as an upholstery fabric.
When it comes to flooring options, classic interior design does not stray that far from the flooring materials once used by the Ancient Greeks and Romans. Wood, marble, slate, and stone are all ideal choices. Marble and stone can be placed in a geometric pattern in order to create an interesting, and calculated, look.

There is something about a room decorated in classic style that lets you taste the grandeur of a bygone era… that lets you remember those good old times. The classic never goes out of style.

Lilija Deviatnikova
By "Lily Design" 2011


Monday 27 June 2011

ABOUT LEONARDO DA VINCI

June 27th, 2011

“The heavens often rain down the richest gifts on human beings, naturally, but sometimes with lavish abundance bestow upon a single individual beauty, grace and ability, so that, whatever he does, every action is so divine that he distances all other men, and clearly displays how his genius is the gift of God and not an acquirement of human art. Men saw this in Leonardo da Vinci…” Vasari, Lives of the Painters…, 1550



Figure 1 “Leonardo da Vinci self portrait”

Leonardo da Vinci was born Apr 15, 1452, Anchiano, nearby Vinci, Republic of Florence [now in Italy]—died May 2, 1519, Cloux [now Clos-Lucé], France. He is an Italian painter, draftsman, sculptor, architect, and operative whose genius, maybe some-more than that of any alternative figure, succinct the Renaissance humanist ideal. His Last Supper (1495–98) (See Below at Figure 3 “Painting of Leonardo da Vinci “Supper””) and Mona Lisa (c. 1503–06) (See Below at Figure 2 “Painting of Leonardo da Vinci “Mona Lisa””) have been between the many at large renounced and successful paintings of the Renaissance. His notebooks exhibit a suggestion of systematic exploration and an automatic expertise that were centuries forward of their time.



Figure 2 “Painting of Leonardo da Vinci “Mona Lisa””


 
Figure 3 “Painting of Leonardo da Vinci “Supper””

Leonardo’s art and science are not separate, then, as was once believed, but belong to the same lifelong pursuit of knowledge. His paintings, drawings, and manuscripts show that he was foremost creative mind of his time. The most important works he done at Florence and Milan.
Continue with part of the work of Leonardo da Vinci architectural treatise was a major influence on generations of artists and architects.
“Vitruvian Man” (See Below at Figure 4 “Drawing of Leonardo da Vinci “Vitruvian Man”), created by Leonardo da Vinci around the year 1492, is based on the theories of the man after which the drawing takes its name, Vitruvius, who in De Architectura: The Planning of Temples (c. I BC) pointed that the planning of temples depends on symmetry, which must be based on the perfect proportions of the human body. Some authors feel there is no actual evidence that Da Vinci used the golden ratio in “Vitruvian Man”; however, Olmos (1991) observes otherwise through geometrical analysis. He also proposes “Leonardo da Vinci’s self portrait”, “Michelangelo’s David” (1501–1504), “Albrecht Durer’s Melencolia” and the classic violin design by the Masters of Cremona, as having similar regulator lines related to the golden ratio.



Figure 4 “Drawing of Leonardo da Vinci “Vitruvian Man””

Leonardo's notes contain many references to architecture, especially plans for cathedrals. His studies in this area commenced with the examination of various tools and instruments for building. This then progressed into an area never before studied, that of the varying strengths of pillars, beams, and arches.

Experts consider most of his studies on architecture were theoretical and Leonardo did not often face the practical problems caused by the act of construction. His notes on architecture are judged to be somewhat disappointing with titles like, "How to set up a framework for making decorations in the shape of a building." and "How to decorate a platform which has been erected for celebration." On the other hand, some sketches are particularly interesting as they are quite ambitious with enormous domes, chapels, four-way staircases, double spiral staircases, or multi-level thoroughfares for pedestrians and commercial traffic. All monuments that were never built and all plans destined never to be actioned.
In his architectural work Leonardo went so far as to present a plan for the "ideal city" to Ludovico il More. This would have required the total rebuilding of Milan and, not surprisingly, nothing more ever came of it. Little ever came of Leonardo's drawings and plans in the area of architecture. He may have worked with Ambrogio da Cortis and Bramante, in 1492, on rebuilding the Vigevano marketplace and may also have been involved in two or three other civil improvement projects. Other than this, we know he submitted a model for the central tower of the Milan Cathedral. It was rejected on May 10th, 1490, and though Leonardo was invited to resubmit something different, he never finished his second model.
Towards the end of his life Leonardo also worked on some sketches for the Queen Mother's castle at Romorantin. Again, these were never carried out.
Over all, Leonardo da Vinci is inspiration, example, teacher, great minded man for a lot of people all over history, because of this he done a big effect on the development of architectural and interior designs.

Lilija Deviatnikova
"Lily Design" 2011

Thursday 23 June 2011

ARTISTIC BAROQUE & RICH ROCOCO


June 23th, 2011

Baroque and Rococo art and architecture have become popular once more, after a century and a half of neglect, misunderstanding and scorn. This radical shift in taste has led to a rapid growth in detailed knowledge about the artists who created these exhilarating styles. The famous masters have been reassessed and whole areas of achievement – Italian Baroque painting, German Rococo architecture - have been brought to a new, enthusiastic public. Germain Bazin's engrossing survey of this rich subject ranges over all Europe and traces the origins and effects of Baroque and Rococo - from the Counter-Reformation to Neoclassicism, Exoticism and even Art Nouveau.

Rococo, also referred to as "Late Baroque", is an 18th-century style which developed as Baroque artists gave up their symmetry and became increasingly ornate, florid, and playful. Rococo rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings (See Below at Figure 1“The Furniture and Decorations of Interior Design These Days in Rococo Style”). It was a style of high fashion and had few popular forms.


Figure 1 “The Furniture and Decorations of Interior Design These Days in Rococo Style”

The earliest rococo forms appeared around 1700. In 1701 rooms was redecorated in a new, lighter, and more graceful style by the royal designer Pierre Lepautre. In later schemes the forms were often mildly asymmetrical in arrangement, but asymmetry was more the province of three- dimensional objects, such as wall brackets, candlesticks and etc.

During the second quarter of the century the rococo style spread from France to other countries, and above all to Germany. Transplanted to Germany, the rococo took a more fanciful and wayward turn, with greater emphasis on forms derived from nature. The factor of two different cultures and present styles mix influence variation of the style. Germany, however- like Austria and Italy to some extent- also produced an indigenous form of rococo, a style evolved out of, rather than in reaction against, the baroque. Because the baroque style in Austria, Germany, and Italy was already much freer than in France, it needed only a fairly small adjustment in scale, pace, and mood to turn baroque decorative forms into rococo ones.

   Baroque art and architecture, broadly speaking, is the art and architecture of Europe and its Latin American colonies in the 17th and the first half of the 18th centuries. This art at its greatest and most intense is found in Roman Catholic countries, and a close association, if not an ideological link, existed between the style and the Roman Catholic Church in the larger stages of the Counter- Reformation.

A strong connection exists also between baroque and Renaissance methods of representing reality. What was new in all these cases was the way in which the forms were used or the methods applied.  To cite a slightly different example, some of the features correctly regarded as most typically baroque, such as inward- curving facades and oval ground plans, were anticipated by prototypes occurring as sidelines, often in underdeveloped form, in the art of the past. Finally, baroque artists and architects did create some, although not many, entirely new form, of which perhaps the most important was double curve- inward at the sides, outward in the middle- used for facades, doorways, and furniture (See Below at Figure 2 “Baroque Interior Architecture & Interior Design”).


Figure 2 “Baroque Interior Architecture & Interior Design”

Outside Italy and Flanders, the baroque was mainly a late 17th- and 18th- century phenomenon, although signs of it appeared earlier in most places. Each region interpreted the style in a different way. Probably its most radiant flowering was in Germany, in such churches. In Spain and Portugal and their American colonies, the interpretation was more pious and popular, as can be seen in paintings or in the façade of buildings, the plain surface of which is encrusted with carved forms partly of traditional Spanish origin. In France, full acceptance of the baroque was prevented by the cult of reason, which favored classical restraint, but the resulting “classical- baroque” style produced the greatest of all royal places.
In the early 18th century the baroque gave way in France and Germany to the Rococo style, and it the second half of the century both styles were superseded by neoclassicism.

The social, economical and political circumstances of the Rome at that era influenced the development of the style by artists were far more active, than in all the rest Europe by creating a greatest number of important works of art were created. 

Lilija Deviatnikova
"Lily Design" 2011

Wednesday 15 June 2011

Lilijos Paveikslai 2011


Birzelio 16d. 2011

PAVEIKSLAI

Sie metai yra vieni is produktyviausiu mano gyvenimo etapu.
Visi paveikslai yra tapyti akriliniais dazais ant drobes.

 "The Passionate Horse" ("Aistringas Arklys")
 "Irish Ocean View" ("Airijos Vandenyno Peizazas") 
 Dydziai: 46 x 60 x 4 cm


"Kiwifruit" 2011 ("Kivis") Dydis: 40 x 40 x 3,5 cm

"The Catch Game"  ("Pagavimo Zaidimas") Dydis: 50 x 40 x 3,5 cm
"Three apple friends" ("Trys Draugai Obuoliai") Dydis: 35 x 25 x 1,5 cm
"Sweetness of the Pear" ("Kriauses Saldumas") Dydis: 20 x 25,5 x 1,5 cm


Name: "The Positive Mood" 2011 ("Pozityvi Nuotaika")
Size: 50 x 40 x 3,5 cm
Technique: Nutapyta Akriliniais dazais ant medinio remo aptrauktos drobes. I fona imaisyta siek tiek aukso, todel ziurint is skirtingu pusiu matomos skirtiongos spalvos. Zaluma yra su siek tiek iskilia tekstura.


Name: "Feelings" ("Jausmai")
Dydis: 46 x 60 x 4 cm

"The Cow Day" 2011 ("Karves Diena")
Dydis: 40,5 x 50 x 1,5 cm


Name: "The Fake Reality" by Lilia 2011 ("Padirbta Realybe")
(Airijoje nepasirasinejama ant paveikslu parasais, o tiesiog vardu, kartais ir pavarde). As rasau "Lilia", nes tada uzsienieciai istars mano varda taisyklingai; o jei originalus rasymo budas butu, tai jiem buciau tada "Lilidza" (Lilija) :)
Size: 40 x 30 x 3,5 cm
Technique: Nutapyta Akriliniais Dazais ant medinio remo aptrauktos drobes.
More Details about the painting: Juros arkliukas nutapytas auksiniais dazais (ziurint is skirtingu pusiu- matysime skirtingai atsispindincia spalva); su gana iskilia faktura, kuri suteikia nezymius, bet efektyvius seselius.


"Fresh Orange" 2011 ("Sviezias Apelsinas")
Dydis: 18 x 25,5 x 0,3 cm
Akriliniai dazai.
Aptraukta drobe ant kartono.



"Feng Shui Women" 2011 ("Feng Shui Moteris")
(Pop Art)
Dydis: 50 x 50 x 1,5 cm


Name: "Wild Dream" by Lilia 2011 ("Laukinis Sapnas")
Size: 70 x 50 x 3,5 cm
Technique: Nutapyta Akriliniais Dazais ant medinio remo aptrauktos drobes.
More Details about the painting: Beveik i visas spalvas imaisyta aukso tonu, todel atrodo labai "turtingas" turinys; ziurint is skirtingu pusiu- matysime skirtingai atsispindincias spalvas.
Rusis: Fantastine Abstrakcija
(Nuotraukoje dar "sviezias" paveikslas)





Name: "In The Shadow of Glory" by Lilia 2011 ("Sloves/spindejimo Seselyje")
Size: 40 x 50 x 3,5 cm
Technique: Nutapyta Akriliniais Dazais ant medinio remo aptrauktos drobes.
More Details about the painting: Visame paveikslo fone yra subtilios teksturos, primenancios senovini medi.
Rusis: Abstrakcija



Ikeliau kelias foto, kad matytumete skirtuma kaip paveiksla veikia sviesa.

Lilija

Tuesday 14 June 2011

Aerografia by Lilija

 

Birzelio 15d. 2011

Aerografia yra piesimo budas specialiu purkstuku (prijungtu prie kompresoriaus), kuriuo galima reguliuoti dazu sroves dydi ir krypti:



Keletas paskutiniu mano aerografijos darbu. Motociklas ir salmas.
Buvau taip  pat piesusi ir ant masinos- drakona ugnyje. Pazadu veliau surasti ir ikelti nuotrauku.
O pats pirmasis bandymas yra arklys ant furos (arkliu furgono).
Motociklas buvo ispiestas tokiais paveiksliukais: skorpionai, paprastos gyvates ir kobra, bei laivas ant smelio.
Salma bandziau nupiesti moderniai: siuolaikinis biciu korys.





Zemiau ikeliau keleta kitu megeju/ profesonalu darbu:




Mano nuomone taisyklingai "apipurksta" techika prilygsta geram tiuningui.
Pavizdys mano "mini tiunigo":





Lilija

Monday 13 June 2011

Duso idejos


Birzelio 14d. 2011

Dusas daugumai yra kasdienis geriausias draugas, pededantis atsigaivinti, atsipalaiduoti, nusiprausti nesvarumus ar itampa, moterims dazniausiai pirmoji ir pagrindine grozio procedura.

Pateikiau keleta naujoviu/ ideju Jusu namam. Virsuje matome dusa su spalvomis ir apsvietimu. Tokie dalykaui vadinami Spalvu Terapijomis. Kiekviena pasirinkta spalva teikia didesnes norimas relaksacijos emocijas:

*Raudona- aistra, drasa, energija, stiprumas, gera sveikata, pasitikejimas;
*Sviesi melyna- ikvepimas, mazina nerima;
*Violeine- jega, didina orentavimosi, samoninguma;
*Melyna- taika, gyjimas, ramybe;
*Zalia- harmonija, balansas, gyjimas;
*Balta- grynumas, nuosirdumas, atstumia negatyvuma.

P.S. Siuolaikiniai SPA labai megsta naudoti spalvu terapijas, nes tai padeda slopindi susikaupusias psichologines problemas.


Tokius dusus vadinu "Super dusais" :)
Jei norite buti issveisti kaip masina is visu pusiu su masazuojanciom srovem, sis prausimosi aparatas tada yra butent tai ko ieskote. Viduje rasite LCD TV, radia, zadintuva, atramas, ivairius masazuoklius, sviesa ir dar daugiau. Atkreipkite demesi i "islipima"- koks patogumas, ypatingai senyvo amziaus zmonem. Patogus ir daug saugesnis, nei musu standartines vonios.


Virsuje pigesnis variantas be "navarotu" :)
(Virsuje vonios ilipimo, o apacioje Spalvu Terapijos)


 Apacioje:
Romantiska, individuali, moteriska ideja



Virsuje:
Kas dar nemate sios naujoves, tai ji tikrai verta investuoti. Dziovintuvas/ sildytuvas/ dregmes surinkejas. Greitai apsildo vonios kambari, kad nereiktu pliuskentis saltoje erdveje, (taip pat greiciau dziusta ranksluosciai ir ne taip jaucias dregme). Pagrindinis pliusas ir ideja sio isradimo- nenaudoti kuno ranksluosciu ir fenu. Isdziovina Jusu plaukus ir visa kuna per keles minutes!

Visai smagu butu, mum panelem, kad nereiktu ilgai terliotis su plauku dziovintuvais, o iskart "du viename" nuveikiam ir ramiai rengiames!

Lilija

Isskirtine kede


Birzelio 13d. 2011

Kede, taburete, fotelis.
Kiekvienas sis daiktas pritaikytas zmogaus sedejimui, laukimo tarpui sutrumpint/ palengvint; daiktas, kuris yra labai svarbus ofiso darbuotojam, neisivaizduojamas vakarienes ar pusryciu stalas be kedziu, senyvo amziaus zmonems privalomas poilsio objektas aplinkoje. Galima vardint be sustojimo atliekamas kedziu funkcijas...
Rusiu yra ivairiu: su atramom nugarai arba rankom, masaziniu, kietu, minkstu, bariniu, standartinio dydzio, zemu, skirtu tik dekorui ir taip toliau.

Tradiciskai kedes turi keturias kojas, pasitaiko ir trys. Taciau siais laikais mada ir neribojama vaizduote isplete dizaina ir kuria placiu standartu kedes. Sie interjero baldai gaminami is ivairiausiu medziagu: medzio, metalo, plastmases, akmens, tekstilines medziagos, tikros ir nevisai gyvunu odos, kartais stiklo ir pan..

Ergonomika.
Jei kadanors perkant kede isvysite si zodi ant etiketes- tai labai geras zenklas, reiskiantis, kad Jusu pirkinys buvo kurtas naudojantis technikos, inzinerines psichologijos, estetikos, darbo higienos, fiziologijos, antropometrijos, biomechanikos duomenimis ir metodais, siekiama sukurti optimalias darbo sąlygas (priemones ir aplinką), kurios tausotų žmogaus sveikata, laiduotų darbo sauguma ir našumą. Sutrumpinam: patogumas, pilnai pritaikytas prie zmogaus stuburo, kad nejaustume nugaros skausmu.





Virsuje matome siuolaikines kedes praskaidrinancios kasdienine nuotaika! Nestandartiniai sprendimai, kurie puosia interjera, suteikia originalumo jausma ir atkreipia demesi i save.

Lilija

Sunday 12 June 2011

Stalo Dekoravimas

Birzelio 12d. 2011

Si grazu sekmadienio ryta pakalbesime apie stalo dekoravima. Dauguma is musu vakarais prie stalo susirenka su visa seima, tai tarsi ritualas, kuris kartojasi tam kad pabuti kartu, ramiai aptarti dienos ivykius ir atsipalaiduoti pasimegaujan skania vakariene. O kodel sios akimirkos nepaversti dar malonesnes ir grazesnes akims? Tai labai paprasta ir efektyvu. Pabandykit ir isitikinsit.

Apacioje pateikiau keleta pavyzdziu, kurie tikrai verti demesio ir beabejones skleistu jaukumo, isskirtine ir ypatinga nuotaika.

Dazniausiai/ tradiciskai stalai yra apkraunami maistu- tai yra didziausia klaida! Maistas yra tam, kad mes megautumes juo, o ne persivalgytume ir suvalgytume viskas kas yra ant stalo. Vakariene turetu susideti  is lengvo maisto/ nedideles porcijos, kuri tilptu i viena lekste ir nuo stalo sugebetume pakilti lengvi ir neprikimstais skrandziais. O dekoras leistu pasimegauti harmoninga aplinka, kuri lepintu akis jaukumu ir groziu.

Apacioje pateiktas pavyzdys yra subtilus, neapkrautas, elegantiskas, bei efektyvus. Zalia sakele suteikia stalui ramybes jausmo, pusiausvyros su gamta. Zvakes- naturali sviesa, silumos saltinis.



Privalomas dekoras sventiniu atjevu. Dazniausiai stalus puosia geliu puoksem ir spalviniu akcentu. Tai yra grazu. Bet, taip pat yra ir daug kitokiu budu: skirtingu formu indai, juostines staltieses po apacia servizo, dekoro detales: pradedant skulpturelem, baigiant vaisiais; stalo lygiai- indai ar pakylos, kurios iskelia pasirinktus objektus auksciau, kad jie butu labiau matomi/ demesio centre; kabancios virs stalo dekoracijos (tik nepatarciau cia persistengti) ir t.t.


Labai dazni ir veiksmingi sezoniniai papuosimai; apacioje matome rudens vaizda:


Kasdiene vakariene su stiliu:


Linksmu svenciu subtilybes, kurios beabejones paliks ispudziu ir pakels nuotaika sveciams:


Bukime originalus ir zaismingi, juk musu fantazijai nera ribu! Galima "suzaisti" su maistu taip, kad jo reiktu labai mazai, o efektas butu didelis ir keliantis daug pozityvios nuotaikos. O mes juk to ir norime!- Buti laimingi ir visad su sypsenom :)

Skanios vakarienes ir geros nuotaikos,

Lilija