The Grammar of Ornament
From The Art and Popular Culture Encyclopedia
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| - | #REDIRECT [[Owen_Jones_(architect)#The_Grammar_of_Ornament]] | + | {{Template}} |
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| + | ''[[The Grammar of Ornament]]'' is a book by [[Owen_Jones_(architect)|Owen Jones]] (1856). | ||
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| + | The first 19 chapters presented key examples of ornament from a number of sources which were diverse both historically and geographically - notably examining the Middle East in the chapters on Arabian, Turkish, Moresque (Alhambra) and Persian ornament. The final chapter, titled ‘Leaves and Flowers from Nature’ acknowledged that “in the best periods of art, all ornament was based upon an observation of the principles which regulate the arrangement of form in nature” and that “true art consists of idealising, and not copying, the forms of nature”. [[Christopher Dresser]], Owen Jones’s most well-known protégé, contributed one of the plates in this final chapter, and he was concurrently presenting theories on natural-form ornament in his famous botanical lectures at the Government School of Design in the mid-1850s. | ||
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| + | The ''Grammar'' was hugely influential in [[design school]]s in the latter half of the nineteenth century, and is still in print today, maintaining its relevance as a source of inspiration for contemporary designers. | ||
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Revision as of 15:09, 28 December 2012
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The Grammar of Ornament is a book by Owen Jones (1856).
The first 19 chapters presented key examples of ornament from a number of sources which were diverse both historically and geographically - notably examining the Middle East in the chapters on Arabian, Turkish, Moresque (Alhambra) and Persian ornament. The final chapter, titled ‘Leaves and Flowers from Nature’ acknowledged that “in the best periods of art, all ornament was based upon an observation of the principles which regulate the arrangement of form in nature” and that “true art consists of idealising, and not copying, the forms of nature”. Christopher Dresser, Owen Jones’s most well-known protégé, contributed one of the plates in this final chapter, and he was concurrently presenting theories on natural-form ornament in his famous botanical lectures at the Government School of Design in the mid-1850s.
The Grammar was hugely influential in design schools in the latter half of the nineteenth century, and is still in print today, maintaining its relevance as a source of inspiration for contemporary designers.
