 |
 |
 |
|
 |
|
 |
|
 |
|
 |
|
 |
 |
 |
 |
|
 |
|
 |
|
 |
|
 |
 |
|||||||||||||||||||||||||||||||||||||
| Several historians specializing in gardens traced the origin of Mosaiculture to the flowing embroidery like patterns of the parterres en broderie of the Renaissance period. However the term itself was only used for the first time in France in 1892. The first examples of Mosaiculture art were presented at the Third Paris World Fair in 1878. The two designs were of a butterfly and a Moorish vase. Practiced mainly in public municipalities and governmental institutions, Mosaiculture enjoyed its heyday in the late nineteenth century and early twentieth century, in Europe and North America. These Mosaicultures were principally in the form of pictures illustrating various topics in a style that today we call two dimensional Mosaiculture. Until the late 19th century, Mosaiculture was only in this form and was very popular for making designs combining floral motifs, Greek palmettes, rosettes, jewels, stars and egg shaped, Greek and interlacing borders, as well as designs such as animals, butterflies, birds and coats of arms. These drawings were found on the ground, usually on an inclined plane. Today, they can also be found on a vertical plane or even a wall. Towards the end of the twentieth century, Mosaiculture developed three-dimensional shapes, particularly in China and some French cities. In 2000, Mosaiculture takes an entirely different scale with the advent of the first international competition: The Montreal International Mosaiculture 2000R. During this competition, spectacular three-dimensional works were presented to the amazement of the public. The definition of Mosaiculture was expanded to include three dimensional pieces. These 3D works are comparable to genuine sculptures, and can even take the form of complete gardens in which visitors can walk around. The major criterion to describe Mosaiculture, either in its three-dimensional (3D) or its two-dimensional (2D) form, is the artistic quality of the pieces, expressed by the elegance of form and detail with the color and texture used to describe shapes and patterns. In the current global context, the works of Mosaiculture must now be adapted to respond to modern environmental concerns and appeal to the imagination of horticulturists, landscape designers and architects to reflect the values of the twenty-first century. |
|||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||
|
|
|
