Ornament (art) in the context of Green Man

Ancient Greek art is the visual and applied arts, as well as the architecture, produced by the Hellenes or Greek peoples from the start of the Iron Age to the Hellenistic period, ending with Roman conquest of Greece at the Battle of Corinth in 146 BCE. It stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.

Greek architecture, technically very simple, established a harmonious style with numerous detailed conventions that were largely adopted by Roman architecture and are still followed in some modern buildings. It used a vocabulary of ornament that was shared with pottery, metalwork and other media, and had an enormous influence on Eurasian art, especially after Buddhism carried it beyond the expanded Greek world created by Alexander the Great. The social context of Greek art included radical political developments and a great increase in prosperity; the equally impressive Greek achievements in philosophy, literature and other fields are well known.

Jewellery (or jewelry in American English) consists of decorative items worn for personal adornment such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes. From a Western perspective, the term is restricted to durable ornaments, excluding flowers for example. For many centuries, metals such as gold and silver, often combined with gemstones, has been the normal material for jewellery. Other materials such as glass, shells, or wood may also be used.

Jewellery is one of the oldest types of archaeological artefact – with 100,000-year-old beads made from Nassarius shells thought to be the oldest known jewellery. The basic forms of jewellery vary between cultures but are often extremely long-lived; in European cultures the most common forms of jewellery listed above have persisted since ancient times, while other forms such as adornments for the nose or ankle, important in other cultures, are much less common.

Modern architecture, also called modernist architecture, or the modern movement, is an architectural movement and style that was prominent in the 20th century, between the earlier Art Deco and later postmodern movements. Modern architecture was based upon new and innovative technologies of construction (particularly the use of glass, steel, and concrete); the principle of functionalism (i.e. that form should follow function); an embrace of minimalism; and a rejection of ornament.

According to Le Corbusier, the roots of the movement were to be found in the works of Eugène Viollet-le-Duc, while Mies van der Rohe was heavily inspired by Karl Friedrich Schinkel. The movement emerged in the first half of the 20th century and became dominant after World War II until the 1980s, when it was gradually replaced as the principal style for institutional and corporate buildings by postmodern architecture.

Neoclassicism, also spelled Neo-classicism, emerged as a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome, largely due to the writings of Johann Joachim Winckelmann during the rediscovery of Pompeii and Herculaneum. Its popularity expanded throughout Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement emerged from the 18th-century Age of Enlightenment, and reached its peak in the early-to-mid-19th century, eventually competing with Romanticism. In architecture, the style endured throughout the 19th, 20th, and into the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Ancient Rome and Ancient Greece, and drawn directly from 16th-century Renaissance Classicism. Each "neo"-classicism movement selects some models among the range of possible classics that are available to it, and ignores others. Between 1765 and 1830, Neoclassical proponents—writers, speakers, patrons, collectors, artists and sculptors—paid homage to an idea of the artistic generation associated with Phidias, but sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of late antiquity. The discovery of ancient Palmyra's "Rococo" art through engravings in Robert Wood's The Ruins of Palmyra came as a revelation. With Greece largely unexplored and considered a dangerous territory of the Ottoman Empire, Neoclassicists' appreciation of Greek architecture was predominantly mediated through drawings and engravings which were subtly smoothed and regularized, "corrected" and "restored" monuments of Greece, not always consciously.

Behavioral modernity is a suite of behavioral and cognitive traits believed to distinguish current Homo sapiens from other anatomically modern humans, hominins, and primates. Most scholars agree that modern human behavior can be characterized by abstract thinking, planning depth, symbolic behavior (e.g., art, ornamentation), music and dance, exploitation of large game, and blade technologies, among others.

Underlying these behaviors and technological innovations are cognitive and cultural foundations that have been documented experimentally and ethnographically by evolutionary and cultural anthropologists. These human universal patterns include cumulative cultural adaptation, social norms, language, and extensive help and cooperation beyond close kin.

The Doric order is one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognized by the simple circular capitals at the top of the columns. Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above.

The Greek Doric column was fluted, and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features originally unique to the Doric, the triglyph and gutta, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental.

Romanian Revival architecture (a.k.a. Romanian National Style, Neo-Romanian, or Neo-Brâncovenesc; Romanian: stilul național român, arhitectura neoromânească, neobrâncovenească) is an architectural style that has appeared in the late 19th century in Romanian Art Nouveau, initially being the result of the attempts of finding a specific Romanian architectural style. The attempts are mainly due to the architects Ion Mincu (1852–1912), and Ion N. Socolescu (1856–1924). The peak of the style was the interwar period. The style was a national reaction after the domination of French-inspired Classicist Eclecticism. Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly. Ion Mincu and his successors, Grigore Cerchez [ro], Cristofi Cerchez, Petre Antonescu, or Nicolae Ghica-Budești declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated by Alexandru Odobescu around 1870:

Of course, such a program was not easy to accomplish. All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms and ornaments or that of folklore, the main sources of inspiration of the style.

An adornment is generally an accessory or ornament worn to enhance the beauty or status of the wearer. They are often worn to embellish, enhance, or distinguish the wearer, and to define cultural, social, or religious status within a specific community. When worn to show economic status, the items are often either rare or prohibitively expensive to others. Adornments are usually colourful, and worn to attract attention.

They have a long history, around the world, from feathers or bone, to modern accessories, such as jewellery. Items of adornment are also used by warriors, and by other members of the military to show rank or achievement.

A ring is a round band, usually made of metal, worn as ornamental jewelry. The term "ring" by itself denotes jewellery worn on the finger; when worn as an ornament elsewhere, the body part is specified within the term, e.g., earrings, neck rings, arm rings, and toe rings. Rings fit snugly around or in the part of the body they ornament, so bands worn loosely, like a bracelet, are not rings. Rings may be made of almost any hard material: wood, bone, stone, metal, glass, jade, gemstone or plastic. They may be set with gemstones (diamond, ruby, sapphire or emerald) or with other types of stone or glass.

Although some people wear rings as mere ornaments or as conspicuous displays of wealth, rings have symbolic functions respecting marriage, exceptional achievement, high status or authority, membership in an organization, and the like. Rings can be made to sport insignia which may be impressed on a wax seal or outfitted with a small compartment in which to conceal things.

A fish pond or fishpond is a controlled pond, small artificial lake or retention basin that is stocked with fish and is used in aquaculture for fish farming, for recreational fishing, or for ornamental purposes.

Fish ponds are a classical garden feature in East Asian residence, such as the Classical Gardens of Suzhou of China, the Imperial Palace of Japan and the Gyeongbokgung Palace of South Korea. In Medieval Europe, it was also typical for monasteries and castles (small, partly self-sufficient communities) to have a fish pond.

In typography, a dingbat (sometimes more formally known as a printer's ornament or printer's character) is an ornament, specifically, a glyph used in typesetting, often employed to create box frames (similar to box-drawing characters), or as a dinkus (section divider). Some of the dingbat symbols have been used as signature marks or used in bookbinding to order sections.

In the computer industry, a dingbat font or pi font is a computer font that has symbols and shapes located at the code points normally designated for alphabetical or numeric characters. This practice was necessitated by the limited number of code points available in 20th century operating systems. Modern computer fonts containing dingbats are based on Unicode encoding, which has unique code points for dingbats.

The Temple of Bacchus is part of the Baalbek archaeological site, in Beqaa Valley region of Lebanon. The temple complex is considered an outstanding archaeological and artistic site of Imperial Roman Architecture and was inscribed as a UNESCO World Heritage Site in 1984. This monument to Bacchus is one of the best preserved and grandest Roman temple ruins; its age is unknown, but its fine ornamentation can be dated to the second century CE.

Islamic ornament is the use of decorative forms and patterns in Islamic art and Islamic architecture. Its elements can be broadly divided into the arabesque, using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy, consisting of religious texts with stylized appearance, used both decoratively and to convey meaning. All three often involve elaborate interlacing in various mediums.

Islamic ornament has had a significant influence on European decorative art forms, especially as seen in the Western arabesque.