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The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people's history and the Talysh language's peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.

Various kind of Kala is one of temple ornament, that are patterned face of the giant's head Kala at every Hindu Indonesia Java temple entrances. Kala's ornament is come from India named Kirtimukha. It has beautiful form, strange, unique and mythic, it also is noted by many parties. Its presence raises contradiction. Giant Kirtimukha was born out of anger of Siva, which raised a fire of anger from between her eyebrows. Kirtimukha that has very big power called Mahakala, with grim face, grinning mouth and sharp fang, killer and cannibal, was assigned to keep the palace/temple. Giant Kirtimukha or Mahakala is ornament of palace doors in India deva and Java temple, and then spreads to the East Java named Banaspati, to Bali named Boma, the mask, Betara Kala, Barong, Gupala, Bhutakala and others. Frequently, the word Kala is also associated with time and the sun. Each Kala in separated region has its own form and function. Heaven Palace buildings architect named Wisvakarma. Kala as temple ornament in Dieng is classical style built on (± 600-900), in Plaosan Lor is middle classical style built on (± 900-1250 AD), in Panataran temple is late classical style built on (± 1250-1400 AD ). Form and function changes in classical style Kala were done in anthropomorphich, metamorphosis, deformative by creative and innovative artist in each period. Period of Hindu artist produce classical Kala ornament as enterance guard on temple or and the like. Period of Islam produces Batara Kala and Gunungan Wayang Kulit Purwa and others.The change of the political, religious and authorities in various regions, is a major cause of changes in form and function of Kala. In a classic Indonesian Hindu temple, Middle and modern period Kala have different name and form, but his function still as an ornamental and security guard of its owner. Modern period produce new type of reliefs and paintings for building wall and many others. Kala ornament is created by creative and innovative artist ranging from design, preparation of materials/equipment and the forming, till producing giant pattern art works or mask.Â

The paper "From Ruins to the Decorative and Applied Arts Museum" reflects the complicated path passed by the outstanding monument, a pseudo-gothic style - mezzanine - "New Cavalry House"-
designed by the architect of German origin - Albert Zaltzmann. Based on scientific research, the work presents content and functional loading possibilities for the new Decorative Applied Arts Museum building and its outer space. One of the main goals is to replace the Russian narrative with European content.
The European-style architecture Museum, located in the centre of the popular Georgian Spa resort Borjomi, with displayed decorative and applied arts collections belonging to the royal family, will be interesting for all visitors. Accordingly, it will be in demand and profitable. It has been noted that the museum is of an extraordinary, unusual nature, and it stands out from the rest of the similar museum institutions in Georgia thanks to the peculiar architecture, content, and collections displayed here.
The paper describes the mission of the future museum, its content, and the vital role it has to play in the context of educational and economic development, promoting the region and the whole country.

Municipal involvement in the finance of fine arts museums raises the question: Just which market failure serves to rationalize this public subsidy? Two contenders are prominent in the literature: decreasing costs and education externalities. The relationship of price to marginal cost provides an operational test to distinguish among the two rationales. Scattered data from the 1880s and 1890s as well as contemporary discussion indicate that, implausible as it may seem now, education externalities constituted the operational justification for the public subsidy.

This collection of essays, co-edited with Katie Scott, redefines the study of the decorative arts in eighteenth-century France. It includes broader accounts of the impact of Enlightenment philosophy in shaping the understanding of the 'decorative arts' alongside case studies of silks, furniture, and architecture, drawing on recent theories of the body and space. Alive to the everyday pleasures found in objects, furnishings and dress, the volume illuminates the material worlds of consumers, from the extravagance of the court to the more modest taste of middle-class families, linking these material worlds to political and social life. The culture of luxury goods is considered alongside the changes to dress and design in the Revolutionary period

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.

This article synthesises diverse material to discuss both state use of the arts for the purposes of controlling prisoners and the broader public, and the use made of the arts by prisoners and portions of the broader public as tools of resistance to penal states. The article proceeds with an analysis of the politics surrounding and underpinning the philosophy, formation, operation, effectiveness, and research evaluation of arts-in-prisons programmes in the contemporary Anglo-American world. It argues that arts-in-prisons programmes and pertinent evaluation research are often employed as means to a variety of latent ignoble ends, with 'decorative justice' – the function of masking the injustices and painful nature of imprisonment behind claims of fairness, benevolence and care – chief amongst these ends.

The article is devoted to the construction of the concept of "textile as a type of decorative and applied arts" in Russian art history. An accurate and fully formulated definition helps to build a coherent scientific theory. The need to develop a theory of textiles is long overdue, due to its significant role in the life of society. The difficulties of definitions of textiles as an object of research are related to its interdisciplinary nature and the need to take into account all qualitative characteristics. In the course of the work we analyzed groups of domestic and translated bibliographic sources: reference editions, works of theorists and historians of decorative and applied arts and art textiles. It has been revealed that domestic publications have not yet formulated a universal concept of textile, which would reflect its essential qualities. The methodological argumentation, with the help of which definitions are constructed, has not yet been applied to textiles as a type of decorative and applied arts. In order to form a universal concept, we propose to turn to the proven methodological tools of the method of two-level triadic decoding of categories of the theory of dynamic information systems, which has already shown its heuristics in different fields of knowledge. Identification, comprehension and structuring of fundamental aspects of textile as a kind of decorative and applied arts in the course of consistent application of this method allowed us to formulate the following definition: textile as a kind of decorative and applied arts in the format of dynamic information system is an object or a set of objects of a certain purpose (utilitarian, symbolic, decorative), made of fiber (natural, artificial, synthetic) by means of technology (manual, industrial). The full definition of the category expands and deepens the formal-logical definition that existed earlier in the scientific literature. The present study allowed not only to construct a conceptual apparatus, but also to identify the main categories of the definition, to designate the elements and subsystems of the phenomenon for a more detailed study and formation of the theory of textiles.

Ton de Leeuw (1926-96) is probably one of the most influential composers at the crossroads between Eastern philosophy and Western technique. A one-time pupil of Olivier Messiaen's in Paris, throughout the latter years of his musical career he concentrated on the marriage of Western emphasis on action and tension, and the ethical function of music in Eastern traditions. The musical world of the twentieth century is a divided one. Numerous histories of it have been written, but few of the exceptional quality of de Leeuw's, who brought into his writing a lifetime of experience as a composer and scholar of music. His work is a lucid and impassioned discussion of the elements, structures, compositional principles and terminologies in modern music that can be regarded as most innovatory. This book is an excellent guide for anyone wishing to gain knowledge of the compositional technique and mentality, particularly university and conservatory students. - Aan de hand van voorbeelden van invloedrijke twintigste eeuwse componisten, onderzoekt Ton de Leeuw de fundamentele muzikale elementen zoals ritme, melodie, samenklank en timbre. Deze heldere analyse verschaft een breder inzicht in concepten die nooit tevoren systematisch onderzocht waren, waarbij nieuwe terminologie en definities geintroduceerd worden. Dit boek verschaft docenten, studenten en allen die betrokken zijn bij hedendaagse muziek geen historische maar een analytische benadering van twintigste eeuwse muziek. Het weerspiegelt Ton de Leeuw's diepe inzicht in het compositieproces. Aan de hand van voorbeelden van invloedrijke componisten zoals Strawinsky, Schönberg en Bartok onderzoekt de auteur de fundamentele muzikale elementen ritme, melodie, samenklank en timbre. Ook exotiek en folklore, vrije atonaliteit, dodecafonie en de periode tot 1991 komen aan bod. Door formulering van een nieuwe terminologie en definities wordt een breder inzicht verkregen in concepten die nooit tevoren systematisch onderzocht waren.

The design of Contemporary theaters are very vital in simulating the producer vision, decorative design, play text, and viewers.
Most of contemporary theaters designers in Kurdistan Region and Iraq in general have no clear understanding to the modern theatrical decorative design. In this paper, the authors highlighted the different types of schools of arts and its influence on the theatrical decorative design.
The research approach used analytical descriptive method to fulfill the outcomes of the research. The authors investigated the different theatrical design in KGR and Iraq; those designs are not related to any schools of decorative theatrical design. The research introduced clear comparison between different schools of theatrical decorative design in the implementation of colors, unit's distribution on the stage, play text, producer vision.
The outcome of the research is to uncover the theoretical and practical aspects of schools of arts which is implemented the theatrical decorative design. This work can benefit researchers, students, academics and theatrical designers regionally and globally.