Journal articles on the topic 'Arts and Crafts Section'
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1
Vale, Brenda, and Yvonne Shaw. ""First find your peasant ..."." Architectural History Aotearoa 16 (December 5, 2019): 72–86. http://dx.doi.org/10.26686/aha.v16.8932.
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Within the context of Edwardian architecture, this paper concerns the interior of dwellings in the 1900s and in particular the furnishings and objects inspired by the Arts and Crafts movement that people might have chosen to have in their homes. The Arts and Crafts section of the 1906 International Exhibition in Christchurch included work by the Haslemere Peasant Arts Society and Haslemere Peasant Industries from England. This paper explores how this movement began, and speculates why its works were part of an exhibition that included works by well-known Arts and Crafts protagonists, such as Morris, Ashbee and Voysey. It looks at the figures involved in the Haslemere ventures, including Godfrey Blount, and the response in the New Zealand press to his ideas that at least 90% of workers should want less rather than more wages, and as a result be involved in working on the land (Blount "Religion and Riches" pp 91-93). The paper also speculates about the life of the peasant and the romanticised view taken of peasants by proponents of the Arts and Crafts movement. It also discusses whether the Arts and Crafts would have flourished, both in New Zealand and Britain, without societies with a middle-class wealthy enough to adorn their homes with its artefacts, or indeed wealthy enough to bankroll it.
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Kostrzyńska-Miłosz, Anna. "Exhibition of Arts and Crafts in Vilnius 1924: Tradition or Modernity?" Acta Academiae Artium Vilnensis, no. 98 (February 8, 2020): 262–78. http://dx.doi.org/10.37522/aaav.98.2020.30.
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The paper analyses the Exhibition of Arts and Crafts opened on 15 September 1924 at the Vilnius Apollo Cinema and presents the press reviews of artistic critics. Particular attention is paid to artistic craftsmanship which demonstrates the attitude of the exhibition’s organisers to tradition and modernity. Crafts constituted about two thirds of the exhibits. The sec- tion was essentially varied and ranged from the Azarewicz / Azarevich Po- ttery Workshop decorated, according to the journalist of Przegląd Wileński in the “native way”, to graphic layout proposals of the Lux Publishers. In addition to painting, sculpture, monument designs, and the artistic photography of Bułhak, Siemaszko, Wysocki, and Świętochowska were presented with the comment that they constituted the “prime section of Vilnius artistic activity”. Such a wide range of artistic visions allowed various trends in the development of 1920’s Vilnius art to be shown.
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Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.
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Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
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Levine, Meredith. "The Directors’ Colloquium at Calgary The Director’s Role: 1/ The Workshops: Transformations." Canadian Theatre Review 52 (September 1987): 4–6. http://dx.doi.org/10.3138/ctr.52.001.
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As Nick Hutchinson, head of the acting and playwriting section of the English language division of the National Theatre School, puts it: “Directing is a difficult craft to teach and a difficult craft to learn, because to be a good director, you have to learn all the crafts of the theatre.” Hutchinson was speaking on a panel about actor expectations at the recent Directors’ Colloquium at Calgary, Canada’s first major attempt to engage directors in a comprehensive examination of the technical and theoretical issues involved in their art. Why has this not been previously attempted? Certainly part of the answer is that directing is still relatively new to the process of creating theatre: directors did not begin to appear until the mid-19th century, before which, actor-managers usually ran theatre companies. Consequently, the art of directing still is struggling to claim its identity, still is delineating its borders amongst the playwrights, actors, designers, and technicians who all collaborate on this most ephemeral form. Who is in control of what in the creative process understandably remains in a state of flux.
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Sanina, S. P. "The Role of Modular Education in the Development of Professional Competencies of Applied Bachelor Students." Psychological-Educational Studies 10, no. 3 (2018): 56–69. http://dx.doi.org/10.17759/psyedu.2018100306.
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The modular principle of the educational process organization is considered in which practical work, training and introductory, educational practice, SSRP are included into the module, along with the theoretical content. The aim of the article is to consider possibilities of modular education in developing professional competencies of future primary school teachers. In the article experience of the module section approbation "Organization of students’ learning activities at Arts and crafts lessons" is presented. Two models of the teacher's activity in the teaching process are described: the “instruction” model of the teaching process and the teacher’s "controlling" activity. Experience of implementing the model of modular education at all stages is presented: an example of the task for students for educational and introductory practice is given; examples of questions discussed in reflexive work are given; how classroom studies are conducted taking into account the specificity of the subject "Arts and crafts". Examples of a test task and a case for the midterm assessment of students are provided. The effectiveness of the modular organization of the educational process in developing students’ professional competencies of applied bachelor degree course is shown.
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Kozhanova, Mira. "Curating national renewal : the significance of arts and crafts in the construction of Soviet identity at the 1925 Exposition internationale des arts d�coratifs et industriels modernes in Paris." Art East Central, no. 3 (2023): 37–57. http://dx.doi.org/10.5817/aec2023-3-3.
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At the Exposition internationale des arts d�coratifs et industriels modernes in Paris in 1925, the newly recognised Soviet Union was given a platform to present its ideology through art. It constructed an official narrative of national renewal through a sophisticated exhibition concept that complemented contemporary art (particularly constructivism) with arts and crafts. This article sheds light on why the Soviet officials chose this specific approach and how their strategy was rooted in the earlier exhibition experience of the Russian Empire and the Soviet Union. Focusing on the two sections of arts and crafts presented in Paris � the Kustar goods of Soviet Russia and folk art from other Soviet Republics � the article examines their significance for the carefully constructed Soviet identity of the time. Furthermore, it analyses the contributions of individual organisers to these sections in light of their statements and writings, their professional positions and their prior experience. By illuminating the human factor behind the official narrative, the article exposes a parallel level of interpretation in order to further a more nuanced understanding of the Soviet contribution.
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Chang, Juyon. "Characteristics of the Craft Section of the Joseon Arts Exhibition." Misulsa Yeongu : Journal of Art History 37 (December 31, 2019): 7–31. http://dx.doi.org/10.52799/jah.2019.12.37.7.
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Guo, Yuchuan. "Complex Discrete System Analysis of Process Design and Tourist Souvenir Making Based on Artificial Intelligence 3D Printing." Discrete Dynamics in Nature and Society 2021 (December 13, 2021): 1–11. http://dx.doi.org/10.1155/2021/1086851.
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With the rapid development of 3D (three-dimensional) printing technology, it has been widely used in the field of ceramic arts and crafts. However, due to the complexity of 3D printing technology, it will face complex modeling and calculation when designing ceramic art crafts. To this end, the artificial intelligence algorithm is introduced, and using the data measured by the built-in modeling instruction of LAMMPS of the artificial intelligence algorithm, the program is used to reset its coordinates, length, width, height, and focal length. The obtained data are modified by postprocessing to correct its coordinates and the size of the simulation frame, so that the nanopowder model is placed in the center, forming a solid ellipsoidal aluminum nanopowder and cutting it into a three-dimensional model of teapot, which is transformed into the STL file of two-dimensional cross section, and the finished product is printed out to the 3D printer. Finally, the RTM model is used to test the quality of tourist souvenirs. The results show that the homogeneity of variance is much greater than 0.10. It can be inferred that the tourist souvenirs of pottery teapots have met the requirements of national technological quality standards.
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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (September 17, 2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.
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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections covering introductory affairs, the ages of the princes and of the city-states, the Etruscans’ relationship with Rome, and modern reception. The first contains essays treating Etruscan origins, history, identity, and settlement area. The second begins with the early Iron Age Villanova site, before turning to early Etruscan aristocratic culture, including banqueting, burials, language, writing, and seafaring. The third and longest section considers the heyday of Etruscan civilization and covers engineering and infrastructure, crafts and production, munitions, women's roles, daily life, dance, sport, funerary culture, wall painting, religious culture, and art. The fourth section treats both the confrontation between Etruscan and Roman culture and the persistence of the former after ‘conquest’ by the latter. The fifth section contains one essay on the modern inheritance of the Etruscan ‘myth’ and one on the history of scholarship on the Etruscans. Three aspects to this volume deserve particular praise. First, it includes not only a huge range of material artefacts but also individual essays on Etruscan production in gold, ceramic, ivory, terracotta, and bronze. Second, there is a recurring interest in the interconnections between the Etruscans and other cultures, not just Romans but Greeks, Iberians, Celts, Carthaginians, and other Italian peoples. Third, it includes the history of the reception of Etruscan culture. Amid the just-shy-of-200 objects included (almost every one with description and high-quality colour image), the reader can find everything from a mid-seventh-century pitcher made from an Egyptian ostrich egg painted with birds, flowers, and dancers (147), through the well-known third- or second-century bcTabula Cortonensis – a lengthy and only partially deciphered Etruscan inscription that documents either a legal transaction or a funerary ceremony (311) – to the 2017 kit of the Etruschi Livorno American Football team (364). Since we have no extant Etruscan literature, a volume such as this is all the more valuable in trying to get a sense of these people and their culture, and the exceptionally high production value provides quality exposure to material otherwise scattered throughout Italy.
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Wiśnicka, Anna. "Simple yet effective. Remarks on Finnish approach to design promotion." Załącznik Kulturoznawczy, no. 6 (2019): 263–84. http://dx.doi.org/10.21697/zk.2019.6.13.
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This paper gathers and analyses the main parts of the Finnish model of design promotion. It starts with providing the clear idea of division into global and national mechanisms as well as into commercial and cultural initiatives. Global mechanisms work on an international level, raising the design awareness and building the global perception of Finland as the country of design. They include works of the International Council of Societies of Industrial Design (now the World Design Organisation) and UNESCO. The promotional efforts taken on the national level focus on establishing the position of the designer and raising the understanding of the importance of design in public spaces. Those are supported by national organisations such as the Arts Promotion Centre Finland (Taike), the Finnish Association for Designers (ORNAMO) and Design Forum Finland (the official organisation of the Finnish Society of Crafts and Design), as well as local initiatives. The last section looks at the role of commercial initiatives, such as fares and marketing strategies, applied to design and the importance of cultural projects, such as museum exhibitions, publications, lectures, etc. All of the measures amalgamate to form a well-established model of design promotion which has been proven to work on many levels. Keywords: design promotion, marketing, d
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D. C., Nanjunda. ""Will Development Ever Come Their Way? Indian Rural towards Inclusive Growth "." Artha - Journal of Social Sciences 7, no. 2 (June 1, 2008): 14. http://dx.doi.org/10.12724/ajss.13.2.
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The urban-rural divide has to be bridged and rural areas have to be integrated with the economic processes to ensure equitable and inclusive growth of marginalized sections. Government. and NGOs have to play an important role in enhancing employment opportunities in farm and non-farm enterprises in rural areas, and should provide the necessary expertise to these areas. There are many sectors in which private players can participate to bridge this gap including providing micro finance, contract farming, setting up storage facili-ties for agro¬prod uce.Local folk could also develop heritage sites and tourist spots and encourage the promotion of traditional arts and crafts in joint ventures with rural enterprises. The next revolution that is waiting 'reaping the benefits'. We need to learn about participatory strategies, about organizing and mediating conflicting goals and needs, about technological transfer and social justice.
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Raggetti, Lucia. "Inks as Instruments of Writing." Journal of Islamic Manuscripts 10, no. 2 (July 8, 2019): 201–39. http://dx.doi.org/10.1163/1878464x-01002003.
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AbstractA short treatise attributed to Ibn al-Ǧazarī (born Damascus 751/1351) deals with what was considered necessary knowledge about the art and craft of penmanship. Along with linguistic and antiquarian remarks, scribal practices, and social applications of writing, an entire section is devoted to the preparation of inks. The selection of recipes includes different ink typologies and technical approaches to ink making, with a preference for metallic compounds; the manipulation of metallic substances often absorbed technological aspects of alchemical practice. This article provides an edition and a commented English translation of the section on inks in the Book on the Art of Penmanship, as preserved by its unique manuscript witness, MS Berlin Sprenger 1918. A recipe for the distillation of an artificial golden ink has been replicated in order to better understand the interaction between the text and the chemical reality behind it.
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Alekseeva, Lyubov P., Irina G. Samsonova, and Anastasia V. Podmareva. "Formation of Aesthetic Taste in Students of Professional Educational Organization by Means of Decorative and Applied Art." Journal of Pedagogical Innovations, no. 2 (June 3, 2024): 111–22. http://dx.doi.org/10.15293/1812-9463.2402.10.
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Introduction. The current stage of development of Russian society is characterized by global socio-economic changes that have caused instability in public life, a crisis of society and its main institutions, the destruction of spiritual ideals, which has led to a decrease in the level of morality and spirituality of young people, the level of formation of aesthetic taste. Therefore, the problem of lack of aesthetic tolerance is relevant, which can lead to negative phenomena in society, indifference or an aggressive attitude towards complex aesthetic phenomena that require intellectual perception. The purpose of the study is to develop and theoretically substantiate a didactic model for the formation of students’ aesthetic taste in an educational environment through the means of arts and crafts and to experimentally test its effectiveness. Methodology. To solve the problems, the following research methods were used: theoretical: ascent from the abstract to the concrete, idealization (creation of an ideal object) as a thought experiment; empirical: observation, pedagogical experiment, study of the results of artistic and creative activities of students. Research instruments are the tools that were used to collect and analyze data. We used the following tools: survey (using the survey we found answers to a number of questions that were developed for a specific group of students); an interview that helped gather information about students’ knowledge of arts and crafts; observation – this tool was used to study human behavior in various situations We studied the level of practical skills of students in the implementation of aesthetic ideas when performing an object of decorative and applied art using the association of a picture, which reflects the national idea, historical symbols and connotations – traditions and rituals, epics in the form of traditional shapes and colors, simple symbols, decorative folklore images. Based on the results obtained, in the course of empirical research, we have developed training programs for in-depth mastery of content in the disciplines “Technology” and “Fine Arts”. The thematic curriculum includes the following sections: 1. Russian art of the 18th–20th centuries. in the works of artists (I. E. Repin, M. P. Botkin, A. G. Venetsianov, P. P. Vereshchagin, etc.). 2. History of Russian culture in epics, fables, poems and fairy tales. 3. Russian decorative art. 4. Ornament as a form of Russian philosophy. 5. Ornament in the works of Khokhloma masters. 6. Ornament of Siberian carpets. 7. Understanding of beauty in Russian painting. 8. The property of Russian literature. Results. As a result of the study, a didactic model for the formation of aesthetic taste of students in the educational environment of a college was developed. The experiment confirmed the effectiveness of the developed curriculum and the identified pedagogical conditions that contribute to the most effective formation of aesthetic taste among students of a professional educational organization through the means of decorative and applied arts. Methodological products were adapted to the conditions of the Chelyabinsk Pedagogical College No. 1. After analyzing the problems identified within the framework of the study, programs for the academic disciplines “Fine Arts and Technology” and methodological recommendations for the formation of artistic and aesthetic taste through the means of decorative and applied arts were developed and implemented into the educational process of designers. Conclusions. The developed curriculum, being part of the educational process at aesthetic faculties, contains specific proposals for improving the training of specialists. Particular attention is paid to tasks for students specializing in painting. This allows us to enrich the experience of implementing creative projects and create aesthetically pleasing products of modern design. The methodological products developed during the study can be used in the professional activities of teachers of vocational training in secondary vocational education organizations.
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Adebisi, Taibat Tunrayo, Oluwafeyikemi Edith Bashorun, Shakirat Odunayo Abdulkadir, and Banke Adebola Adepoju. "Perception on Acceptability of Nigerian Females on Beaded Jewellery Empowerment for Entrepreneurial Development." Journal of Consumer Sciences 6, no. 1 (February 28, 2021): 20–39. http://dx.doi.org/10.29244/jcs.6.1.20-39.
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The study investigates the perception of acceptability of Nigerian females on beaded jewellery empowerment for entrepreneurial development. Four research questions with two null hypotheses were formulated and tested. Descriptive research of a survey type was adopted. 70 female students from fine and applied arts and 70 female adults from Ilorin metropolis, Nigeria were used. Proportional sampling technique was used to select the 140 participants. A self-structured questionnaire with six sections was used to seek information from them. Data collected were analyzed using frequency and percentage while the hypotheses were tested using chi-square at 0.05 level of significance. Based on the findings, the participants perceived that: beads are the major materials used, the skill might occupy a female’s time and generate income. Profits realized can be substantial for the producers and sellers. The six self -samples were accepted based on colour, design, texture and shape. It can be concluded that the skill might be acquired, used to curb female idleness and unemployment. Among the recommendations stated are: bead crafts should be included in the curriculum at all levels of study, and more aware of its acceptance on mass media and fashion shows for love of beads concerning culture, value and significance.
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Loch, Sarah. "A Poetry Pedagogy for Teachers." Art/Research International: A Transdisciplinary Journal 8, no. 1 (August 25, 2023): 334–45. http://dx.doi.org/10.18432/ari29726.
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This is a review of A Poetry Pedagogy for Teachers: Reorienting Classroom Literacy Practices by Maya Pindyck and Ruth Vinz, with Diana Liu and Ashlynn Wittchow. The authors, U.S-based poets, educators, and arts-academics, share a crafted master class in creative thinking and poetic confidence building for teachers. They employ a strongly collaborative stance, and take readers with them on a poststructural journey by weaving together a collection of poems, scholarly literature, and resources which aim to provoke their teacher-readers to write. Readers should ready themselves with pen and paper, notebook, or computer as the many ”Invitations” (writing exercises which appear at the end of each chapter and in a section of their own towards the end) will have readers sliding into poetry and seeing it in the most unexpected places.
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Hepburn, Frederick. "The 1505 Portrait of Henry VII." Antiquaries Journal 88 (September 2008): 222–57. http://dx.doi.org/10.1017/s0003581500001426.
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The aim of this paper is to offer as full a discussion as possible of the best-known portrait of Henry VII. Information from a variety of sources elucidates the context in which the portrait was painted and the nature of its iconography; in particular, evidence is presented to show that the red rose was a symbol of great personal significance to Henry. With regard to the portrayal of Henry himself it is suggested that his face conforms essentially to an approved ‘pattern’ that had been recently reworked and updated, and that the frequently expressed modern view of the portrait as representing a mean and crafty character results from a misinterpretation of the artist's intentions. In a final section attention is given to the question of the identity of the artist, whose name remains unknown.
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Harry Luersen, Eduardo. "Re-Entangling Design and Science Fiction: The Case of Daleko." International Journal of Film and Media Arts 6, no. 1 (June 9, 2021): 33–54. http://dx.doi.org/10.24140/ijfma.v6.n1.02.
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The present article discusses how speculative design relates to technoscientific extrapolation, an important science fiction feature, to plan for potential scenarios and prototype viable models of futurity. Through it, the paper outlines some important nuances between different approaches concerning speculative design’s role, considering their particular epistemological assumptions. A specific case is presented and discussed: Daleko (2020), a project developed for the Strelka Institute’s Terraforming program. This project consists of nine science fiction pieces that entangle issues of waste management, technical infrastructure, and climate politics, discussing the problematic conception of waste as a form of externality and imagining future scenarios for managing it through a more holistic perspective. By analysing Daleko’s approach to speculative design, in its final section the article suggests further developing speculative projects in contexts of design education. This would serve towards stimulating designers to ponder how their craft relates to anthropogenic impact and how it can play a decisive role in prospecting more viable future scenarios.
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Herbert, Ian. "Writing in the Dark: Fifty Years of British Theatre Criticism." New Theatre Quarterly 15, no. 3 (August 1999): 236–46. http://dx.doi.org/10.1017/s0266464x00013038.
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In NTQ50 (May 1997) Irving Wardle offered his reflections on forty years of theatre reviewing, from the point of view of the seasoned practitioner. Here, Ian Herbert looks at the craft of the reviewer in the wider context of the British theatre since the war, and sees an ironic similarity between the venerable, gentlemanly generation against which Kenneth Tynan pitted his considerable wit, and the generation of Tynan's disciples now no less firmly entrenched in their seats on the aisle. His article, first presented as one of the public lectures celebrating the Golden Jubilee of the Society for Theatre Research on 15 January 1998, is as much an informal history of London theatre during the period as a discussion of the part played in it by the members of the Critics' Circle drama section, of which he is currently secretary. Having completed the last of three editions of Who's Who in the Theatre to appear under his editorship, in 1981 Ian Herbert, started London Theatre Record, now Theatre Record, the fortnightly journal which gathers together the unabridged reviews of all the major British theatre critics.
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Bolland, Andrea. "Art and Humanism in Early Renaissance Padua: Cennini, Vergerio and Petrarch on Imitation*." Renaissance Quarterly 49, no. 3 (1996): 469–87. http://dx.doi.org/10.2307/2863363.
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A number of passages in Cennino Cennini's early fifteenth-century craft handbook, the Libro dell'Arte, have captured the attentionof art historians — most particularly its spectacular first chapter, which defines painting in terms indebted to late medieval poetics and which praises artistic imagination in terms ultimately derived (though significantly transformed) from Horace's Ars poetica. I would like to focus critical attention on another section of the Libro that is equally rich and complex in both its sources and its transformations — Cennini's treatment of imitation and style, articulated most pointedly in chapter 27, “How to Strive to Copy and Draw from as Few Mastersas Possible.” Cennini's discussion of copying masters will be examined in relation to humanist ideas on literary imitation, and this particular aspect of the relation between painting and poetry in theLibrowill be explored in light of the author's residency in Padua during the last years of the Trecento.
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Grigoryeva, Elena, and Konstantin Lidin. "cracks, seams and borders." проект байкал 19, no. 74 (January 5, 2023): 121. http://dx.doi.org/10.51461/pb.74.20.
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Sometimes there are real cracks (and even gaps) between alternatives, and sometimes these borders look like seams joining the opposites. One of the peculiarities of architectural thinking is that it is like mosaic or patchwork. Scars and seams are inherent in architecture. Sometimes they are tried to be hidden, while sometimes to be aestheticized. How inclusive is the ‘patchwork’ of architectural thinking, or is it an exclusive stigma, a scar on the ‘profession’s skin’?Philosophical reflections on the semantic and philosophical-symbolic interpretation of the image of crack, rupture or gap in a broader context of cultural evolution, and, above all, in its current cultural-methodological meaning are presented by Leo Salmin and Petr Kapustin in their articles.Administrative boundaries can also turn into cracks. One of the most difficult tasks of urban planning and territorial management is to prevent ‘sprawling’ at the seams between regions. The border between the subjects adjacent to Lake Baikal runs directly along the water area of this glorious sea. And now, after the transfer of Transbaikalia to the Far Eastern Federal District, it is the border between the federal districts. But it is clear that the town planning documents should cover the whole lake, together with hundreds of rivers and streams flowing into it. Invisible seams prevent full comprehension of the whole complex. This is what Alexander Kolesnikov writes about.The seams of the borders within the Russian Empire were fantastically variable, including not only those of its provinces, but also of its cities. Such changes have occurred over the centuries for a variety of reasons, including political ones.The selection of materials in this section tells what is happening on the line of the collision of alternatives.
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Leal, Bea. "The Abbasid Mosaic Tradition and the Great Mosque of Damascus." Muqarnas Online 37, no. 1 (October 2, 2020): 29–62. http://dx.doi.org/10.1163/22118993-00371p03.
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Abstract Glass wall mosaic is a major feature of early Islamic architecture, surviving above all in the Umayyad monuments of the Dome of the Rock and the Great Mosque of Damascus. These grand mosaics inspired periodic revivals from the eleventh century onwards. The centuries between the Umayyad commissions and the first of the documented revivals, however, have been seen as a period of decline for the craft; the Abbasid dynasty that defeated the Umayyads in 750 has not traditionally been associated with the medium. This article reexamines the question, looking at textual and material evidence for Abbasid mosaic production. It argues that, in fact, there was a continuous mosaic tradition well into the ninth century, under the patronage of both caliphs and lower-ranking officials. The first part of the article considers written evidence for mosaics in Mecca and Medina. The second part looks in detail at a surviving example that, it will be argued, dates to the Abbasid period, on the Bayt al-Mal (Treasury) of the Great Mosque of Damascus. The concluding section discusses factors behind the general decline in mosaic production in the tenth century and the possibility of pockets of continuity.
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Marti, Patrizia, Sonia Massari, and Annamaria Recupero. "Transformational design for food systems: Cultural, social and technological challenges1." International Journal of Food Design 8, no. 1 (April 10, 2023): 109–32. http://dx.doi.org/10.1386/ijfd_00053_1.
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Due to climate changes, resources availability and evolving markets, the food system is developing towards an articulated and complex ecology, with fast transformations occurring in food production, preparation, delivery and disposal. In this context, innovation is needed not just to ideate solutions to deal with a fast-changing system but also to accompany the change adopting a systemic long-term approach. We reflect on the transformational potential of design in the food sector enabled by digital technologies, one of the current major drivers of change. We define two levels of changes implying digital technologies, those that radically change the food system and those enabling changes within a given system. These levels are exemplified with case studies documented in literature and with students’ projects showing how transformational design can help grasp the complexity of current problems, and question the current status quo by facilitating a dialogue among stakeholders to stimulate behaviour change without prescribing it. In this article we encourage a paradigm shift of design from craft activity to a holistic approach of systemic thinking where the designer assumes the role of promoter and facilitator of change. Reflections on challenges at cultural, social and technological levels are provided in the conclusion section.
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Nowakowska-Sito, Katarzyna. "W poszukiwaniu niepodległości w sztuce: Pawilon polski na wystawie paryskiej 1925." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 185–98. http://dx.doi.org/10.15290/idea.2018.30.1.14.
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After reappearance of Poland on the map of Europe in 1918, the first major manifestation of the new country’s creative potential was at the 1925 International Exhibition of Applied Arts and Modern Industry in Paris. The Polish Pavilion, which had divided the opinion of critics at home, won the Grand Prix. The award of over 170 prizes to the Polish section in different areas and categories – from posters to art schools – gave ample reason to consider the exhibition an unquestionable success. The forms used in the architecture and interior design of the Polish Pavilion inspired various solutions applied in Polish public architecture of the 1920s. On the wave of the “Paris success” designers tried to translate the Polish variety of art deco into a type of national style which some scholars even came to refer to as the “style of regained independence” which manifested itself in architecture, particularly in interior design, bas reliefs, painted decorations textiles and furniture. Its emergence coincided with the introduction of new education methods in art and craft schools. The text discuss the Polish art deco style in context of two basic currents of interwar years: modernity and tradition. The problem of “Polishness” in art relates also to the concepts of interwar culture and visons of its progress or decadence.
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Walstad, Pål Bødtker. "Debatforum: Ernst Triers Grundtvigresepsjon: Om dannelse og yrkesutdanning i Vallekilde." Grundtvig-Studier 58, no. 1 (January 1, 2007): 247–57. http://dx.doi.org/10.7146/grs.v58i1.16521.
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Debatforum[Forum for debate]In the Forum for debate, readers are invited to respond to issues raised, or to raise new issues relative to the field of Grundtvig studies. Items submitted, preferably in the form of an article, may be of any reasonable length and in any of the languages usually accepted by the journal. Contributions in Grundtvig-Studier 2007 are written by Ove Korsgaard and Pål Bødtker Walstad.Unfortunately, due to a mistake during the editing of Professor, dr. p.d. Ove Korsgaard’s contribution “Hvordan erindres folkehøjskolens historie?” in Grundtvig-Studier 2006, certain sections were misplaced. As this may have caused confusion to the readers, we are reprinting the contribution in its original form. The editors of Grundtvig-Studier 2006 would like to apologise for the misprint. Debatforum: Ernst Triers Grundtvigresepsjon: Om dannelse og yrkesutdanning i Vallekilde[Forum for debate: Ernst Trier ’s Grundtvig reception: On general and vocational education at Vallekilde]By Pål Bødtker WalstadIn 1865 Ernst Trier, a young Danish theologian with a close relation to Grundtvig, established Vallekilde Folk High School. He developed a broad range of occupational education units, covering farming, seamanship and fishing, painting and arts, and, especially with the help of the carpenter and teacher Andreas Bentsen, Vallekilde Folk High School offered a variety of education within the field of crafts. Trier strove to maintain all the occupational education units among Vallekilde’s activities. Since, as he believed, each pupil was created in the image of God and therefore a unique human being, Trier wanted his school to “match” the individualities of the pupils. Grundtvig’s expression “Education and Proficiency for Life” (“Dannelse og Duelighed for Livet”) was by Trier interpreted as a folk high school including general as well as vocational education.
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Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.
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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
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LaMore, Rex, Robert Root-Bernstein, Michele Root-Bernstein, John H. Schweitzer, James L. Lawton, Eileen Roraback, Amber Peruski, Megan VanDyke, and Laleah Fernandez. "Arts and Crafts." Economic Development Quarterly 27, no. 3 (April 28, 2013): 221–29. http://dx.doi.org/10.1177/0891242413486186.
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Milecka, Małgorzata, and Seweryn Malawski. "Spatial and ideological transformation of the Abbots’ Garden in Oliwa in the 18th century." Roczniki Humanistyczne 71, no. 4 (June 23, 2023): 109–36. http://dx.doi.org/10.18290/rh23714.4.
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Ever since the Medieval era, Cistercian monasteries have been the centres of architecture, horticulture, art and craft. Their abbeys were also distinguished by a rich theological program. Within the larger monastic complexes, the abbot occupied a representative building, surrounded by an ornamental garden. In the 15th century, the Abbot’s Palace was erected at the Abbey in Oliwa, which had been founded in 1178. The abbot’s seat was repeatedly expanded by successive abbots, including Kasper Geschkau, Dawid Konarski, Jan Grabiński, Aleksander Kęsowski, and Franciszek Zaleski. Józef Jacek Rybiński in particular made some notable achievements, including building a new Rococo palace surrounded by a Baroque garden, which was characterised by a rich program referring to Christian symbolism. After 1772, Cistercian goods and properties were confiscated by Prussia. In 1782, Prince Karl von Hohenzollern-Hechingen, and then his nephew Prince Joseph, became the new abbots. With the help of the gardener Johann Georg Saltzmann, Prince Karl enlarged the garden with a new English- Chinese section with a rich Oriental program. The article presents the history of the garden, the evolution of its ideological program and layout, the landscape values of the former monastery complex as well as its contemporary resources.
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Ackerman, Sandra. "Prehistoric Arts and Crafts." American Scientist 106, no. 1 (2018): 8. http://dx.doi.org/10.1511/2018.106.1.8.
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Glørstad, Zanette T. "Crossing crafts, merging arts." Primitive Tider, Spesialutgave (October 18, 2023): 137–40. http://dx.doi.org/10.5617/pt.10692.
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Schevill, Margot Blum. "Arts And Crafts of Rajasthan:Arts and Crafts of Rajasthan." Museum Anthropology 13, no. 3 (August 1989): 16–18. http://dx.doi.org/10.1525/mua.1989.13.3.16.
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Edelson, Rae Temkin. "Chapter 6: ART AND CRAFTS-Not "Arts and Crafts"." Activities, Adaptation & Aging 15, no. 1-2 (December 19, 1990): 81–98. http://dx.doi.org/10.1300/j016v15n01_07.
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Hu, Zhengjuan. "Research on the Application of Computer in the Design of Arts and Crafts." E3S Web of Conferences 290 (2021): 02025. http://dx.doi.org/10.1051/e3sconf/202129002025.
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Firstly, this paper expounds the design methods of traditional arts and crafts, including the traditional design methods of sculpture crafts, glass crafts and ceramic crafts. Then it analyzes the advantages of computer technology in the design of arts and crafts, including improving the product performance of arts and crafts, improving the design interest of arts and crafts designers and improving the modern flavor of arts and crafts; then it expounds the application of computer technology in different stages of arts and crafts design in detail, including the early preparation, concrete implementation, design scheme optimization and in-depth design stage; Finally, it analyzes the specific application of computer technology in arts and crafts design, including the application of computer technology in sculpture crafts design, glass crafts design and ceramic tea set modeling design.
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Lan, Jin. "On the Innovative Application of China’s Traditional Arts and Crafts in the Industry of Fashion Arts." E3S Web of Conferences 237 (2021): 04011. http://dx.doi.org/10.1051/e3sconf/202123704011.
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The language concerning traditional arts and crafts is increasingly applied in modern fashion designing, which has become the important design ideas by focusing on the traditions. By elaborating the recognition of traditional arts and crafts, its diversified emerges in fashion arts including its classification s, materials, production methods, design methods and the diversity of design themes, the author discusses the creative application by combining the traditional arts and crafts and the modern fashion design and artistry. By explaining the traditional culture and analyzing its applications, the author explores the innovative application of traditional arts and crafts in the industry of modern fashion arts. The terminal aim is to link up the traditions and fashion, protect and inherit China’s traditional arts and crafts, promote modern fashion brands and extend the cultural connotation of fashion brands.
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Bort, Eberhard. "Review: Scottish Arts and Crafts." Scottish Affairs 63 (First Serie, no. 1 (May 2008): 163–69. http://dx.doi.org/10.3366/scot.2008.0027.
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Filippov, Vasily D. "Arts & crafts in architecture." Urban construction and architecture 11, no. 4 (December 15, 2021): 113–24. http://dx.doi.org/10.17673/vestnik.2021.04.14.
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In the middle of the 19th century, the Arts and Crafts movement emerged in England. The development of the movement in England, USA, Germany is described. The influence of the ideas of the novel News from Nowhere by William Morris on the emergence of the idea of a garden city by Ebenezer Howard and on the preservation of the historical heritage of cities is shown. Describes the influence of Peter White on the emergence of Arts and Crafts in the United States, on the formation of the Chicago School, as well as the worlds first manifestation of modern in the architecture of Louis Sullivan. Shows the influence of Gustav Stickley on the birth of the American folk style of a residential building and his contribution to the modernism of Irving John Gill. The features of the Arts and Crafts in Germany are described, the role of Hermann Mutesius in the evolution of the movement from rejection of industrial production to unification with it and the establishment of the German Werkbund is emphasized. The influence of Mutesius ideas on the German art of the 1920s is shown. A description of the aesthetic direction of the movement, which received the name modern, is given and examples of it in Belgium, Germany, Austria, Scotland are given. The importance of movement as the basis for the birth of modern architecture is emphasized.
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B., E., Aman Nath, and Francis Wacziarg. "Arts and Crafts of Rajasthan." Journal of the American Oriental Society 112, no. 1 (January 1992): 170. http://dx.doi.org/10.2307/604633.
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Richman, Paula, and Nanditha Krishna. "Arts and Crafts of Tamilnadu." Journal of the American Oriental Society 119, no. 1 (January 1999): 175. http://dx.doi.org/10.2307/605584.
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Knott, Stephen. "Arts and Crafts Stained Glass." Journal of Modern Craft 10, no. 1 (January 2, 2017): 111–15. http://dx.doi.org/10.1080/17496772.2017.1294323.
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Tassoni, Penny. "Essential experiences…: arts and crafts." Nursery World 2017, no. 21 (October 16, 2017): 21. http://dx.doi.org/10.12968/nuwa.2017.21.21.
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Carman, Jillian. "Arts and Crafts and Reconstruction." Social Dynamics 30, no. 1 (June 2004): 114–40. http://dx.doi.org/10.1080/02533950408628666.
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Whyte, W. "The Arts and Crafts Movement." English Historical Review CXXIII, no. 501 (April 1, 2008): 486–88. http://dx.doi.org/10.1093/ehr/cen025.
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Pandit, Kalpana. "Springing into arts and crafts." Child Care 12, no. 4 (April 2, 2015): 12–13. http://dx.doi.org/10.12968/chca.2015.12.4.12.
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Piters-Hofmann, Ludmila. "Regulating Russian Arts and Crafts." Experiment 25, no. 1 (September 30, 2019): 310–27. http://dx.doi.org/10.1163/2211730x-12341345.
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Abstract On March 10, 1913, the “Second All-Russian Kustar Exhibition” opened in St. Petersburg under the patronage of the Empress Alexandra Fedorovna. The largest display of folk art and kustar goods in Imperial Russia, it was a huge success with the public and significantly shaped the layman’s view of Russian folk art. Although this exhibition has garnered considerable attention within the scholarly discourse, it has mainly been discussed from the critics’ point of view. This article provides complementary insights by reconstructing the organizational efforts that contributed to the public success of the exhibition and by analyzing the reaction of the organizing committee to criticism in the contemporary press.
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Chavraiparn, Maturose, Jirawat Phirasant, and Maria de Correa. "Arts and Crafts Management Model of Baan Huai Ta Community, Utttaradit Province." Revista de Gestão Social e Ambiental 18, no. 5 (March 13, 2024): e05183. http://dx.doi.org/10.24857/rgsa.v18n5-008.
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Purpose: The objectives of the present research on the arts and crafts management model of Baan Huai Ta community, Uttaradit province were to analyze the community arts and crafts management model; develop the community arts and crafts management model; and evaluate the community arts and crafts management model of Baan Huai Ta, Uttaradit Province. Theoretical Framework: This study employs the concept of local wisdom and product development and design. Design/Methodology/Approach: The procedures involved building a network, acquiring knowledge, developing a community arts and crafts management model, developing community arts and crafts, evaluating the community arts and crafts management model. A qualitative research was employed consisting of observation, in-depth interviews, focus group discussion, and participatory action. Findings: The analysis of community arts and crafts management model suggested the area-based potential of Baan Huai Ta with arts and crafts abilities including weaving, wickerwork, and wood carving. Her Majesty Queen Sirikit had graciously supported people in the community to receive career development trainings in arts and crafts intended to offer extra jobs for generating more income. Their products were delivered for distribution to the Bureau of the Royal Household and the Arts and Crafts Promotion Foundation. Research Practical and Social Implication: Evaluation results of community arts and crafts works were as follow: increased value at a highest level; design concept at a highest level; selection of raw materials at a highest level; production process at a highest level; quality and beauty at a highest level; increased value added at a very high level; creating identity at a very high level; and generating value added at a very high level. The arts and crafts management model of Baan Huai Ta community, Uttaradit province comprised 4 components namely: analysis of community context; analysis of community management//network building; development of arts and crafts; and evaluation of arts and crafts management model. Originality/Value: The development of community arts and crafts management models focused on the designs with applied local wisdom to provide community products. The design concept is based on the link of science and knowledge in coordination with applied local materials to develop community products with an aim to bring about value added, self-reliance, as well as group forming. This had led to the development of products consisting of 12 pieces of fabric art and craft products, 2 pieces of carving art and craft products, and 8 pieces of wickerwork arts and crafts products, totaling 22 products.
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Bell, Emma, and Hugh Willmott. "Ethics, politics and embodied imagination in crafting scientific knowledge." Human Relations 73, no. 10 (October 17, 2019): 1366–87. http://dx.doi.org/10.1177/0018726719876687.
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This article explores ‘research-as-craft’ as a sensitizing concept for disclosing the presence of ethics and politics, as well as embodiment and imagination, in the doing and representation of scientific activity. Routinely unnoticed, marginalized or suppressed in methodology sections of articles and methodology textbooks, research-as-craft gestures towards messy, tacit, uncertain, yet rarely thematized, practices that are central to getting science done. To acknowledge and address the significance of research-as-craft in knowledge production, we show how it relates to three forms of reflexivity – constitutive, epistemic and disruptive. Through this we demonstrate the craftiness that is required when struggling with the indeterminacy that is endemic to the production and communication of scientific knowledge. By showing how empirical situations require imaginative interpretation by embodied researchers, we argue that our conception of research-as-craft facilitates appreciation of scientific inquiry as an indexical activity that involves the crafted object and the researcher in an ethico-political process of co-constituting knowledge.
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Osipova, Yulia, and Lyudmila Kazmina. "Arts and crafts, decorative and applied arts as a growth driver of educational tourism." E3S Web of Conferences 273 (2021): 09004. http://dx.doi.org/10.1051/e3sconf/202127309004.
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The present article is concerned with analysis of the current state and prospects for the development of educational tourism in Russia and its regions, fostering the development of educational tourism in Russia.It is emphasized that arts and crafts can become one of the main factors promoting the development of tourism. Authors propose solutions of issues of insufficient including of arts and crafts into touristic programs and routs. Special attention is paid to state policy in regard to preserving and popularization of arts and crafts of Russia and its regions.
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Milne, Jo. "Artists’ Books as Resistant Transmitters." Arts 8, no. 4 (October 9, 2019): 129. http://dx.doi.org/10.3390/arts8040129.
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Since the early 1970s, the origins of artists’ books have been extensively discussed and documented (Drücker, Lauf, Lippard, Phillpot, Gilbert et al.), yet the genre continues to generate new questions and paradoxes regarding its place and status within the visual arts as a primary medium. Whilst the conception of contemporary artists’ books lay in the medium’s potential for dissemination via mass production and portability, opportunities for distribution remain limited to a select number of outlets worldwide or, as an alternative, through the growing in number but time-limited artists’ book fairs, such as those established events in Barcelona, Berlin, Bristol, Leeds, London, New York and Seoul. In parallel with the development of screen-based digital technologies and social media platforms, we have experienced the exponential production of artists’ books in contemporary art practice, craft and design; a quiet revolution that emerged from both the centre and the fringes of the art world over six decades ago, developing relatively quickly as a gallery commodity through artefact/exhibition catalogue cross-overs, and more recently as a significant discipline in its own right within educational establishments. This begs the question, why, in an era of potentially print-free communication, do we continue to pursue the possibilities of the physical book format? What can the traditional structures of the codex, the leporello, the single section or that most basic and satisfying action of creasing a sheet of paper—the folio—offer the tech-savvy audience or maker? But artists’ publications offer alternative platforms for visual communication, resistant to formal forms of presentation, and they appeal to the hand and can question what it means to read in this digital age.
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Kärnfelt, Johan. "‘Excellentissimo tubo Dollondiana’: The Stockholm Observatory’s 10-foot Dollond achromatic refractor." Journal for the History of Astronomy 55, no. 1 (February 2024): 105–30. http://dx.doi.org/10.1177/00218286231225455.
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The instrument collection at the Royal Swedish Academy of Sciences houses a historically significant 10-foot achromatic refractor crafted by London instrument maker John Dollond. The telescope came into use at the Academy’s Observatory in Stockholm in 1761 and remained in service into the 1820s. This paper aims to add to the biography of this instrument, encompassing its six decades of active service and, after 150 years in storage, its transformation into an exhibition showpiece. The paper begins by introducing the telescope, its maker and the conflict involving Dollond and the Swedish mathematician and physicist Samuel Klingenstierna over the discovery of the achromatic lens. This dispute ultimately resulted in the telescope finding its way to the Stockholm Observatory. Subsequently, the paper delves into how Academy astronomer Pehr Wargentin perceived and utilized this state-of-the-art refractor, along with brief mentions of its use by his successors. The final section narrates how the telescope ended up in the permanent exhibition of the Stockholm Observatory Museum.
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Xinghe, Wang. "Research on Quanzhou Arts and Crafts Resource Library Based on 3D Printing Platform." E3S Web of Conferences 179 (2020): 02017. http://dx.doi.org/10.1051/e3sconf/202017902017.
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Objective:Under the background of attaching importance to the arts and crafts industry, this paper will explore the ideas and methods for the development of the Quanzhou City Arts and Crafts Resource library based on the 3D printing platform. Method: From the perspective of analyzing the general situation of the arts and crafts in Quanzhou and the advantages of the 3D printing-based development process, the three aspects of the construction content, the innovation and the cross-industry derivative nature of the resource library were described. Conclusion:For the development of traditional arts and crafts industrialization, digitization is the only way to go. Quanzhou’s arts and crafts resource library based on 3D printing platform not only realizes digitalization, but also provides a reference for the development of other regional arts and crafts resource libraries .
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Kokko, Sirpa. "Orientations on studying crafts in higher education." Craft Research 13, no. 2 (September 1, 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.