Title of the article:



Viktor D. Uvarov 

Information about the author/authors

Viktor D. Uvarov — DSc in Art, Professor, A. N. Kosygin Russian State University (Technologies. Design. Art), 33 Sadovnicheskaya St., p. 1, 115035 Moscow, Russia.
ORCID ID: https://orcid.org/0000-0002-0406-746X
E-mail: artuwaroff@yandex.ru


History of Arts




Vol. 65


pp. 325–332


May 04, 2020

Approved after reviewing

August 05, 2021

Date of publication

September 28, 2022



Index UDK


Index BBK



The paper deals with aesthetic organization of the subject-spatial environment of public interiors by introducing the tapestry object. The author suggests that the introduction of tapestry object into environmental space of public buildings has wide plastic possibilities for organizing the interrelationships of various elements of interior design and creating a harmonious visual environment. The manifestation of such styles as abstractionism, pop-art, abstract expressionism and minimalism in the production of tapestry led to the revival of weaving art. The main unifying principle for the painting and tapestry is the presence of an image, not ornamental and iconic, but plot-themed. Thanks to their virtuoso skills, the weavers were able to reproduce almost any pictorial image with extreme accuracy in a flat lint-free carpet. The study considers examples of the synthesis of architecture and textile art, as well as aspects of the influence of tapestry on the transformation of the environment of the interiors of public buildings of the 20th– 21th centuries. Basing on the analysis of the world experience in the use of tapestry for public interiors, it revealed that this type of art has wide possibilities, both aesthetic and technological. The author concludes that relationship between the plastic forms of architecture and tapestry is able to solve the issues of synthesis of the arts of the 21th century. 


Tapestry, Textile-art, Fiber-art, Public Interior, Interior Design, Architecture, Synthesis of arts.


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