Zeitschriftenartikel: „Traditional Art and Craft“

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Prihatin, Purwo. „Seni Kriya Sulaman Tangan Tradisional dan Pengrajin Perempuan Nagari Koto Gadang dalam Dimensi Ekonomi, Sosial dan Budaya“. Jurnal Ilmiah Universitas Batanghari Jambi 22, Nr. 2 (26.07.2022): 1197. http://dx.doi.org/10.33087/jiubj.v22i2.2384.

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This research was motivated by the existence of Minangkabau women's crafts and craftsmen, especially in Koto Gadang who have skills in the field of traditional hand embroidery. This study aims to find out the traditional hand-embroidered craft art of women in nagari Koto Gadang as cultural actors who carry out processes in social activities and craft arts. The research method uses a type of qualitative research, data collection through written sources and literature studies, documentation of cultural artifacts, so that this study can be produced and concluded that the traditional embroidery craft art of Koto Gadang is the embodiment of the expression of aesthetic taste in the form of functional objects and aesthetic objects which in their creation requires ability, experience, and technical skills such as embroidery, terawang, kapalo samek, and suji cair. Traditional embroidery crafts apply ornamental motifs, both flora, fauna and other objects based on nature, become teachers. The traditional embroidery craft art in Koto Gadang as a social product has an impact on the dimension of women's lives in Koto Gadang. The presence of Koto Gadang women and the art of embroidery crafts has become a manifestation of minangkabau women's activities that have produced cultural identity and positively impacted the actors and supporters both the social dimension and the economic dimension.

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Almamari, Badar Mohammed, Fakhriya Al-Yahayai und Mohammed Alamri. „Traditional Omani Crafts Approaches To Identity“. Technium Social Sciences Journal 10 (28.07.2020): 566–78. http://dx.doi.org/10.47577/tssj.v10i1.1328.

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The purpose of this study is to identify how landscapes, places, and geographical forms of land influenced craft making identity by addressing Omani crafts enterprises in urban and rural areas. This has been done by interviewing local craftspeople and analysing their responses as a qualitative data collection method using open-ended questions to seek reliability and credibility in the study. The interviews in this research were mostly conducted with participants belonging to ten enterprises under the management of the Public Authority for Crafts Industries (PACI), Department of Art Education and the Handcrafts Centre. Consequently, this study highlights the importance of studying the influence of landscapes, places, and geographical forms in shaping local people's crafts identity by investigating their craft industries in rural and urban areas.

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Graff, Elissa R. „Preserving Traditional Culture in the Cumberland Gap Region“. Journal of Appalachian Studies 18, Nr. 1-2 (01.04.2012): 234–43. http://dx.doi.org/10.2307/23337717.

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Abstract In 2010, Lincoln Memorial University completed two cycles of an Appalachian College Association and University of North Carolina, Asheville (ACA-UNCA) undergraduate research project partnership. The focus of the grant was incorporated into a class entitled Crafts to Culture. The primary mission of the course was to record and preserve the stories and work of craftspeople identified in Bell County, Kentucky; Claiborne County, Tennessee; and Lee County, Virginia. Students explored and analyzed traditional art from the Cumberland Gap region with an emphasis on family traditions, techniques, and the unique characteristics of each craft. An additional course objective was to give students practical skills in the areas of history, art, and communications. Three different academic disciplines were combined with independent goals as students worked together as a group. First, history students gained oral history experience—through interview preparation and practice, recording, transcription, and publications. Second, art students gained art experience by learning the craft traditions from an expert and by replicating a product using the learned technique. Third, broadcast communication students gained communications experience through audio and video recording, editing, and publishing. Teamwork was a byproduct of this project as all of the students needed to work together. This paper reports on an Undergraduate Research Grant Project advisor’s mentoring experience.

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Jõeste, Kristi, Madis Rennu, Ave Matsin und Kadri Tüür. „Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives“. Studia Vernacula 12 (05.11.2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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Jõeste, Kristi, Madis Rennu, Ave Matsin und Kadri Tüür. „Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives“. Studia Vernacula 12 (05.11.2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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Jõeste, Kristi, Madis Rennu, Ave Matsin und Kadri Tüür. „Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives“. Studia Vernacula 12 (05.11.2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

Der volle Inhalt der Quelle

Annotation:

The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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Rathore, Sumati, Usha Thakur und Sarla Shashni. „POTTERY: A UNIQUE TRADITIONAL CRAFT IN INNER SIRAJ VALLEY OF NORTHWESTERN HIMALAYAN DISTRICT OF KULLU, HIMACHAL PRADESH“. International Journal of Advanced Research 8, Nr. 9 (30.09.2020): 1106–11. http://dx.doi.org/10.21474/ijar01/11766.

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Pottery is a century old craft used by human and is one of the most tangible and iconic elements of Indian art. This craft system shows the lifestyle of native communities, their belief, faith, customs and tradition through their craft. This paper documents the traditional pottery art of the Sirajicommunity living in the inner Siraj Valley of Kullu district in Himachal Pradesh. The uniqueness of the art is wheels are not used for making different pots as in other parts of the country. Paper also documents the procedures involved in making the pots and its current status. Study revealed that this traditional craft system will not survive if some urgent measures are not be taken in near future.

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Almevik, Gunnar. „Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts“. Studia Vernacula 7 (04.11.2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.

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Almevik, Gunnar. „Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts“. Studia Vernacula 7 (04.11.2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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Annotation:

This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.

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Amirkhanova, Aida K. „TRADITIONAL SILK HEADSCARVES "TASTAR" OF THE KUMYKS (TO THE PROBLEM OF THE REVIVAL OF THE TRADITIONAL CRAFT)“. History, Archeology and Ethnography of the Caucasus 18, Nr. 1 (31.03.2022): 234–57. http://dx.doi.org/10.32653/ch11234-257.

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The silk headscarves tastars were widespread in the North Caucasus in the late 19th century. In Dagestan, they were produced in the Kumyk villages and were part of the traditional costume of the Kumyk women. The aim of the article is to consider the modern state of traditional crafts among the peoples of Dagestan on the example of the tastar headscarves, to demonstrate the relevance of revival of some types of national artistic crafts. The exclusion of applied arts by industrial products, globalization and the elimination of ethnic and cultural differences caused by it, actualized the study of pieces of material culture in the scientific and art community in order to preserve them. In Dagestan, the preservation of ancient folk crafts is implemented through various educational programs, the creation of centers of traditional culture, schools of folk arts. The article is based on the study, conducted by the methods of interview and participant observation in such centers. The author visited several functioning centers of teaching tastar weaving in Dagestan (Nizhnee Kazanishe, Aksay), talked with craftswomen. The article provides versions of origin of this unique technique of tastar weaving, traces the history of this craft, describes active centers, gives names of the keepers of the old tradition. The conducted research reveals that the modern state of tastar weaving is mainly supported by enthusiasts in villages – old centers of the studied craft.

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Nolasco, Ana. „Crafting political gestures of locality: The transposition of artisanal traditions in the artwork of Catarina Branco“. Craft Research 13, Nr. 1 (01.03.2022): 35–58. http://dx.doi.org/10.1386/crre_00065_1.

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This article seeks to shed light on the transposition of traditional crafts related to the popular religion of the Azores into the secular context of art in the works of Catarina Branco, taking two of the artist’s exhibitions ‐ Fez-se Luz, 2012, and Alminhas, 2013 ‐ as case studies. The research first shows how this transposition leads to the cross-fertilization of the religious and artistic domains, imbuing art with greater spirituality and introducing reflections concerning contemporary issues, such as emigration and the position of women into the context of religion. Second, I discuss how the contingent nature of craft in art is used as a disruptive element that liberates the imagination, thought and feelings, dismantling hierarchies between the manual and the intellectual, the masculine and the feminine, as well as those between religion, art and craft, through embodied gesture. Religion is here understood in its wider sense as a form of mediation of the transcendent (Meyer 2009). I argue that these works can be seen as a political gesture, which highlights the past of women who lived in anonymity, simultaneously preserving and renewing traditional crafts that are dying out while also deconstructing the false dichotomy between the manual and the intellectual or spiritual. The act of papercutting gives physical form to the experiences of Azorean women, while at the same time addressing questions relevant to the human condition, including migration and the eternal search for transcendence. Through its inevitable polysemy, this act reveals meanings that have been hidden by habit, allowing the viewer to rediscover them.

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Gaber, Tammy. „Contemplation and Craft in Turkish Material Arts“. American Journal of Islam and Society 33, Nr. 4 (01.10.2016): 95–101. http://dx.doi.org/10.35632/ajis.v33i4.938.

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Books Reviewed: Mehmet Zeki Kuşoğlu, The Ottoman Touch: TraditionalDecorative Arts and Crafts (Istanbul: Blue Dome Press, 2015); Mehmet ZekiKuşoğlu, Silver in Turkish Art (Istanbul: Blue Dome Press, 2015); Sema Onat,Islamic Art of Illumination: Classical Tazhib from Ottoman to ContemporaryTimes (Istanbul: Blue Dome Press, 2015); Laurelie Rae, Islamic Art and Architecture:Memories of Seljuk and Ottoman Masterpieces (Istanbul: BlueDome Press, 2015). The unusual aspect connecting these four books is not the fact that they sharethe same publisher or even the same general scope of Turkish arts, but thatthey have been authored by practicing artists who have featured some of theiroriginal works between their covers.Blue Dome Press, a relatively new publisher, has offices in the majorwestern cities; however, all of the printing done in Istanbul. In addition, themajority of its publications, which range from Turkish cooking to fiction, fromcurrent affairs to various arts, focus on some aspect of Turkish culture. Bysupporting the publication of these texts, one gets the sense that various sectorsof Turkish society continue to value the traditional and important historicalcontributions that the featured and other contemporary artists continue to maketo the national culture.The three artists featured in this review (one is the author of two books)come from different backgrounds that have enabled them to practice their arttoday. Mehmet Zeki Kuşoğlu author of The Ottoman Touch: Traditional DecorativeArts and Crafts and Silver in Turkish Art, has practiced the crafts ofsilverwork and other art forms based on traditional methods for over fortyyears. During his career, he has apprenticed with craftsmen – he identifiesthem by name – and completed two art degrees in Turkey. His efforts to understand,reconcile, and ultimately interpret the country’s historical craft methodsthrough his own creations lends a tremendous insight into the meaningsand processes of crafts, one that brings them palpably alive. Sema Onat, author ...

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Kokko, Sirpa. „Orientations on studying crafts in higher education“. Craft Research 13, Nr. 2 (01.09.2022): 411–32. http://dx.doi.org/10.1386/crre_00086_1.

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Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultural heritage of crafts and design-based crafts. Both similarities and differences were found. The targets, prospective career paths and pedagogical methods of these study programmes were adapted to the broader targets of the various departments. Craft teaching followed the basic principles of studio pedagogy. The sought-after skill acquisition level varied from expressive purposes to ability to make quality products. There were also differences in whether a programme focused on a specific craft field or covered a broad spectrum. The requirements of academization were adapted in all study programmes. However, the role of writing differed from free and short reflective writing in the art department to a strict academic writing style in the education department. Professional goals varied from becoming a teacher or an artist to self-employment in a small-scale craft enterprise or achieving commercial success in industrial production. Concerns about losing craft traditions and dedication to maintaining them were shared across programmes. Despite being situated on the outskirts of academia, the status of crafts as an HE discipline adds value and visibility to the crafts and strengthens their identities.

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Lin, Xiaojuan. „Fujian Lacquer Art: Xiamen lacquer line carving art and inheritance protection research“. Highlights in Art and Design 2, Nr. 2 (20.03.2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i2.6159.

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Lacquer line carving is an excellent treasure of folk arts and crafts created in the long history of Chinese lacquer art culture. Xiamen lacquer line carving continues the excellent traditional spirit of China and is a specimen of folk culture history in southern Fujian. With the advent of the "intangible cultural heritage" upsurge, Xiamen lacquer line carving has gradually been paid attention to, and at the same time, it has promoted the spread of southern Fujian folk culture. The cultural value, historical value, economic value, artistic value, craft value, etc. reflected behind Xiamen lacquer line carving are all worthy of further in-depth study. Only the combination of inheritance, innovation and market is the most effective way of inheritance protection.

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Shahbaz Khan, Nadhra. „Persian-Punjabi/Urdu Identities of Traditional Geometrical Patterns Lost During the Colonial Rule of the Punjab (1849–1947)“. Manazir Journal 3 (07.03.2022): 45–63. http://dx.doi.org/10.36950/manazir.2021.3.4.

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Annexation of the Punjab by the British in 1849 brought about major modifications to the local visual culture. Expecting Indian crafts to remain frozen in time (for several reasons), the colonial administrators and art critics disapproved the changes employed by the craftsmen in their wares to cater to the new ruling class. Among the corrective measures adopted by the government to revive the ‘dying’ Indian art and craft, art schools were set up and surveys were conducted to publish illustrated monographs on individual crafts bringing once strictly guarded trade secrets out in the public. By the late nineteenth century, the ‘native craftsmen’ or mistrīs themselves emerged as authors of illustrated craft manuals carrying instructions in all three important vernaculars, Gurmukhi, Urdu and Sanskrit mixed with some English terms and designs. The most interesting among these publications are a few woodcarver’s manuals that laboriously enumerate a wide range of geometric designs for both architecture and furniture. Each shape, its construction methods and titles are given in an interesting mix of the three vernaculars. These terms were also mentioned by John Lockwood Kipling, the first Principal of the Mayo School of Industrial Art (1876-1893) in his essay on wood carving but abandoned by the time Percy Brown (1897-1909) took over. Except for some, today most of these terms and construction methods are unknown even to the traditional craftsmen of the Punjab. This paper aims to trace the history of traditional geometrical patterns going as far back as Mughal times (sixteenth to eighteenth centuries), their references in manuals published by local craftsmen during the colonial rule and the role of British art educators on social memory.

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Hung, Chi-Sen, Tien-Li Chen und Yun-Chi Lee. „From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training“. Education Sciences 11, Nr. 12 (09.12.2021): 801. http://dx.doi.org/10.3390/educsci11120801.

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In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.

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Molokwane, Shorn J. „Crafting the design: Connecting the changing societies through local designs that impact on global markets.“ ZOO! Investigación en Diseño y Comunicación Visual 2, Nr. 4 (04.05.2022): 19–29. http://dx.doi.org/10.20511/zoo.2013.v2n4.1605.

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This paper explores the nature and practice of art and craft ideals as practised by local communities, study their socio-culturaland economic contexts, and explore their potentialities for application in contemporary design. The decorative arts in Africa has been explored extensively and applied in variegated ways in the contemporary design and consumer world, the success of which would have benefitted from a deeper and truer interpretation of local contexts. The Botswana arts and crafts scene has been largely unexplored and as such their inspirational potentialities in design remainuntapped and at best a curious passing reference. Two iconic art and craft references in particular have been identified as typical to Botswana, and these are used and practiced by different communities, especially women, across the country. The references studied are the Lekgapho design as found on the traditional houses and mural decorations and the basketry art deco. The arts and crafts references are then used to inspire innovate new forms, styles, and other influences into design practices such as textiles and fashion, as well as furniture products.

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Megha Purohit Atre, Manjeeta Raturi ,. „A New form of Art Through Paper Messy Arts“. Tuijin Jishu/Journal of Propulsion Technology 44, Nr. 4 (16.10.2023): 4162–64. http://dx.doi.org/10.52783/tjjpt.v44.i4.1637.

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Shri B. Mohan Negi Ji the pride of uttarakhand was a great person. who is known as the pride of uttarakhand, due to his glorious work and fame, he was been honoured with the God Vibhuti Samman of uttarakhand : from have a new look to the pictures of which the paper mache art. Arts and crafts are a profound expression of the emotional life of the people anywhere. A close and living relationship ties land to the people to the craft and culture. This is particularly true of uttarakhand. Here changes economic, social and religious during many centuries are reflected in our arts and crafts. The creative urge of our crafts people have thus varied at different periods. Uttarakhand is not only home to the vast cultural and ethnic diversity but also the myriad arts and crafts that have been carefully nurtured for the centuries. A variety of motifs, techniques and craft flourished in the land as the people from regions flocked through the beautiful place and many of the skilled craftsmen desided to settle amidst its charming abundance of natural beauty with time, these arts ave gained even more distinctiveness and paper mache, wood carving hand knotted carpets and let of other traditional crafts.In Uttarakhand one meets with all those arts and crafts which are in most cities, such as stone polishing, stone cutting, window cutting etc.

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Song, Jung-A. „Development of Culture Goods with Traditional Lady's Art Craft Work“. Journal of the Korean Society for Clothing Industry 13, Nr. 4 (31.08.2011): 472–77. http://dx.doi.org/10.5805/ksci.2011.13.4.472.

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Matsin, Ave. „Konverents "Traditsioonilised kampsunid Läänemeremaades"“. Studia Vernacula 4 (05.11.2013): 165–70. http://dx.doi.org/10.12697/sv.2013.4.165-170.

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The International Crafts Conference ‘Traditional Knitted Sweaters around the Baltic Sea’ was held on the initiative of the Department of Estonian Native Crafts of the University of Tartu Viljandi Culture Academy from 16-18 May 2013. During its three days, the conference focussed on the kinds of sweaters that have historically been knitted around the Baltic Sea and how they reflect our common history. Almost all craft researchers who delivered presentations came to the same conclusion: the tradition of our knitted sweaters started from the knitted silk night sweaters exported from England in the 16th century, which people in the Nordic countries started copying using local materials. The function of the sweater changed from nightwear to an everyday piece of clothing. The conference was attended by around a hundred foreign guests from the Shetland Islands, Denmark, Sweden, Finland, Norway, Latvia, Germany and the United States, plus more than a hundred guests from Estonia. The heads of the national central folk art and craft unions of Finland and Sweden also attended, as Estonia handed the status of the lead state of the Nordic Folk Art and Craft Association over to Finland at the conference. Approximately 450 people attended the Omamood 2013 fashion show, which took place on the first day of the conference. The second international competition in knitting whilst walking, ‘Walk & Knit’, was also held within the scope of the conference. The success of the conference is a good reason to start planning new international events. This model – where the same event includes looking back at historical items, while considering the implementation of this knowledge in contemporary creations – fulfils the mission of the Department of Estonian Native Crafts and will help to inspire our crafts circles. Keywords: sweaters, knitting, Nordic Folk Art and Craft Association

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Matsin, Ave. „Konverents "Traditsioonilised kampsunid Läänemeremaades"“. Studia Vernacula 4 (05.11.2013): 165–70. http://dx.doi.org/10.12697/sv.2013.4.165-170.

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The International Crafts Conference ‘Traditional Knitted Sweaters around the Baltic Sea’ was held on the initiative of the Department of Estonian Native Crafts of the University of Tartu Viljandi Culture Academy from 16-18 May 2013. During its three days, the conference focussed on the kinds of sweaters that have historically been knitted around the Baltic Sea and how they reflect our common history. Almost all craft researchers who delivered presentations came to the same conclusion: the tradition of our knitted sweaters started from the knitted silk night sweaters exported from England in the 16th century, which people in the Nordic countries started copying using local materials. The function of the sweater changed from nightwear to an everyday piece of clothing. The conference was attended by around a hundred foreign guests from the Shetland Islands, Denmark, Sweden, Finland, Norway, Latvia, Germany and the United States, plus more than a hundred guests from Estonia. The heads of the national central folk art and craft unions of Finland and Sweden also attended, as Estonia handed the status of the lead state of the Nordic Folk Art and Craft Association over to Finland at the conference. Approximately 450 people attended the Omamood 2013 fashion show, which took place on the first day of the conference. The second international competition in knitting whilst walking, ‘Walk & Knit’, was also held within the scope of the conference. The success of the conference is a good reason to start planning new international events. This model – where the same event includes looking back at historical items, while considering the implementation of this knowledge in contemporary creations – fulfils the mission of the Department of Estonian Native Crafts and will help to inspire our crafts circles. Keywords: sweaters, knitting, Nordic Folk Art and Craft Association

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Garunova, Saida M., und Ahgela S. Saidova. „DAGESTAN INJECTION CRAFT BY METAL ON WOOD: FROM FOLK CRAFTMANSHIP TO PROFESSIONAL ART“. History, Archeology and Ethnography of the Caucasus 16, Nr. 2 (12.07.2020): 418–38. http://dx.doi.org/10.32653/ch162418-438.

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The article contains an analysis of the principles of decor and the peculiarity of the artistic style of ornamental notches with metal on wood - one of the most significant types of crafts in Dagestan. The sources and stages of development of this type of craft to the level of professional art are traced. On the example of the work of the national artist of the Russian Federation, Gamzat Gazimagomedov, the importance of professionalizing an art notch with metal on wood in the preservation of this type of folk art is shown. Consideration of the most significant works of G. Gazimagomeddov in the context of the traditional Untsukul ornamental notch art and decorative arts of the Russian Federation as a whole made it possible to identify the stylistic features of the compositional construction of the Avar ornamental notch art in the artist’s works, to present his artistic contribution as a treasury of the decorative and applied art of the Russian Federation and Dagestan, and in solving practical problems of preserving and developing the national x art crafts of the country.

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PALA YAVUZYİĞİT, Zehra. „ARTISTIC EXAMINATION OF TRADITIONAL PESHKIR SAMPLES REGISTERED IN A.R. İZZET KOYUNOĞLU MUSEUM“. SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, Nr. 34 (15.11.2022): 346–60. http://dx.doi.org/10.31567/ssd.778.

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Handicrafts have always existed from the earliest times of humanity. Handicraft is an extensive area that includes several techniques, types, materials, and products. Especially Anatolia is a rich geography of art where the weaving culture is intensive and there is a high demand for handicraft products. The peshkirs (Towels), which contain very beautiful examples of handicraft products, appeared especially after the 18th century. In this study, 16 peshkir crafts in A.R. Izzet Koyunoğlu Museum were examined. In this direction, the official permissions required from the museum were taken, and the inventory records were searched. These crafts were discussed according to their technical, material, color, motif, and composition features. The common and different features of the peshkirs are referred to. In general, we see that there are samples where stylized flower and plant motifs are used in the patterns of the towel, and the weaving is self-patterned. It is determined that there are motifs in the herbal, geometric, figured, and symbolic groups. he samples examined were also grouped in accordance with embroidery techniques. It has been observed that techniques such as calculation craft, chinese needle, rolling with thread breaking, and bartın craft are used in embroidery. Obtained data are shown in tables.

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth und Pirita Seitamaa-Hakkarainen. „Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway“. Studia Vernacula 13 (18.11.2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth und Pirita Seitamaa-Hakkarainen. „Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway“. Studia Vernacula 13 (18.11.2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth und Pirita Seitamaa-Hakkarainen. „Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway“. Studia Vernacula 13 (18.11.2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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Chen, Li Ling, Yi Zhang und Jun Xuan Chen. „The Modern Tableware Design Based on Fengxiang Clay Sculpture Art Research“. Advanced Materials Research 849 (November 2013): 332–36. http://dx.doi.org/10.4028/www.scientific.net/amr.849.332.

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The development of modern industrial design has a great influence on the product design, not only on the function and structure of products, but also on the combination between these elements and culture. As one famous folk craft of Shaanxi Guanzhong Xifu, Fengxiang sculpture consists of lot totems, pattern, shape, color and craft elements which could be used in design. Tableware design combined with traditional culture can reflect the functions; at the same time improve the artistic quality of products and rich the interest. Products are endowed with the traditional culture elements, in this way, the product is not only a product, but the new soil of the traditional culture.

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Oentoro, Kristian. „Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro“. Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, Nr. 6 (15.07.2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.

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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro

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Chou, Yen-Fei, und Tsai-Yun Lo. „Combining the traditional craft of twined flower making with stone“. Craft Research 13, Nr. 1 (01.03.2022): 153–68. http://dx.doi.org/10.1386/crre_00070_1.

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Twined flower making has been a handicraft practiced by women since the Qing Dynasty (1885‐94) in which wires, papers and silk threads are the main materials used by entwining the materials together in various combinations into the forms of flowers. However, the rise of plastic flowers in the 1970s, the evolution of lifestyle and weakened folk traditions has led to the gradual decline of twined flower craft. The craft of twined flower making has not been taught in a systematic fashion and thus is more difficult to pass onto new generations. The research aims to bring the art of twined flower into daily life to continue the future of this craft. The eastern region of Taiwan has an abundance of stone resources. The conception of the project is to unite the contrasting materials of twined paper flowers and to augment the scope of the craft. Traditionally twined flower handicraft has been applied mostly as an ornament or fashion accessory for women. The project extends the craft to the context of stationery by combining features found in traditional Chinese painting to produce a modern object.

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Li, Wei, und Yiping Liu. „Weaving and dyeing: The traditional crafts of the Yi people of Meigu Liangshan, China“. Craft Research 12, Nr. 2 (01.09.2021): 295–316. http://dx.doi.org/10.1386/crre_00054_1.

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This article explores the making process and inheritance of a mysterious and unique Chinese folk craft tradition, the art of weaving and dyeing among the Yi people of Meigu Liangshan. From field research in Meigu Liangshan whose textile weaving and dyeing is relatively well preserved, we explore the national cultural significance and scientific connotation contained in this tradition by focusing on the making process of two representative woven and dyed wool products, pizhan and caerwa. We also reveal the relationship between the developments of this craft tradition and society. We find that the weaving and dyeing of the Yi people is a combination of art and science, which contains a large number of textile, dyeing and finishing knowledge and skills, which are gradually declining with the development and change of Chinese society as a whole. Based on this situation, we analyse the reasons why weaving and dyeing amongst the Yi of Meigu Liangshan is endangered and give some suggestions for the future preservation of this craft.

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Zhambaeva, Tuiana. „Chinese Motifs in the Applied Art of Buryatia“. Proceedings of Altai State Academy of Culture and Arts, Nr. 2 (2022): 17–23. http://dx.doi.org/10.32340/2414-9101-2022-2-17-23.

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The article gives the author's analysis of influence Chinese artistic traditions over arts and crafts of Buryats with regard to conscious direct and mediate borrowing made by the major indigenous people of the Southern Siberia in subjects, compositions, artistic motifs and images, popular forms and techniques from the Celestial Empire's traditional types of art. The paper outlines results of comparative historical study of quality attributes of Chinese and Buryat artistic traditions that let to reveal a level of originality of Buryat's art and craft. The author argues her viewpoint whereby imitation of examples of Chinese of art has the limited character: arts and crafts of Buryats whose ethnic area is historically and geographically tied to a zone of dynamic inter-civilizational contacts still keeps its artistic uniqueness appearing in symbolic expression of sum of the Baikal region people's axiological orientations.

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Valkevich, S. I. „Stitch embroidery as a traditional art craft of the Ivanovo region“. Gumanitarnyye Vedomosti TGPU im. L. N. Tolstogo, Nr. 2 (2022): 80–98. http://dx.doi.org/10.22405/2304-4772-2022-1-2-80-98.

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Ye, Jing, und Chen Zhang. „Research on the Application of Chaozhou Gold Lacquered Wood Carving 'Shrimp and Crab Basket' in Traditional Architectural Design“. Transactions on Social Science, Education and Humanities Research 4 (12.03.2024): 25–31. http://dx.doi.org/10.62051/xkj4s376.

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Chaozhou gold lacquered wood carving, as an outstanding representative of traditional Chinese crafts, holds a unique position in the field of traditional Chinese architectural art due to its exquisite craftsmanship and profound cultural heritage. This paper focuses on the 'Shrimp and Crab Basket' element, showcasing its significant achievements at both technical and cultural levels. Through in-depth literature research and investigation of lacquer craftsmanship, this study explores the historical background and craft characteristics of Chaozhou gold lacquered wood carving, with a particular emphasis on the importance of the 'Shrimp and Crab Basket' in this tradition. The paper also examines the unique features of Chaozhou traditional architectural decorative art, providing a rich context for understanding the application of the 'Shrimp and Crab Basket' in the field of architecture. It specifically analyzes examples of the 'Shrimp and Crab Basket' in various traditional Chaozhou buildings, revealing its functional and symbolic significance in architectural design and discussing how to innovate artistically while respecting tradition. Ultimately, the paper summarizes the important role of the 'Shrimp and Crab Basket' in traditional Chaozhou architectural design and looks forward to its potential applications in future architectural design. This research not only deepens the understanding of Chaozhou gold lacquered wood carving art but also offers a new perspective on the application of traditional crafts in modern architectural design.

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Semeritskaya, Ol'ga Vladimirovna. „The intangible heritage of folk art crafts“. Культура и искусство, Nr. 3 (März 2024): 89–102. http://dx.doi.org/10.7256/2454-0625.2024.3.70042.

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The object of the study is the intangible heritage of Russian folk arts and crafts as a phenomenon of traditional culture. Special attention is paid to the object content of the intangible heritage of crafts, as well as the forms of their preservation and actualization. The research originates from the definition of the concept of the intangible heritage of folk arts and crafts. The concept of the bearer of the intangible heritage of crafts is formulated. The definition of the morphology of the intangible heritage of crafts is based on the analysis of the intangible part of the artistic, industrial, ethnocultural and religious heritage of crafts. An important part of the study is the analysis of modern practices for the preservation and actualization of the intangible heritage of crafts in order to develop optimal forms and methods. The importance of such a form of preservation and broadcasting of the intangible heritage of folk arts and crafts as museification is emphasized. The definition of the concept of intangible heritage of crafts and the structural analysis of this fragment of cultural heritage was carried out on the basis of recognition of heritage by systemic education. The scientific novelty of this study lies in the definition of folk arts and crafts as a phenomenon of traditional culture, the key component of which is tradition, objectified, first of all, in an immaterial form. For the first time, the definition of the concept of the intangible heritage of folk art crafts is given based on the analysis of historiography and legislative practice, and a morphological analysis of this type of heritage of crafts is given based on the generalization and analysis of the experience of its preservation and actualization. The intangible heritage of artistic crafts - the artistic and pictorial language of handicrafts, techniques and technologies for their manufacture and decoration, social ways of transmitting knowledge and skill, customs, way of life and lifestyle in the craft - are of high value from an informational and axiological point of view and need to be preserved and broadcast.

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Sorokina, Liuchiia Igorevna, und Natal'ya Andreevna Pryamkova. „Folk art traditions in modern culture“. Культура и искусство, Nr. 3 (März 2021): 23–36. http://dx.doi.org/10.7256/2454-0625.2021.3.33006.

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The subject of this research is traditional folk decorative and applied art in the context of modern society. The authors reviews the factors that affected the formation of this art form, the role of collective creative experience, the canon for preserving archaic images, symbols and manufacturing technique. The article reveals the conditions of familiarizing youth with the folk tradition, indicating the importance of continuity of generations. Since each artwork is the synthesis of tradition and creativity, attention is drawn to the possibility of interpreting traditional experience in the products of craftsmen. By referring to the facts from the history of the Romanov’s pottery and toy craft, the author provides examples of the emergence of new plotlines in the conditions of changing sociocultural situation, and analyzes their correspondence with the tradition. The application of dialectical method demonstrates fusions of the tradition and novelties in folk art of the past and modernity. The authors’ contribution consists in identification of the causes of the current crisis state of traditional folk decorative and applied art. The article analyzes various measures, including the creation of manufacturing groups in the XX century, which were aimed at its preservation. The experience of the previous generations of professional and folk artisans allows tracing the peculiarities in the development of crafts, such as correlation between the traditional and innovative. The authors examines the necessary conditions for continuity of traditions of folk culture in modern civilization, which requires deliberate actions.

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Konstantinou, Katerina, und Aris Anagnostopoulos. „Interweaving Contemporary Art and “Traditional” Crafts in Ethnographic Research“. Art/Research International: A Transdisciplinary Journal 4, Nr. 1 (27.02.2019): 58–82. http://dx.doi.org/10.18432/ari29420.

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This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.

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Galkina, Marina. „Traditions of folk culture and education“. E3S Web of Conferences 284 (2021): 08015. http://dx.doi.org/10.1051/e3sconf/202128408015.

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The research on problems on preserving identity of tradition folk art and craft for strategic objective to design modern methods and tools in order to contribute to the creation of an education process. Experience was acquired in conducting relevant large-scale festivals, competitions, science conferences clearly demonstrated the younger generations growing ability in ownership to provide effective Russian Art cultural. Increased attention to realize workshops with Folk art and craft in the Moscow region system of additional education indicated positive dynamic for introducing teachers and children’s through period 2010-2020 years. It is notable for protection cultural historical heritage areas of Moscow region, which directed towards traditional Russian decorative Art especially over the past years.

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Maaruf, Siti Zuraida, und Mohamad Nizam Bin Mohamad Helmi. „Innovating Culturally Responsive Pedagogy With the Craft Fun Kit (CFK)“. European Journal of Social & Behavioural Sciences 30, Nr. 3 (31.08.2021): 251–63. http://dx.doi.org/10.15405/ejsbs.303.

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This study presents findings on the implementation of a teaching learning tool to enhance culturally responsive learning to enhance awareness of and knowledge about Malaysian traditional crafts in Visual Art classes. Most research in the Malaysian context exploring culturally responsive pedagogical methods has investigated theoretical and general properties, but few have attempted to investigate innovating tools to improve teaching and learning in schools and higher education. New methods with interesting features to teach certain cultural elements will not only trigger learning but can also instil the targeted values in students especially those living in multi racial countries. Using the Design and Development Method for one such tool, this study presents an evaluation of the Craft Fun Kit utilised by an experienced Visual Arts Education teacher in his class to study the students’ responses to and acceptance of the tool both to enhance learning and multicultural awareness. The overall results found that the Craft Fun Kit is relevant and appropriate as a learning tool which can enable students to attain Visual Art education learning outcomes at the secondary school level in Malaysia.

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Glăveanu, Vlad Petre. „Creativity and folk art: A study of creative action in traditional craft.“ Psychology of Aesthetics, Creativity, and the Arts 7, Nr. 2 (Mai 2013): 140–54. http://dx.doi.org/10.1037/a0029318.

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Workman, Jerry, und Eleanor Workman. „The Art and Craft of Natural Dyeing: Traditional Recipes for Modern Use“. Appalachian Heritage 19, Nr. 2 (1991): 69. http://dx.doi.org/10.1353/aph.1991.0013.

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Li, Min, und Xiaoyan Zhang. „Research on the Application of Traditional Embroidery Technology in Modern Jewelry Creation“. Journal of Arts and Humanities 6, Nr. 10 (23.10.2017): 07. http://dx.doi.org/10.18533/journal.v6i10.1274.

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Tradition and modernity are the eternal topics of art, especially in the age of information.Efficient mechanical production methods to improve the traditional jewelry production process, which achieved the demand for mass production of jewelry.However, with the development of society and the progress of science and technology, many traditional arts and crafts are lost.From the traditional culture, this paper analyzes the work of embroidery jewelry by studying the traditional Chinese embroidery culture and technique, summarizes the traditional embroidery technology and modern jewelry design techniques combined approach to guide the creative practice.On the basis of studying the theoretical method of combining traditional embroidery technology with modern jewelry, this paper focuses on the application of traditional embroidery techniques in jewelry creation, inspire the potential of traditional craft, to provide reference for modern jewelry design rich Chinese characteristics and attract the attention of Chinese jewelry industry and inherit the traditional arts.

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Khumsingha, Uraiwan. „Green Textiles of Traditional Banana Leaft Folding Techniques“. Applied Mechanics and Materials 533 (Februar 2014): 481–84. http://dx.doi.org/10.4028/www.scientific.net/amm.533.481.

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Cotton (Gossypium spp.) is an important cash fiber crop belonging to the family malvaceae. The objective of this research is to develop women wears from hand-woven cotton with banana leaf folding techniques, which is a Thai Art and Craft tradition. The most of the Thai used banana leaf for everyday life such as a food packaging or worshiping Buddha. From this reason, the research is to create a special collection of 5 dresses with the banana leaf folding. The research is conducted by measuring a percentage and using questionnaires to a target group of 100 samples. The result has shown that the first designHua nok kor yak is of the highest satisfactory which is about 88.4%. The collection of hand-woven cotton combined with elaborate parts is added-value to Thai clothing and promotes Arts and Craft of Thai tradition to international markets.

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Squire, Michael. „Art and Archaeology“. Greece and Rome 67, Nr. 1 (28.02.2020): 103–13. http://dx.doi.org/10.1017/s0017383519000299.

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‘An anonymous product of an impersonal craft’: that is how Rhys Carpenter characterized Greek sculpture in 1960, and it's an assessment that has long dominated the field. Carpenter was challenging the traditional workings of classical archaeology, not least its infatuation with individual ‘masters’. While responding to past precedent, however, his comments also looked forward in time, heralding a decidedly postmodern turn. From our perspective in 2020, six decades after his book was first published, Carpenter can be seen to anticipate what Roland Barthes would dub the ‘death of the author’: ‘the birth of the reader must be ransomed by the death of the author’, as Barthes put it.

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Улмасов, А. Ф. „“Chegachilik” – the Traditional Uzbek Technique of Mending Dishes and Its Foreign Analogues: Practices of Preserving the Craft“. Nasledie Vekov, Nr. 4(32) (31.12.2022): 60–71. http://dx.doi.org/10.36343/sb.2022.32.4.005.

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В статье выявляются и сравниваются особенности традиционного промысла починки фарфоровой посуды, носящего в Узбекистане название «чегачилик», распространенного также в странах Азии и Европы, определяются актуальные практики сохранения древнего ремесла. Основой научных изысканий являются результаты исследований археологов и этнографов, материалы интервью и бесед с мастерами, а также свидетельства современников об их деятельности. Применен кросс-культурный подход и методы этнографии. Проанализирована история развития промысла чегачилик в Узбекистане, приводятся новые данные об узбекском мастере-чегачи, являющемся одним из последних носителей этой традиции. Чегачилик сравнивается с китайским искусством жу и японским кинцуги, изучена деятельность мастеров в Англии и Австралии. Выявлены общие и особенные характеристики промысла в разных культурах, а также современные тенденции его развития, определены перспективы возрождения древнего ремесленного искусства чегачив Узбекистане. The article identifies and compares the features of the traditional craft of mending porcelain dishes, which is called chegachilikin Uzbekistan and is also common in Asia, Europe, and Australia; the actual practices of preserving the ancient craft are determined. Chegachilikinvolves the restoration of broken dishes by fastening fragments with metal staples, followed by coating the restored product with varnish. The basis of this study is the results of research by archaeologists and ethnographers, materials from interviews and conversations with masters, as well as testimonies of contemporaries about their activities. A cross-cultural approach and ethnographic methods are applied. The author analyzes the history of the development of the chegachilik craft in Uzbekistan, characterizes the high status of the chegachi master, the features of the process of learning the craft and testing the professional skills of a young master, provides new data on the Uzbek chegachi master, who is one of the last bearers of this tradition. The author explores the experience of the Chinese master Tong Weicheng, who independently studied the craft of mending dishes, known in China under the name ju (ju); he also reveals the features of the technique used by the modern Chinese artisan. The author describes the history of the art of ju, which is about five thousand years long, and the master’s activities aimed at transferring his knowledge to students. The author lists features of the Japanese art of kintsugi, based on gluing broken pottery with varnish mixed with precious metal powder; studies the activities of the UK’s and Australia’s artisans, who use elements of the kintsugitechnique in their practice. The study demonstrates that in recent decades there has been a tendency for the considered type of craft to disappear; however, in countries such as China, Japan, the UK, and Australia, this tradition has been preserved and brought almost to the level of art. A comparison of the development of the craft in these countries shows that the general technological principles for the restoration of dishes are fundamentally significantly different, and the tools have recently been modernized. The author notes that modern masters have achieved their success through self-education and self-training. The study results in the conclusion that the revival of the art of chegachilikin Uzbekistan is possible with the support and encouragement of enthusiasts who are ready to undertake efforts to study and popularize this unique component of the intangible heritage of the peoples of Central Asia.

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Groth, Camilla, Katherine Townsend, Tina Westerlund und Gunnar Almevik. „Craft is ubiquitous“. Craft Research 13, Nr. 2 (01.09.2022): 211–20. http://dx.doi.org/10.1386/crre_00076_2.

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This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4‐6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.

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Smith, Glenn W. „An Interview with Frieder Nake“. Arts 8, Nr. 2 (31.05.2019): 69. http://dx.doi.org/10.3390/arts8020069.

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In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists.

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Davies, Grahame. „Lineage and loss: Practising a traditional art in changing times“. Book 2.0 13, Nr. 1 (01.07.2023): 39–49. http://dx.doi.org/10.1386/btwo_00081_1.

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Born in a family of mixed linguistic heritage in a industrial village in north-east Wales, Grahame Davies found himself – thanks to a crucial meeting with a charismatic teacher – learning his poetic craft in the Welsh-speaking tradition. While working as a journalist in newspapers and later in broadcasting, he became one of his country’s most prominent poets and authors, later developing an international reputation as a librettist for classical composers. In this piece he reflects on the transmission mechanisms of individual and communal creativity, the varying status of poets in Welsh and English-language culture, the challenges and opportunities of working in joint artistic and professional enterprises, and on the delicate, but often hugely rewarding, process of working with audiences and with those who commission artistic works.

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Khan, Romana Yasmin, Kangli Ren, Wei Gan und Zain ul Wahab. „Maintaining Pakistani Cultural Traditional Decorative Elements Blending and Adoption Different Decorating Style Approach“. International Journal of Social Science Studies 7, Nr. 3 (13.03.2019): 24. http://dx.doi.org/10.11114/ijsss.v7i3.4138.

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Pakistani culture has the capacity to adopt multi-cultural values and décor practices in the society. With the gradual improvement of the living environment, people are pursuing more satisfaction and spiritual meaning the current interior decoration style in Pakistan considers a mix and match style. People in Pakistan cannot absolutely consider adopting a pure one style. Interior decoration is considered as primary to traditional living culture with distinctive cultural ideas, filling in the use of the latest style of thinking. The purpose of this study is to explore the development and current status of interior decoration styles in modern Pakistan and to collect background information on the current interior design decoration style and application of traditional elements in decoration.Also, investigate the extent of application of traditional thoughts in modern houses, their incorporation and blend with contemporary architecture so that the cultural values and the elements of traditional interior décor art and craft are not endangered. Study reveals that Pakistani interior décor style is the foremost interesting and attention-grabbing to work with because of the variations within the culture, splendid history and art and craft across the country.

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Ruiting, Ji. „The Application of Bian Embroidery in Modern Fashion Design“. International Journal of Global Optimization and Its Application 2, Nr. 2 (30.06.2023): 125–34. http://dx.doi.org/10.56225/ijgoia.v2i2.219.

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Bian Embroidery is one of the national cultural relics of Henan Province in China, originating in the Song Dynasty. Its original art form, which combines traditional Chinese painting and calligraphy with embroidery instead of painting, has a substantial artistic value and has impacted the history of Chinese embroidery. This paper takes the art form and craft characteristics of Bian Embroidery as the research object, compiles and refines the collected historical materials of Bian Embroidery through literature analysis, physical evidence, and case study, and innovatively applies its pattern themes, an art form, color characteristics and craft techniques to modern clothing design. The practical application shows that the application of Bian Embroidery elements to clothing design can produce high aesthetic and cultural values, aiming to inherit and protect the traditional folk art of Bian Embroidery and to find innovative points where traditional handicraft and popular design meet. At the same time, it can not only make the traditional Bian Embroidery handicraft derived in modern clothing design but also provide a new idea and direction for the future development of Bian Embroidery and can enrich the products of modern clothing, develop new technology and new style, meet people's increasingly high aesthetic demand, inject fresh blood into the clothing industry, and can improve the cultural connotation of clothing itself, and bring the traditional handicraft of the Chinese nation to the world. It will also enhance the cultural connotation of the garments and bring the traditional handicraft of the Chinese people to the world.

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McMaster, Gerald. „Contemporary Art Practice and Indigenous Knowledge“. Zeitschrift für Anglistik und Amerikanistik 68, Nr. 2 (25.06.2020): 111–28. http://dx.doi.org/10.1515/zaa-2020-0014.

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AbstractIndigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and understandings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently, Beau Dick has surprised international art audiences with his masks; Christi Belcourt’s studies of medicinal plants take on new meaning in paintings; Bonnie Devine creates stories around canoes and baskets; Adrian Stimson performs the trickster/ruse myth in the guise of a two-spirited character; and Lisa Myers’s work with the communal sharing of food typifies a younger generation of artists re-engaging with traditional knowledge.

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