The Grammar of Ornament: A Visual Reference of Form and Colour in Architecture and the Decorative Arts - The complete and unabridged full-color edition

by Owen Jones

A complete and unabridged full-color edition of the classic sourcebook on ornamental design

First published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809–1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources.

Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.

Genres: Art, Design, Architecture, Nonfiction, Reference, Art History, History

496 pages, Hardcover

First published January 1, 1856

About the author

Librarian Note: There is more than one author by this name in the Goodreads data base.

Owen Jones (15 February 1809 – 19 April 1874) was an English-born Welsh architect. A versatile architect and designer, he was also one of the most influential design theorists of the nineteenth century. He helped pioneer modern color theory, and his theories on flat patterning and ornament still resonate with contemporary designers today.

He rose to prominence with his studies of Islamic decoration at the Alhambra, and the associated publication of his drawings, which pioneered new standards in chromolithography. Jones was a pivotal figure in the formation of the South Kensington Museum (later to become the V&A) through his close association with Henry Cole, the museum’s first director, and another key figure in 19th century design reform. Jones was also responsible for the interior decoration and layout of exhibits for the Great Exhibition building of 1851, and for its later incarnation at Sydenham. Jones advised on the foundation collections for the South Kensington museum, and formulated decorative arts principles which became teaching frameworks for the Government School of Design, then at Marlborough House. These design propositions also formed the basis for his seminal publication, The Grammar of Ornament, the global and historical design sourcebook for which Jones is perhaps best known today.

Jones passionately believed in the search for a modern style unique to the nineteenth century – one which was radically different to the prevailing aesthetics of Neo-Classicism and the Gothic Revival. He looked towards the Islamic world for much of this inspiration, using his carefully observed studies of Islamic decoration at the Alhambra to develop bold new theories on flat patterning, geometry and abstraction in ornament. The V&A’s Word & Image Department holds the world’s most comprehensive collection of Owen Jones material - including travel sketches, illuminated books, wallpapers and original design drawings for tiles, textiles, furniture, metalwork, interior decoration and architecture. Other departments within the museum hold examples of his furniture and textiles.

Source: Wikipedia.

Reviews

[Nicole · Rating 3 out of 5]

This book is great if you don’t actually read it. The images are amazing, the scope of the compilation and artistry impressive, but oh my lawd the text! Yes a product of its era, but it is nonetheless painful to read such an imperialistic, anglocentric, straight up racist, cultural evolutionary, extremeeeely subjective rubbish. It is truly a testament to the worst colonialism had to offer. I will illustrate with an example: this book opens by discussing the decapitated tattooed head of a Maori woman on display as a curiosity in a museum in London. Yeah… look at the pretty pictures but avoid the text for sanity’s sake.

[Alun Williams · Rating 4 out of 5]

As I am very interested in geometric patterns, and especially wallpaper/tilings and frieze patterns I was very pleased when DK brought out an updated edition of this book. It has all the text and illustrations from the 1856 edition, but with many helpful notes added for modern readers.



There are separate chapters about the decorative styles of many different civilisations and periods, including ancient Egyptian, Assyrian, Persian, the Renaissance, Elizabethan, etc. So this is a book you can easily dip into for half an hour or so if the ugliness of the modern world is getting to you.



The book is also available as a CD, which I should perhaps have bought instead, and may well buy as well one of these days.

[Inma]

I've kinda read this book already in full, as I have been reading bits here and there for a long time already. Fantastic book for anyone interested in design and pattern, it's a wonderful "history" or anthology of design motifs through different cultures and history.
Wonderful Victorian book.

[Helena · Rating 5 out of 5]

I read the gorgeous 1972 Van Nostrand Reinhold print. This book is well deserving of its staying in print for nearly 170 years.
The Victoria and Albert Museum has a fantastic article titled "Owen Jones and the Grammar of Ornament", for anyone interested in learning more.

[Frog]

A professor wanted me to use it for my art. Keeping in my painting area for a reference.

[Monica · Rating 5 out of 5]

Egyptian, Assyrian, Persian, Greek, Pompeian, Roman, Byzantine, Arabian, Turkish, Moorish, Indian, Hindu, Chinese, Celtic, Medieval, Renaissance, Elizabethan, Italian-- plus leaves and flowers from nature. Monumental, indeed. Several versions are in print but if you can swing the Van Nostrand Reinhold printing, it's magnificent. God bless the Barnes & Noble Sale Annex, but iirc it closed.

[George · Rating 4 out of 5]

this is another great collection from dover, cheap books full of great reference points. i like using it for palette ideas and a sort of encouragement to allow ornament to stand on its own without a central subject matter.

[Jennpants · Rating 4 out of 5]

A wonderful tool for labor intensive artists who want to punish themselves through meticulously drawn pen and ink patterns. A little bit of history, some possibly outdated categorical distinctions, pretty pictures.

[Ty Hatch · Rating 5 out of 5]

A great book when you're looking for visual inspiration.

[Lindsay · Rating 3 out of 5]

Really good reference book for ornamental and pattern design.

[F. Zahra Hassan · Rating 5 out of 5]

Excellent books for those who are keen to learn about the Islamic Pattern and ornament design.

[Demetrios Georgalas · Rating 5 out of 5]

Definitely Jones’s studies of the Alhambra were highly significant in the development of both his interest in ornament and his theories of flat pattern, geometry and polychromy. Jones and Goury observed that the harmony of Islamic decoration was achieved through the use of primary colours, with secondary and tertiary colours used in the background. Jones was appointed as one of the Superintendents of Works for the Great Exhibition of 1851, a showcase of manufactures and industry from around the world, which would provide inspiration to designers and craftsmen in the new industrial culture of Victorian Britain. Jones was responsible for the interior decoration of Joseph Paxton’s Crystal Palace, and also the arrangement of the exhibits inside.

[Sophie (RedheadReading) · Rating 4 out of 5]

As a reference book for artists, this is brilliant. From a text point of view, Jones' approach to the different cultures in this is peak Victorian, that is to say the Greeks are the pinnacle of learned achievement, Polynesian art is treated in a very 'noble savages' way and apparently Chinese art holds very little value at all. As a modern reader, I side-eye those conclusions! But from a visual reference point, I think it is very useful to have a compendium of patterns and principals on hand to refer to.

[Lailatun Nadhirah · Rating 5 out of 5]

Sebenarnya, baru tahu di setiap ornament tu ada maksud dan lambangnya tersendiri. Selama ni aku memang main lukis saja tanpa terdetik hendak memikirkan bahawa di setiap ornament itu ada maksud-maksudnya.

Buat pereka grafik, seeloknya baca buku rujukan ni. Adakala kita tak sedar yang kita terguna rekabentuk yang salah untuk sesebuah grafik.

Recommended book!

[Yichel · Rating 4 out of 5]

Reading this book was like taking a Victorian era's guided tour at a museum showcasing collections of ornamental designs from various cultures, I was particularly impressed by the remarkable level of details and the brilliant use of colors shown in the Celtic and Medieval pieces.

[Elizabeth Grieve · Rating 5 out of 5]

I like this book so much I own both the (very) large hardback version, bought at great expense many years ago, and the smaller paperback version. A treasure trove of design ideas!

[Wetdryvac Wetdryvac · Rating 5 out of 5]

Expect some nomenclature of the era, but the ornament itself is lovely.

[Geof Sage]

It's important to remember that when reading this book that slavery was still legal in the US and neither Italy nor Germany existed. But it is pretty.

[Sanaa]

visual references stunning and comprehensive, actual text very very racist, plate detailing awsm, if revisiting don't read just skip to Italy and persia

[Megangoldberg · Rating 5 out of 5]

The night is young, and the possibilities are endless. Let's explore them together, shall we? Perhaps we can find some hidden treasures along the way, the kind that leave us wanting more tomorrow.

[Linda · Rating 4 out of 5]

Well this was a long journey and ongoing still. While the text was rough to get through, as it isn't meant for light, popular reading, united illustrations for various ornamentation styles were simply amazing. Certainly appreciation for detail is required, but that's a value of this book to come back to after a while. At least for such ornament-hater as I have been, this has been enlightening.

[Lynn · Rating 5 out of 5]

This is an excellent source book for designs and patterns. It is organized by culture and time period.

[Iftekhar Mallick · Rating 4 out of 5]

I read it during my Graduate Sociology classes. It gave me some great insights to prepare my course project papers, "The Impact of Religion on Islamic Arts" and "Depiction of Prophets in Visual Art".

[John Morrison · Rating 5 out of 5]

Awesome ornament book!

[Michelle · Rating 5 out of 5]

good title

[вася · Rating 4 out of 5]

оу