Published at Monday, 12 August 2019. Decoration. By Marie Williams.
The geometric designs and heavy lines seem to be adapted from the area’s textile and weaving patterns. “In contrast with the sobriety of architecture and decoration in the rest of Arabia, exuberant color and ornamentation characterize those of Asir. The painting extends into the house over the walls and doors, up the staircases, and onto the furniture itself. When a house is being painted, women from the community help each other finish the job. The building then displays their shared taste and knowledge. Mothers pass these on to their daughters. This artwork is based on a geometry of straight lines and suggests the patterns common to textile weaving, with solid bands of different colors. Certain motifs reappear, such as the triangular mihrab or niche and the palmette. In the past, paint was produced from mineral and vegetable pigments. Cloves and alfalfa yielded green. Blue came from the indigo plant. Red came from pomegranates and a certain mud. Paintbrushes were created from the tough hair found in a goats tail. Today, however, women use modern manufactured paint to create new looks, which have become an indicator of social and economic change.”
A pivotal figure in popularizing theories of interior design to the middle class was the architect Owen Jones, one of the most influential design theorists of the nineteenth century. Jones first project was his most important—in 1851, he was responsible for not only the decoration of Joseph Paxton’s gigantic Crystal Palace for the Great Exhibition but also the arrangement of the exhibits within. He chose a controversial palette of red, yellow, and blue for the interior ironwork and, despite initial negative publicity in the newspapers, was eventually unveiled by Queen Victoria to much critical acclaim. His most significant publication was The Grammar of Ornament (1856), in which Jones formulated 37 key principles of interior design and decoration.
In ancient India, architects used to work as interior designers. This can be seen from the references of Vishwakarma the architect - one of the gods in Indian mythology. Additionally, the sculptures depicting ancient texts and events are seen in palaces built in 17th-century India. In medieval times wall art paintings in India have been a common feature of palace like mansions commonly known as havelis. While most traditional homes are done away with modern buildings, there are around 2000 havelis in the Shekhawati region of Rajashtan that display wall art paintings.
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