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Journal articles on the topic 'Traditional handicrafts'
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1
Meng, Jiayun. "Innovative Marketing of Traditional Chinese Handicrafts." Advances in Economics, Management and Political Sciences 32, no. 1 (November 10, 2023): 23–28. http://dx.doi.org/10.54254/2754-1169/32/20231558.
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Traditional crafts are the continuation of the traditional culture and history of the nation. The cultural development of a group is documented by its artifacts, which also record the history of the nation or country and record its rise and fall. Marketing Innovation is an important contemporary marketing concept, and the effective use of innovation can rejuvenate traditional technologies. This paper analyzes the bottlenecks encountered by the contemporary Chinese traditional handicraft industry and provides new directions for the development of Chinese traditional handicraft industry by combining the innovation examples of related industries abroad. It can be concluded that modernizing the product and management structure of Chinese traditional handicrafts with modern advanced technology and management expertise, as well as innovating content marketing models and tools, can effectively enhance the development of Chinese traditional handicrafts. This can benefit the financial rewards of handicraft practitioners as well as the preservation of Chinese traditional handicrafts.
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Zhang, Yaping, and Dongdong He. "Inheritance and Innovation of Traditional Handicraft Skills based on Artificial Intelligence." Transactions on Computer Science and Intelligent Systems Research 2 (December 21, 2023): 163–69. http://dx.doi.org/10.62051/rc69jc38.
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Today, with the strong return of traditional culture, the integration of the two will deeply affect the protection of traditional handicrafts and the field of cultural communication. The industrialized production mode has gradually replaced the labor-intensive production mode, and handicrafts have gradually faded out of the public consumption field. The brain drain is serious, and many handicrafts with a long history have no successors. Under the background of AI(artificial intelligence) empowerment, this paper combines AI with traditional handicraft skills, and makes an in-depth study on the inheritance and dissemination of traditional handicraft skills. On this basis, it further thinks about the relationship between traditional handicraft skills display and experience, and the relationship between technology and experience, and studies the change of design concept from technology-oriented to human experience-oriented in traditional handicraft skills display design, and explores the development trend of experience design concept in future traditional handicraft skills display design. Develop the path and method of innovation, protection and inheritance with the comprehensive digital virtual traditional handicraft skill framework. The integration of AI and traditional culture will inevitably broaden and upgrade the path of inheritance and innovation of traditional handicraft skills, and make it achieve new development.
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Sun, Xiaotian. "A Novel Method for Handicrafts Design Based on Fusion of Multi-Intelligent Decision Algorithm." Scientific Programming 2022 (January 3, 2022): 1–13. http://dx.doi.org/10.1155/2022/8495381.
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With the rapid development of artificial intelligence, handicraft design has developed from artificial design to artificial intelligence design. Traditional handicraft design has the problems of long time consumption and low output, so it is necessary to improve the process technology. Artificial intelligence technology can provide optimized design steps in handicraft design and improve design efficiency and process level. Handicrafts are regarded as important social products and exist in people’s daily life. In the current society, many people do handicrafts and there are major exhibitions. Furthermore, the display of handicrafts is also very grand and shocking. In the design of handicrafts, the traditional design method cannot completely keep up with the production speed and efficiency of handicrafts. Therefore, this paper adopts the fusion multi-intelligent decision algorithm of multi-node branch design in the design method of handicraft. The algorithm model combination is used to analyze and design the layout of the handicraft, which speeds up the design efficiency and production of the handicraft. In this paper, two intelligent algorithms will be used for fusion; they are genetic algorithm and GA-PSO fusion algorithm obtained by particle swarm optimization and they are embedded in handicraft design method for application through mathematical model construction and function construction. After comparing the performance parameter index data of three intelligent algorithms and GA-PSO fusion algorithm, it is obtained that GA-PSO fusion algorithm is 97% correct and has 82% readability, 72% robustness, and 61% structure, making it have better important indicators. Four algorithms optimize each design problem in all aspects of handicraft design at present. Design efficiency, image distribution rate, image optimization degree, and image clarity are compared by simulation experiments. Compared with three intelligent algorithms, traditional design methods, and manual design methods, GA-PSO fusion algorithm can effectively improve the design method and design effect of handicrafts with 92.1% design efficiency, 82.7% image distribution rate, 94.3% image optimization degree, and 84% layout void rate. Finally, the space complexity experiment of four algorithms shows that GA-PSO algorithm can achieve 9.73 dispersion with 11.42 space complexities, which makes the dimension reduction relatively stable, and the algorithm can maintain stability in the design and application of handicrafts.
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Shen, Ruoxi. "Design and Research of Beijing Eight Imperial Handicrafts Popular Science APP Based on CUBI Model." Studies in Art and Architecture 2, no. 1 (March 2023): 10–15. http://dx.doi.org/10.56397/saa.2023.03.02.
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This topic is aimed at the digital communication and science popularization of Beijing Eight Imperial Handicrafts, aiming to improve the public awareness of Beijing Eight Imperial Handicrafts, with the help of digital means to research and innovate the communication path of Beijing Eight Imperial Handicrafts, combined with CUBI user experience model to study the design of the APP of Beijing Eight Imperial Handicrafts, in order to promote Beijing Eight Imperial Handicrafts and Beijing traditional handicraft culture. And to provide a reference path for the digital transmission and inheritance of other intangible cultural heritage.
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Li, Wen-Tao, Ming-Chyuan Ho, and Chun Yang. "A Design Thinking-Based Study of the Prospect of the Sustainable Development of Traditional Handicrafts." Sustainability 11, no. 18 (September 4, 2019): 4823. http://dx.doi.org/10.3390/su11184823.
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Traditional handicrafts have a time-honored history and tremendous cultural value in China. However, even with the strong impact of globalization and consumerism in recent years, design-oriented scientific thinking and sustainable development models are not yet available. Based on Stanford Design Thinking, this study explores the prospect of the sustainable development of traditional handicrafts. First, a literature review and analysis were conducted to show that design science, as a bridge between natural science and humanities, aims to improve the important methods and research tools for the sustainable development of traditional handicrafts. Then, we studied ceramic product design via workshops. Methods such as action research, expert questionnaires, and factor analysis were adopted to establish 24 “indicators of the sustainable value of handicraft design” and four value dimensions, namely, “material and innovative value”, “handicraft and cultural value”, “empirical and local value”, and “sharing and interactive value”. Next, an experimental method was employed to make design product prototypes according to the design-thinking procedure. These prototypes were measured and evaluated with the indicators to form an evaluation report. In addition, the exploration of the sustainable development of traditional handicraft design also contributes to the establishment of a sustainable development model of design thinking. It was demonstrated that scientific design is the current trend and future of the sustainable development of traditional handicrafts. Finally, this study put forward five dynamic thinking methods and design strategies, providing the most direct methods and theoretical evidence for the sustainable development of traditional handicraft design. Finally, taking design thinking as the sustainable design framework, five dynamic thinking approaches were proposed: Thinking with the body, thinking with the mind, thinking with the heart, thinking with the hands, and thinking with the soul. Five design strategies were also proposed: Enquiry learning, values education, future problem solving, experiential design, and appropriate assessment. These approaches and strategies provide the most direct method and theoretical basis for the future of sustainable design regarding traditional Chinese handicraft products.
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Ji, Yi, Peng Tan, and Damian Hills. "Chinese Traditional Handicraft Education Using AR Content." Leonardo 53, no. 2 (April 2020): 199–200. http://dx.doi.org/10.1162/leon_a_01863.
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This paper proposes a new Chinese traditional handicraft learning mode through embodied interaction using WebAR technology. It details how emergent technologies for cognitive learning can enhance learning in the teaching of a traditional handicraft. A study is presented where students learn about traditional handicrafts with a whole-body interactive simulation utilizing WebAR devices, and this is compared to traditional methods using a desktop version for the simulation. Results show that the Chinese traditional handicraft learning mode based on WebAR affords embodied interaction and improves learning between real context and virtual devices; thus WebAR devices enhance embodied interaction of traditional handicraft simulations. This contribution is highly relevant for users who aim to learn and be creative in different contexts that deliver new forms of Chinese traditional handicraft learning.
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Ho, Bach Q. "Customers’ Prior Knowledge in the Servitization of Traditional Handicrafts." Businesses 4, no. 1 (February 13, 2024): 53–63. http://dx.doi.org/10.3390/businesses4010004.
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To enhance the competitiveness of the traditional handicraft industry, providers should offer service experiences using their products (i.e., servitization) instead of merely selling them. Effective management for servitization in the traditional handicraft industry must consider the differences in customers’ prior knowledge. Nevertheless, previous studies have overlooked how this knowledge about traditional handicrafts impacts service experiences. This study explores which factors of consumer behavior (during services) and service outcomes (post-services) are affected by customers’ prior knowledge about a traditional handicraft. An organic food restaurant booth was provided at an annual summer festival about pottery as an experiment, and data were collected on customers’ meal experiences with a pottery plate through a questionnaire. The findings suggest that customers’ prior knowledge about a traditional handicraft promotes their search for information from service resources (i.e., organic foods) which are integrated with the traditional handicraft and their creativity during services, thereby changing their understanding of service resources and increasing satisfaction with service experience. This study contributes to services marketing by identifying the factors of during and post-services that are affected by customers’ prior knowledge about a traditional handicraft in the context of servitization.
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Li, Wenhui, and Gaofeng Mi. "Protection of Handicraft Skills from the Perspective of Folklore Studies." Frontiers in Humanities and Social Sciences 4, no. 3 (March 28, 2024): 236–40. http://dx.doi.org/10.54691/j9yad930.
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Handicraft skills and material culture are a research perspective of folklore and a major landscape of various ethnic customs in China. The long history, vast territory, and clever and wise Chinese people have formed a colorful and diverse folk handicraft technique. Under the diverse paths of design participation in handicraft innovation, handicrafts have undergone semantic, functional, and situational transformations in contemporary times, presenting an ecosystem of alienation and diversification. This article takes the ceramic craftsmanship of Yaozhou kiln as an example to explore how to improve the construction of national cultural soft power by protecting local traditional handicrafts.
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You, Xuemin, Rafeah Legino, Ling Wang, and Xiao Pan. "Transforming "Internet Celebrity " Elements into Yingjing Black Sand Product Design: An exploration of traditional handcrafts development." Environment-Behaviour Proceedings Journal 9, SI17 (January 7, 2024): 139–46. http://dx.doi.org/10.21834/e-bpj.v9isi17.5435.
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The history of the YingJing black sand product can trace back to the Spring and Autumn Periods in China. Like many traditional handicrafts, the techniques of this product list as a national intangible cultural heritage. In today's 5G world, consumers have increasingly high demands for fashion, unique cultural attributes, and product interest. YingJing black sand products have also faced unprecedented challenges. This paper aims to transform Internet celebrity elements into the Yingjing black sand product design to discuss the development of traditional handicraft products and the design methods and design models of cultural products derived from traditional handicrafts.
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Upadhyay, Manali, and U. C. Jain. "MANAGERIAL CHALLENGES OF HANDICRAFT INDUSTRY: AN INDIAN PERSPECTIVE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 122–26. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3719.
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India is one of the most important suppliers of various handicrafts to the world market. The Indian Handicraft industries play an important role in world in Handicraft sector. This is one of the oldest cultures and tradition of India which represent different traditional art, of the different part of country. The handicraft products have very wide market in the world due to its growing potential. The Indian handicrafts industry is highly labour intensive cottage based industry and decentralized, being spread all over the country in rural and urban areas. The industry provides employment to over six million artisans who include a large number of women and people belonging to the weaker sections of the society. The Handicrafts Sector plays a significant & important role in the country’s economy. It provides employment to a vast segment of craft persons in rural & semi urban areas and generates substantial foreign exchange for the country, while preserving its cultural heritage. Handicrafts have great potential, as they hold the key for sustaining not only the existing set of millions of artisans spread over length and breadth of the country. But there are various issues associated with wide development of handicraft sector. The paper highlighted the problem and various issues associated with handicraft sector in India.
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Le, Nguyen Vi, Nguyen Khac Huy, Chu Tien Minh, Vu Anh Tuan, and Nguyen Ngoc Diep. "Factors affecting Vietnam's handicrafts export." Uncertain Supply Chain Management 11, no. 2 (2023): 811–22. http://dx.doi.org/10.5267/j.uscm.2022.12.009.
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With the rapid development of international business activities and internationalization, export plays an important role in the existence and growth of businesses. Handicrafts, despite not being an essential product, have always been rated as a potential product for sustainable development and export. In Vietnam, a country with a lot of long-existing traditional handicraft villages, the export of handicrafts has always been considered as an advantageous activity that largely contributes to the economy as well as the society. According to statistics from the Vietnam Handicraft Exporter Association, every 1 million USD worth of handicraft export creates profit 5 to 10 times higher than that of the exploitation industry; as well as provides work for three to five thousand employees. Despite this fact, in the last few years the handicraft export in Vietnam has been modest and not fulfilled fully to its potential. In comparison with other export products, the export turnover of handicrafts still accounts for a low proportion. Recognizing this issue, the present study developed a model to analyze the effects of some certain factors to the handicraft export activity in Vietnam. The results of this paper will contribute to current literature as well as propose some solutions to promote the handicraft export in Vietnam.
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JUNYA, MA, and TIM WRIGHT. "Industrialisation and Handicraft Cloth: The Jiangsu Peasant Economy in the Late Nineteenth and Early Twentieth Centuries." Modern Asian Studies 44, no. 6 (December 23, 2009): 1337–72. http://dx.doi.org/10.1017/s0026749x09990333.
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AbstractThis paper analyses the trajectories of handicraft cloth production in three major sub-regions of Jiangsu Province in the late nineteenth and early twentieth centuries. In contrast to traditional focus on the bankruptcy of rural handicrafts in the face of competition from the modern industry, it argues that the fate of handicrafts depended on the specific characteristics of each sub-regional economy. Thus in Song-Tai, handicraft weaving declined as labour was drawn off into modern industry. In Tong-Hai the availability of machine-spun yarn in the market enabled the development of a commercialised handicraft weaving sector. Finally, in Xu-Huai-Hai machine-spun yarn enabled the inhabitants to substitute their own subsistence handicraft production for cloth purchased from elsewhere.
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Buoi, Le Thi. "Traditional Handicraft Village in Thanh Hoa Today." Journal of Humanities and Education Development 4, no. 4 (2022): 43–51. http://dx.doi.org/10.22161/jhed.4.4.7.
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Thanh Hoa is a land with a rich history and culture, with many long-standing traditional handicraft villages, which have been lost over time, now gradually been restored and promoted their values in modern life. In the spirit of Decree No. 52 dated April 12, 2018, of the Government on the development of rural industries, Thanh Hoa province has issued many mechanisms and policies to encourage the development of traditional handicrafts. The article focuses on clarifying the system of traditional craft villages in Xu Thanh (The Land of Thanh), the size, characteristics and guidelines, and policies of Thanh Hoa province to maintain and develop handicraft villages to serve the economy - social sustainability.
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Abdullah, Zulkeflee, Nurul Fadzlina, Mohd Amran, Shamsul Anuar, Mohd Shahir, and Khairul Fadzli. "Design and Development of Weaving Aid Tool for Rattan Handicraft." Applied Mechanics and Materials 761 (May 2015): 277–81. http://dx.doi.org/10.4028/www.scientific.net/amm.761.277.
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The main purpose of this project is to design and develop an assisting tool in manufacturing of rattan handicraft. Rattan is a non-timber forest resource which has a variety of functions in the making of handicrafts and furniture. The production of rattan handicraft typically carried out using manual and traditional methods. However, there are some problems to be faced by the craftsman in making the handicrafts such as the time constraints for the creation of products, due to the difficulty in term of the size, and the pain in the hands while making the handicraft products. Therefore, assisting tools or devices in manufacturing of rattan handicraft are needed to solve the problem. The methods used are questionnaire survey, CATIA software for RULA analysis and SolidWork software for FEA analysis.
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Wang, Xiaoxi. "A Study on the Inheritance and Protection Mechanism of Chinese Handicraft Intangible Cultural Heritage." Культура и искусство, no. 12 (December 2023): 143–55. http://dx.doi.org/10.7256/2454-0625.2023.12.69097.
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This paper takes the intangible cultural heritage of Chinese handicrafts as the object of study, aiming to deeply explore the mechanism of its inheritance and protection. The intangible cultural heritage of handicrafts refers to traditional artefacts and handicraft products created through craftsmanship, as well as the knowledge, skills and cultural expressions associated with them. Such heritage is not only a collection of tangible products, but also intangible cultural expressions rich in history, culture, skills and philosophy. They often represent the history, tradition and identity of a culture. Chinese handicrafts have a rich history and contain many cultural connotations and historical values. Each craft holds deep cultural traditions and unique regional characteristics. The innovation of the article is that it proposes a diversified protection framework, stresses the synergy of government, market and society, and analyses the lessons learned in combination with specific cases. It is found that although China's intangible cultural heritage of handicrafts faces many challenges, such as the impact of industrialization, the transformation of the market economy, and the loss of talents in traditional skills, its inheritance and preservation can be effectively promoted through measures such as improving laws and regulations, strengthening public education, and promoting social participation. The article ultimately calls for the construction of an inclusive protection mechanism to achieve the sustainable development of China's handicraft-based intangible cultural heritage. (This article is the result of the project "Mutual learning of strategies for preservation and transmission of intangible cultural heritage of Russia and China in the field of handicrafts".)
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Zhang, Xiyue, Yajuan Li, Jing Lin, and Yanjun Ye. "The Construction of Placeness in Traditional Handicraft Heritage Sites: A Case Study of Suzhou Embroidery." Sustainability 13, no. 16 (August 16, 2021): 9176. http://dx.doi.org/10.3390/su13169176.
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Traditional handicrafts are rooted in the idea of the place, and their revival can trigger a construction of place in terms of physical buildings and cultural ambience. This study focuses on traditional Suzhou embroidery and analyses the effect of its revival on the construction of placeness and sustainable development within its specific social context. The results showed that (1) reviving traditional handicrafts triggers changes to local public spaces, the reshaping of local architecture, and the development of a cultural landscape; (2) The revival of the handicraft in terms of local activities is reflected in increased efficiency and creativity and in the stable inheritance of skills. The traditional farming lifestyle of Zhenhu has been transformed, leading to better quality of life and social networks; (3) The revival of Suzhou embroidery has updated the place through renovating its image. The local residents’ awareness of the benefits of their handicrafts has also increased, and their increased dependence on place will strengthen their belongingness and attachment to it. These local changes exert positive impact on the realization of sustainable goals by boosting decent work and economic growth, ensuring environmental sustainability, building sustainable cities and communities, and enhancing community stability and cultural diversity. Thus, the revival of handicrafts can guide a place to refocus on local economic growth and cultural development towards sustainable development, bringing about an organic inheritance of its history and the reinforcement of placeness.
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Wang, Yanyan, Hassan Alli, and Siti Mastura Md Ishak. "SUSTAINABLE TOURISM SOUVENIRS: FOSTERING CULTURAL HERITAGE PRESERVATION THROUGH LOCAL HANDICRAFT PRODUCT." Journal of Tourism, Hospitality and Environment Management 8, no. 34 (December 8, 2023): 45–53. http://dx.doi.org/10.35631/jthem.834004.
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The study aims to investigate the relationship between cultural tourism and traditional handicraft experiences on local handicrafts products namely souvenirs. It explores the significance of souvenir products through sustainable tourism practices and preserving cultural heritage. A qualitative approach is used to analyse the tourism souvenir in the market and proposes a new recommendation to meet the demands. Literature review, interviews, and case studies are employed to explore a strategy for enhancing the commercial value of tourism souvenirs. Interviews with master craftsmen, practitioners, and consumers provided insights the resource development, product innovation, production organisation, and market positioning. It also obtained a good understanding of customer experiences related to local handicraft products for effective marketing strategies based on customer experiences. The finding indicates that the sustainability of tourism souvenirs plays a crucial role in cultural heritage preservation, supporting the local economy, and enhancing overall tourism experiences for tourists as well as promoting traditional handicrafts, safeguarding indigenous knowledge, and facilitating cultural exchange between tourists and local artisans.
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Yandri, Yandri. "TENUN SONGKET PANDAI SIKEK DALAM BUDAYA MASYARAKAT MINANGKABAU." Humanus 13, no. 1 (June 30, 2014): 28. http://dx.doi.org/10.24036/jh.v13i1.4094.
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The art of songket woven handicraft Pandai Sikek is a cultural product of collective creation and traditional heritage Pandai Sikek. Songket first created to meet human needs for traditional ceremonies such as wedding ceremony of Minangkabau. The symbolic meanings in the art of songket are constantly evolving in accordance with the change of time. The art of songket weave Pandai Sikek is one of the traditional handicrafts, which is used for wedding ceremony. In traditional wedding, the groom wears songket for ‘saluak’, ‘sisampiang’, and ‘cawek’, all of them accessories for the traditional costume, while the bride wears gloves, scarves, and tingkuluak, accessories for female constume. The use of songket is customary responsibility and each of the songket patterns contains symbolic meanings. Various decorative patterns of Minangkabau songket are inspired from the concept of "alam takambang jadi guru" (learning from nature). The beauty of songket can be seen visually from the decorative patterns as well as the functions, styles, and structures. Songket handicrafts are able to survive and compete with factory-made textile products. The succes can not ignore the socio-cultural factors that the existence of this woven fabric remained in the middle of the supporting community.Key words: songket, woven handicraft, traditional wedding ceremony
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Ayesh, Saleem, Amer Al shishany, Osamah Bani Milhem, Issam Aldwairi, Manal Barqawi, and Abdullah Obeidat. "Investigating the Socio-Economic Impacts of COVID-19 Pandemic on Jordanian Traditional Handicraft Sector." Dirasat: Human and Social Sciences 50, no. 5 (September 30, 2023): 227–33. http://dx.doi.org/10.35516/hum.v50i5.5839.
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Objectives: The traditional Handicraft sector in Jordan is encountering significant challenges due to the measures adopted by the Jordanian government to curb the spread of COVID-19. These measures threaten the handicrafts sector’s sustainability and compromise artisans’ livelihoods. This research aims to examine the socioeconomic impact of COVID-19 on the Traditional Handicraft sector in Jordan.
Methods: The research utilizes a qualitative methodology to collect and analyze data. The research attempted to cover mostly widespread handicrafts in Jordan. These crafts were concentrated in Jordan's capital 'Amman'. A random sample of craftsmen working in ceramics, mosaics, olive wood carving, embroidery, and accessories was chosen. Semi-structured interviews, with open-ended questions, were conducted to collect the essential data.
Results: The research results revealed that the pandemic badly affected the business activity and operational environment. The research also shows the low and marginal support workers within the sector received during the pandemic were not adequate to help the artisans. Furthermore, it shows a relationship between changing strategies in the conduct of business and the sustainability of the studios.
Conclusions: The research concluded that changing the management strategies of the studios and the marketing methods for handicraft products greatly helped the sustainability of handicraft studios during the pandemic. The research recommends training the artisans to be familiar with the social media platforms and utilize those platforms to sell their products, training courses in e-marketing managerial, packaging, and design skills are highly recommended for building capacities of the artisans and sustaining their studios.
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CEYLAN, Murat, and Semra KILIÇ KARATAY. "THE ART OF CLOTH WEAVING WITHIN THE SCOPE OF INTANGIBLE CULTURAL HERITAGE AND EXAMPLE FOR LIVING HUMAN HISTORY MASTER TEACHER EMİNE ÖZKAN." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 51–66. http://dx.doi.org/10.31567/ssd.849.
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The urge to survive and exist has always pushed human beings to live as a community, unlike other beings. This necessity has caused each society to build its own identity over time, and the reflex of transferring this to the next generations has provided the basis for the existence of culture and, in connection with this, cultural heritage. In this respect, intangible cultural heritage, which has a very important place under the main heading of culture, is one of the most important elements of the genetics of existence of societies. The mission of master trainers, who carry an identity more than just a teacher, is in a much more privileged position in the transfer of this heritage, which we can embody with the tradition of handicrafts, to the next generations. It is of great cultural importance to make a biographical analysis of the people who perform these arts in order to research and keep alive the handicrafts that are about to be forgotten. In this context, the subject of the study is the art of cloth weaving, which is one of the forgotten handicrafts, and the biographical research of Emine ÖZKAN, who has been teaching this art to her trainees for about 30 years. In the research, a literature review was made within the framework of Intangible Cultural Heritage at first. Later, in line with this information, Emine ÖZKAN, who has been working as a master trainer for years at the weaving looms established in Ankara Polatlı Public Education Center, how she met the cloth weaving handicraft, It is aimed to conduct research on how this art is made and what are the examples of traditional handicrafts reflected today. The products that emerged with this handicraft, which has survived from the past to the present, and the contributions of these products were collected as data in the research. The findings obtained as a result of the research show that the art of cloth weaving is tried to be kept alive, people are still willing to take lessons to learn this handicraft, and after the art of cloth weaving, qualified and various products have emerged. Also, in handicraft examples, it can be the most concrete equivalent of not only the motifs that reflect the taste of today's cultural perception, but also the reflection of this cultural accumulation, It is seen that there are also motifs inspired by the symbols of the ancient city of Gordion, which was the capital of the Phrygian Kingdom, especially in the district of Polatlı. It is possible to say that the art of cloth weaving is given importance and that there are efforts to transfer this heritage to future generations by enabling its sustainability through various collaborations, that the traditional handicrafts that have been uncovered also have a share in the economic development and promotion of the district, and that this and similar arts should be further supported. It is possible to say that the traditional handicrafts unearthed have a share in the economic development and promotion of the district, and that this and similar arts should be supported even more. It is possible to say that the traditional handicrafts unearthed have a share in the economic development and promotion of the district, and that this and similar arts should be supported even more.
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Gulati, Vishal, and Sonu Mathur. "Digital Manufacturing of Indian Traditional Handicrafts." International Journal of Computer Applications 164, no. 11 (April 19, 2017): 1–4. http://dx.doi.org/10.5120/ijca2017913708.
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Li, Siyu, Yingfang Zhang, and Yiyu Wang. "APP Design for Xinjiang Traditional Handicrafts." Journal of Physics: Conference Series 1627 (August 2020): 012001. http://dx.doi.org/10.1088/1742-6596/1627/1/012001.
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Vadakepat, Vanaja Menon. "Rural Retailing: Challenges to Traditional Handicrafts." Journal of Global Marketing 26, no. 5 (November 2013): 273–83. http://dx.doi.org/10.1080/08911762.2013.830169.
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Nair, Amshitha Sajikumar, Atharvi Ashok Nair, Disha Manjunatha Shenoy, Ishika Shailesh More, and Roshani Vinod Bhaskarwar. "Unspoken Craft: e-commerce site for handlooms and handicrafts." Brazilian Journal of Development 10, no. 3 (March 12, 2024): e68002. http://dx.doi.org/10.34117/bjdv10n3-034.
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India has a rich cultural heritage, and its many different ethnic groups produce a vast variety of unique arts and crafts. In order to accurately represent the culture and traditions of our country, handicrafts and handlooms are crucial. Compared to other e-commerce sectors in the modern world, the handicrafts and looms industry is less developed. With the help of this e-commerce website, people can simplify and optimize their shopping experience. The project aims to strengthen positive relationships between businesses and consumers so that businesses can charge customers a fair price for their goods. The handicraft sector creates a variety of products utilizing traditional technology. Even while the handicraft business employs millions of artisans, it is still small compared to the whole industry. This paper aims to demonstrate how essential e-commerce is for the growth of Indian rural craftsmen.
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Magomedov, Amirbek Dzhalilovich. "A. S. PIRALOV AS A RESEARCHER AND ORGANIZER OF ARTS AND CRAFTS OF THE CAUCASUS." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 24 (December 16, 2020): 99–102. http://dx.doi.org/10.31029/vestiyali24/14.
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The article analyzes the merits of the member-clerk of the Caucasian Handicraft Committee A. S. Piralov, his role in the study and organization of traditional trades and crafts of the peoples of Dagestan, the Caucasus as a whole. Artemiy Stepanovich Piralov headed the Caucasian Handicraft Committee from the time of its creation (1899). Under his leadership, the Committee conducted an extensive survey of Caucasian cloth weaving, the traditional dyeing business of Dagestan. The merit of A. S. Piralov was also the holding in 1902 of the Congress of the Caucasian handicraft industry, the preparation and publication of the book «A Brief Sketch of the Handicrafts of the Caucasus». He also distinguished himself by collecting products of folk craftsmen of the Caucasus for the collections of handicraft and ethnographic museums in Russia.
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Fan, Kuo-Kuang, and Ting-Ting Feng. "Discussion on Sustainable Development Strategies of the Traditional Handicraft Industry Based on Su-Style Furniture in the Ming Dynasty." Sustainability 11, no. 7 (April 4, 2019): 2008. http://dx.doi.org/10.3390/su11072008.
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The fabrication of traditional handicrafts is both an art creation activity and a social economic activity, meaning that the resulting works have dual artistic and economic characteristics. With the development of industrial mass production, the traditional handicraft industry is facing a series of challenges. For sustainable development of the traditional handicraft industry, first the establishment of its historical context and experience is necessary. Therefore, through an analysis of the competitive advantages of the Su-style furniture industry in the Ming Dynasty, this study first sorts out and summarizes the historical experience of the industry’s successful development. Next, sustainable development strategies for the contemporary traditional handicraft industry are explored, and opinions on the inheritance and development of the traditional handicraft industry at the present stage are put forward. Based on the diamond model, this study of Su-style furniture in the Ming Dynasty shows that its competitive advantages in this period included style, material, and skill, and the contributions of the government and consumer demand played important roles in these competitive advantages. Therefore, the current development of the traditional handicraft industry requires both external heritage protection of the government and the internal transformation and innovation of the industry.
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Upadhyay, Prakash. "Handicraft Tourism in Pokhara: Connecting the Past Tradition to the Present." Journal of Nepalese Business Studies 12, no. 1 (December 31, 2019): 33–44. http://dx.doi.org/10.3126/jnbs.v12i1.28181.
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Although the importance of handicraft has been widely recognized, the literature regarding the role of handicraft in tourism market is scarce. Based on empirical data, the present article aimed to explore the interplay between handicraft and tourism, the contribution of handicraft in tourism promotion and the challenges faced by handicraft sector in Pokhara, Nepal. This study identifies that there is a significant level of correlation and dependency between handicraft and foreign tourist arrivals, job creation and the increase in income and social status of handicraft shop proprietor. As a harbinger of past tradition, handicraft tourism/souvenir items has created a unique experience for tourist, enriched nation’s pride, belief and identity and connected the past tradition to the present. Lack of effective advertisement/marketing, inequitable price, scarcity of raw materials, intrusion of foreign goods, ineffective government policies are the key challenges of handicraft tourism. Policy improvement, increase in source/supply of raw materials, supply of handicrafts as per demand, creative production and marketing are the ways that can promote handicraft market. Handicraft tourism is not just about displaying and selling products, it is about allowing tourists to truly understand the skill/craft at rear and realize handicrafts unique tradition, linking tourists to artisans to facilitate them understand and appreciate the art. It is necessary recognizing the importance of local handicraft in sustainable tourism development and the importance of tourism as an agent for protection and preservation of traditional crafts, methods of production and cultural milieu.
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Rahayu, Kania Sofiantina, and Anida Shafa Salsabila Putri. "PERANCANGAN PROGRAM EKOWISATA KERAJINAN TANGAN KOTA PALEMBANG PROVINSI SUMATERA SELATAN." Jurnal Sains Terapan 10, no. 2 (July 31, 2021): 1–13. http://dx.doi.org/10.29244/jstsv.10.2.1-13.
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ABSTRAKKota Palembang memiliki keanekaragaman sumberdaya budaya. Kesenian merupakan salah satu unsur budaya yang mencerminkan ciri khas suatu daerah asal kesenian. Kerajinan tangan merupakan salah satu kesenian Kota Palembang yang berpotensi sebagai daya tarik wisata. Ekowisata kerajinan tangan memiliki pengaruh dalam melestarikan produk kerajinan, meningkatkan perekonomian dan mensejahterakan para pengrajin tradisional di Kota Palembang. Tujuan penelitian ini adalah menginventarisasi dan mengindentifikasi sumberdaya kerajinan tangan di kota Palembang agar dapat dijadikan objek dalam rancangan program ekowisata di Kota Palembang Provinsi Sumatera Selatan. Metode yang digunakan yaitu studi literatur, wawancara, observasi langsung dan penyebaran kuisioner. Sumber daya wisata kerajinan tangan yang diinventarisasi terbagi menjadi dua klasifikasi yaitu kerajinan bahan keras dan bahan lunak. Terdapat empat kerajinan tangan di Kota Palembang yaitu terdiri dari satu kerajinan bahan keras dan tiga kerajinan bahan lunak. Sumber daya kerajinan tangan dianalis berdasarkan tujuh indikator penilaian Avenzora (2008) untuk mendapatkan hasil penilaian potensi sumber daya kerajinan tangan unggulan. Potensi kerajinan unggulan di Kota Palembang yaitu kerajinan Laker, Kain Songket, Kain Jumputan dan Ukir Kayu. Berdasarkan hasil identifikasi menunjukkan bahwa stakeholders setuju dan siap jika kerajinan tangan kota Palembang dimasukan ke dalam objek program ekowisata. Program Ekowisata dirancang dengan konsep eksplorasi kerajinan tangan yang melibatkan interaksi antara wisatawan dengan para pengrajin. Adanya program ekowisata kerajinan tangan ini diharapkan dapat merangsang pertumbuhan ekonomi kawasan dengan kapasitas masyarakat untuk mengelola sumberdaya.
ABSTRACTPalembang City has the diversities of cultural resources. Art is the cultural element that reflects the characteristics of an area. The Handicraft is one of Palembang City's arts which has the potential as a tourist attraction. Handicraft ecotourism has the influences in preserving the handicraft products, improving the economy, and the welfare of traditional craftsmen in Palembang City. This research purpose is to inventory and identify the handicraft resources in Palembang city so that they can be used as objects in the ecotourism program design in Palembang City, South Sumatra Province. The method used is literature study, interview, direct observation, and the questionnaire distribution. The handicraft tourism resources that are inventoried are divided into two classifications, namely the handicrafts with hard materials and soft materials. There are four handicrafts in Palembang City, consisting of one hard material handcraft and three soft material handicrafts. The handicraft resources were analyzed based on the seven assessment indicators from Avenzora (2008) to get the results of the superior handicraft resources potential assessment. The superior handicrafts potentials in Palembang are Laker, Songket, Jumputan, and the wood carving. Based on the identification results, it shows that the Stakeholders agree and are ready if Palembang handicrafts are included in the ecotourism program object. The Ecotourism program is designed with the handicraft exploration concept that involves interaction between the tourists and the craftsmen. The handicraft ecotourism program is expected to stimulate regional economic growth through the resource arranged by the community.
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Xiaoqi, Li, Zhao Aili, Jia Mengshi, Yan Zhenxing, Yang Liangliang, and Wang Weijie. "Research on the Present Condition and Product Design of Suiling Black Pottery in Heilongjiang Province." MATEC Web of Conferences 176 (2018): 02024. http://dx.doi.org/10.1051/matecconf/201817602024.
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The paper surveys and analyzes the basic present condition of Suiling black pottery in Heilongjiang Province, and innovates and designs black pottery products. This paper combines traditional technologies with modern design methods to enrich the categories of black pottery products, expands the industry chain, and promotes the economic development of Suiling. The rapid development of modern industry led to the decline of handicraft, and the development of Suiling black pottery has stagnated. Handicrafts should be designed and transformed to ensure the inheritance of traditional culture and skills.
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Wang, Mingke, and Newman Lau. "NFT Digital Twins: A Digitalization Strategy to Preserve and Sustain Miao Silver Craftsmanship in the Metaverse Era." Heritage 6, no. 2 (February 14, 2023): 1921–41. http://dx.doi.org/10.3390/heritage6020103.
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Miao silver, generally referred to as the unique silver ornaments manufactured by the Miao ethnicity with over 400 years of history, was listed as a Chinese national intangible cultural heritage in 2006. Through primary research methods, including local investigation, interviews, and workshops at Maliao Village in Guizhou, this study found that sizeable industrial production shrank the market needs for traditional Miao silver handicrafts. A growing number of young Miao people pursue higher incomes and leave their hometowns to make a living in cities instead of engaging in Miao silver handcrafting in villages. Based on the difficulties encountered in the inheritance of Miao silver craftsmanship, this project creatively proposed a digital strategy based on the NFT digital twin application to preserve and maintain Miao silver technology in the context of the metaverse era. By conducting design experiments combining digital technology and the traditional Miao silver manufacturing techniques, a collection of NFT digital twins, digital duplications of Miao silver handicrafts that Miao silversmith jointly worked with 3D technologist, was created as a vital research outcome. The results show that this attempt is beneficial to help expand the use scenarios, extend the lifespan, and increase the commercial value of Miao silver. To sum up, taking Miao silverware handicrafts as a research case, this paper dialectically discusses the relationship between industrial manufacturing and traditional handicraft industries, making contributions to the inheritance and development of Miao silver and also putting forward innovative solutions to promote the prosperity of intangible cultural heritage worldwide.
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Rautray, Priyabrata, and Boris Eisenbart. "ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS." Proceedings of the Design Society 1 (July 27, 2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.
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AbstractNew technologies have always been disruptive for established systems and processes. Additive Manufacturing (AM) is proving to be one such process which has the potential to disrupt handicraft and its manufacturing processes. AM is customisable, adopt multiple materials and is not restricted by the manufacturing process. Our research discusses this global phenomenon with case studies to highlights the growth of a new kind of professionals known as ‘Digital Artisans’. These artisans will assimilate the latest technologies with the cultural practices of the societies to create a new genre of products. The evolution of such artisans will be majorly led by people who have an equal inclination towards art and science and can act as the bridge between the handicrafts and technology. The development of such artisans will be supported by academics that will serve as a cradle and expose them to AM, design and handicraft. Its will also help in paving the growth of contemporary artisans who will utilise the strength of algorithms, artificial intelligence, CAD software and traditional aesthetics to create handicrafts of the future.
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Tao, Ran, and Qi Guo. "Artificial Intelligence Technology Driven Environmental Factors Extraction and Analysis Method in Traditional Clothing Handicraft." Journal of Environmental and Public Health 2022 (October 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/1883641.
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The application of artificial intelligence (AI) technology in the field of clothes can provide a good development mode and system under the social context of AI technology development. AI provides help for the development of intelligent clothing. Intelligent clothing is a high-tech product that integrates intelligent technology and clothing. It combines cutting-edge technologies in electronic information technology, sensor technology, textile science, and material science. In the extraction and analysis of environmental factors in clothing handicraft, AI technology has a considerable application prospect and a certain development potential. In order to improve the accuracy of environmental factors extraction in clothing handicraft, this paper uses convolutional neural network (CNN) to extract and analyze environmental factors in traditional clothing handicraft. We carried out experiments on the extraction of environmental factors in clothing handicrafts with pure color, few patterns, patterns, and complex background. The experimental results show that the CNN has a good effect on the extraction of environmental factors in clothing handicraft under different backgrounds. In addition, the model in this paper has good stability, accuracy, and feature extraction speed, which has high practical value and research significance.
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Li, Shaojie. "Innovative application of Diancui technology in modern jewelry design." BCP Social Sciences & Humanities 18 (June 30, 2022): 546–49. http://dx.doi.org/10.54691/bcpssh.v18i.1160.
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Diancui craft is a traditional Chinese handicraft, which has a history of more than 2000 years. Because of its complex production process and special materials, it has gradually faded out of the stage of history. In addition, due to the impact of western culture, many traditional Chinese handicrafts are facing the loss. This paper will study and analyze the history and development of Diancui craft, the production process of Diancui jewelry, and the application of Diancui craft in modern jewelry design. Combined with the relevant characteristics of modern jewelry design, we will find the commonness between traditional and modern, and provide new inspiration for the application of traditional crafts in modern jewelry design. How can we better inherit and develop the traditional Chinese Diancui craft.
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Lukić, Tamara, Tatjana Stojanović, Bojan Đerčan, Milka Bubalo Živković, and Jelena Živković. "The Geographical Aspects of Traditional Handicrafts in Serbia." European Researcher 100, no. 11 (November 15, 2015): 747–58. http://dx.doi.org/10.13187/er.2015.100.747.
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Pramono, Rudy, July Hidayat, Cherry Dharmawan, and Juliana. "Hybrid Bamboo and Batik Handicraft Development as Creative Tourism Product." International Journal of Design & Nature and Ecodynamics 16, no. 5 (October 29, 2021): 601–7. http://dx.doi.org/10.18280/ijdne.160515.
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A new bamboo-based industry has been developed to meet market demands. Traditional crafts practiced by local communities provide a substantial contribution to the legacy of intangibles. This research situates traditional bamboo handicrafts in Yogyakarta and emphasises their importance as well as concerns for their influence. The research goal is to determine the amount of consumers interested in bamboo handicraft products marketed publicly as tourism products and to evaluate the entrepreneurial landscape. The accidental sampling methodology was employed with 76 respondents, and the research method included qualitative and quantitative descriptive methods such as observation and semi-structured interviews. To comprehend the study outcomes, the primary respondents of Sahabat Bamboo from the data analysis approach using SPSS analysis provide descriptive data defining the respondent's condition. The market research analysis shows that bamboo batik handicraft has potential in demand; most respondents like bamboo batik handicraft products.
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Li, Tianying. "A Contemporary Approach to Traditional Handicrafts in the Context of Globalization." Highlights in Art and Design 4, no. 3 (December 1, 2023): 72–75. http://dx.doi.org/10.54097/hiaad.v4i3.20.
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As traditional handicrafts face the two-way demand of inheritance and industrialization, globalization brings both opportunities and challenges. How can traditional handicrafts characterized by localization be protected and fully developed in the exchange of cultural globalization? While stepping out of the local context to intervene in cultural exchanges without maintaining locality. This article takes the embroidery of sachets in Qingyang, Gansu as an example, combines the problems and coping strategies faced in the globalization process of embroidery of sachets in Qingyang, Gansu, and analyzes the contemporary shortcuts contained therein, including cultural production and modernization at the national level. The need for interaction, the need to highlight cultural differences at the national level and the interoperability of "life narratives" at the human level, thereby demonstrating the inherent potential of the traditional handicrafts represented by Qingyang sachets to intervene in globalization and sustainable development.
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Adi Wiriatama, Gusti Ngurah, and Nyoman Dini Andiani. "Peluang dan Tantangan Pengembangan Souvenir Desa Wisata Berbasis Kerajinan Lokal." Masyarakat Pariwisata : Journal of Community Services in Tourism 2, no. 2 (August 1, 2021): 75–98. http://dx.doi.org/10.34013/mp.v2i2.397.
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Tigawasa Village is one of the Old Villages or Bali Aga villages in Banjar District, Buleleng Regency, Bali which is the center of bamboo handicrafts. The local handicraft really needs development, one of the developments of the local handicrafts of Tigawasa Village, namely tourism village souvenir products. The development of local handicraft-based tourism village souvenirs is the beginning of increasing the value of local crafts in Tigawasa Village. This article describes the opportunities and challenges of developing local handicraft-based tourist village souvenirs in Tigawasa Village, which is the center of bamboo handicrafts in the Bali Aga village environment, Buleleng, Bali. The method used is a descriptive qualitative method which begins with data collection from interviews with several informants, filling out questionnaires by tourists visiting Tigawasa Village and also direct documentation to Tigawasa Village such as traditional houses and also to craftsmen in Tigawasa Village. The results show that local crafts have the opportunity to develop as souvenirs because the crafts produced are of good quality, besides that the tourism development component is also an opportunity in the development of these souvenirs such as tourists visiting Tigawasa Village will be invited to do weaving activities (something to do) with the woven results can be used as a souvenir to take home (something to buy). The results of the questionnaire also stated that 70% of tourists strongly agree with the existence of local handicraft-based tourism village souvenirs, and 30% agree and there are no opinions disagree and strongly disagree. The challenges faced related to the development of tourism village souvenirs include the limitations of existing bamboo sources so that craftsmen buy materials from outside the village so that additional capital is needed so that capital is also a challenge for Tigawasa Village crafts, lack of innovation from bamboo crafts, and lack of promotion. With the development of local handicraft-based souvenirs in Tigawasa Village can increase the selling value of local crafts, can make it a tourist attraction and as a memory for every tourist who comes to Tigawasa Tourism Village.
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Liang, Xian, Mohd Jamil Mat Isa, and Mumtaz Mokhtar. "Influence of AEM Model on the Sustainable Development of Traditional Ethnic Handicraft." Environment-Behaviour Proceedings Journal 8, no. 26 (October 29, 2023): 283–92. http://dx.doi.org/10.21834/e-bpj.v8i26.5183.
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This study, based on a transcontinental perspective, establishes an AEM model aimed at fostering the sustainable development of ethnic handicrafts. The objective of this model is to facilitate the development of ethnic handicrafts from three dimensions: artistic creation, education, and the market economy, while simultaneously promoting cross-regional integration of ethnic cultures. Throughout the research process, the researcher primarily employed field surveys, literature analysis, and studio research methods.
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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, no. 34 (November 15, 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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Yang, Nan, Xiaoge Zang, and Cong Chen. "Inheritance Patterns under Cultural Ecology Theory for the Sustainable Development of Traditional Handicrafts." Sustainability 14, no. 22 (November 8, 2022): 14719. http://dx.doi.org/10.3390/su142214719.
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Culture is the fourth pillar of sustainable development. The protection of intangible cultural heritage is an important way to safeguard the transmission of intangible heritage across generations. With the help of cultural ecology theory, this paper compares cases of inheritance and development in two different handicrafts: Bai tie-dyeing and Beijing carved lacquer. The results show that under the influence of different cultural ecologies, the family inheritance pattern of Bai tie-dyeing, and the master–apprentice inheritance pattern of Beijing carved lacquer have undergone qualitative changes in modern society. This paper puts forward the distinction between representative inheritance and group inheritance and suggests a protection mechanism accordingly. This paper further suggests that a modern mentoring model should be promoted as the inheritance pattern to further aid handicraft development, and a clear division of economic interests is also appointed to apply with the premiumization development and mass development.
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Dash, Pratima Kumari. "Tourism and community development-A Study on Handicraft Artisans of Odisha." International Journal for Innovation Education and Research 3, no. 3 (March 31, 2015): 61–72. http://dx.doi.org/10.31686/ijier.vol3.iss3.328.
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Artisans all ways create a new rethym and driven the world into a sphere of imagination of colours, pattern and beauty. Handicrafts are an important productive sector and export commodity for many developing countries and in some countries constitutes a significant part of the export economy. The growth of international markets for home accessory products and an increased interest in global goods have opened up new-market opportunities for artisans. In India, handicraft industry is a major source of income for rural communities employing over six million artisans including a large number of women and people belonging to the weaker sections of the society. It has been observed that in a poor state like Osisha, Hadicraft industry is one of the everlasting, age old and professional attitude of the rural unemployed women and children for their livelihood. Observation says, Artisans either neglected or they never got proper recognisation from the society. Sometimes even they fail to feed their family and which driven they to go for other categories of labour than promoting the age old traditions of our country. However, observers of the handicrafts sector predict that the escalating number of small businesses turning to handicraft production is unlikely to decline significantly in the future. The present study entails the various problems of the handicraft industry which can be worked upon by the mutual association ship of the Indian government, State government and the handicraft exporters in order to boost and promote the traditional sector.
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Shafi, Mohsin, Liu Junrong, Yongzhong Yang, Deng Jian, Imran UR Rahman, and Mahdi Moudi. "Factors Influencing the Consumer Acceptance of Innovation in Handicraft Products." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061528.
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This study investigates the factors influencing consumer acceptance of certain types of innovation in handicraft products. Another aim of the article is construct/scale development applicable to handicrafts because our study collected scale items from other studies and tried to develop constructs applicable to handicraft products. The descriptive analysis through a quantitative cross-sectional consumer survey was applied along with cluster analysis for consumer market segmentation following the acceptance of certain types of innovations. Eight factors were discovered through EFA. The construct scores for authenticity innovation, packaging innovation, value-adding, product improvement, product design innovation, alternative/new materials, quality materials, and technological innovations were used in the cluster analysis. The results show that most consumers are open to accepting innovation in handicrafts. Particularly, consumers prefer those innovations that do not modify the traditional features and characteristics of products, such as authenticity, packaging, and quality-related innovations. However, consumers considered technological innovations as more skeptical. The comparison of socio-demographic profile of consumer segments with their acceptance of innovation indicates that the younger generation and well-educated consumers are more willing to accept innovation in handicraft products. Contrarily, the old-age consumers were unwilling to accept the innovation and prefer to purchase authentic and quality products. Additionally, as income increases, people like more authentic and quality products. This study focused on an emerging topic for handicraft industry, that is, innovation considered controversial, challenging, and received less attention from scholars in past. Further, this study is the first of its kind to explore the consumer acceptance of innovation in handicraft products.
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Svyatkin, Mikhail I. "Commercial Specialization of Mordva Settlements." Economic History 18, no. 3 (September 30, 2022): 221–32. http://dx.doi.org/10.15507/2409-630x.058.018.202203.221-232.
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Introduction. The post-reform era was characterized by the rapid growth of handicrafts. This phenomenon was noted not only in the Russian, but also in the Mordva village. In some Mordva villages there was a concentration of a wide variety of types of handicrafts and they began to represent a kind of handicraft centers. The article pays attention to the study of the distribution of handicrafts among Mordva villages. On the basis of pre-revolutionary statistical documents, reports of provincial and county zemstvo committees, the level of development of fishing activity among the Mordva has been considered. Materials and Methods. The research is based on the following methods: comparative-historical, historical-genetic, problem-chronological, structural-systemic. As the general scientific research methods, logical, descriptive-narrative, generalization, classification and systematization have been involved. To achieve the results of the study, archival sources, reports of county and provincial statistical committees, journals of meetings of county zemstvo assemblies have been used. Results and Discussion. Mordva artisans lagged behind the Russians in terms of the rate of development of the handicraft industry. The same types of bushcraft were common among Mordva as among Russians. Handicraft production gradually expanded in the Mordva villages in the second half of the XIX – early XX century. Peasants begin to specialize in a certain kind of handicraft. Usually in the Mordva villages there were several handicrafts at once, but there were also those that specialized in one craft. In such settlements, as a rule, artisanal artels were created. So, in the Spassky district of the Tambov province, woodworking crafts dominated, in the Alatyr and Ardatov counties of the Simbirsk province – wool-cutting and felting, in the Saransk district of the Penza province, crew fishing was widespread. P. S. Pallas, I. I. Lepekhin, V. N. Kuklin, I. I. Firstov, A. S. Luzgin, N. F. Mokshin, G. A. Kornishina, E. N. Mokshina and others made a significant contribution to the study of traditional crafts and occupations of the Mordva. Conclusion. Currently, certain types of craft activities are preserved in some Mordva villages. For example, felting is widespread in the villages of the Ardatovsky district of the Republic of Mordva – Urusovo, Zhabino, Old Ardatovo. In the village of Podlesnaya Tavla, Kochkurovsky district, Mordovian craftsmen are engaged in wood carving, making wooden toys. Crafts such as knitting, basket weaving, carpentry, birch bark weaving, cooperage are preserved.
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Harianto, Sutrisno, and Ellysa Nursanti. "Green Quality Improvement Using Six Sigma Method." Volume 5 - 2020, Issue 8 - August 5, no. 8 (August 27, 2020): 583–88. http://dx.doi.org/10.38124/ijisrt20aug266.
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Traditional cast brass handicrafts Majapahit is one of the nation's cultural heritage which has a high historical value. The uniqueness and quality become the hallmark of this craft products. The results of handmade products such as sculptures, wall hangings, souvenirs, ornaments doors and so on. To increase the sales of traditional handicrafts of brass castings, required Majapahit applicative technical efforts in improving the quality of products which are ecofriendly. Quality improvement method such as Six sigma. Six sigma focuses on decreasing flawed rate, by reaching the standard 3, 4 flawed in a thousand possibility. Six sigma has 5 phases; define, measure, analyze, improvement, and control. In this research, six sigma is applied in producing cast brass handicraft starting from making the master mold, preparation of smelting raw materials, cooling process, releasing of the mold, and finishing. Purposefully to improve the quality by overcoming and decreasing the high of flawed possibility and also applying marketing mixture in improving the market segmentation of traditional cast brass of Majapahit market. The result is quality improvement is shown by decreasing happen in number of flawed product in total of mean for about 154, 8 decreased to 59,5. While the calculation of the six sigma, flawed product of cast brass handicraft is for about 1,7625 sigma value or being in level 2 and increased to 3,725 or being in level 4 with the flawed possibility in amount 235,000 for thousand times of production. The ability of production for the requirement which is wanted by the consumers and owning a good enough capability but still needed some correction to achieve world class home industry
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Fengfan, Ju. "Traditional Tie-dye Handicrafts and Modern Design Concept Combined." Journal of Arts and Humanities 6, no. 9 (September 16, 2017): 12. http://dx.doi.org/10.18533/journal.v6i9.1230.
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<p>Tie-dyeing is the traditional handicraft in china, and this traditional handicraft is the accumulation of people's wisdom and the survival of the skills.Due to rapid economic development in recent decades, spurred in pursuit of excessive consumption of fast, fast fashion, industrial production gradually replaced the traditional handicraft, resulting in many of the traditional handicraft industry is facing a crisis.How does the traditional tie-dye craft blend with modern lifestyles?It has become a pressing issue.And in modern society, people pay more attention to practicality, cultural and spiritual combination. there is a certain regional and differences in traditional culture and it aesthetic point of view, inevitably conflicting with the modern design concept.But this contradiction can be reconciled, we should be in the traditional level of culture to be in-depth research and application, based on the research of the traditional design and analysis from refining, refactoring, transforming in line with modern aesthetic standards.</p>
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YE, JIALEI. "The extension of Oriental traditional handicrafts in modern commodities." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 47 (May 30, 2020): 353–80. http://dx.doi.org/10.19078/ea.2020.47.14.
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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.
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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.
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Akilandeeswari and C. Pitchai. "POTTERY INDUSTRY AND ITS DEVELOPMENT BY EFFECTIVE MARKETING THROUGH INFORMATION AND COMMUNICATION TECHNOLOGIES (ICT)." International Journal of Research -GRANTHAALAYAH 4, no. 4SE (April 30, 2016): 6–13. http://dx.doi.org/10.29121/granthaalayah.v4.i4se.2016.2737.
Full textAbstract:
Globalization has opened up the economy at a very high speed, as a result of that information technology has opened the sphere a global village and have facilitated global communications network that transcends national boundaries. Due to ICT there is a dramatic change in the society. Handicraft industry is the second largest industry which provides employment to rural and underemployed agricultural laborers. But large group of artisans are in the unorganized sectors like handicraft and cottage industry and these handicraft artisans are in inaccessible area of rural India. Majority of artisans are still bounded to traditional way of living so they are not enjoying the modern world benefits and adopted to modern scenario. These artisans are not access to available technology or participation and to promote for the contribution of societies development and these artisans are less engaged with Information and Communication Technologies (ICTs) than common man. Information and Communication Technologies are for everyone and handicraft artisans should equally benefit to the advantages offered by the technology to the products and processes.
Almost in all the States of the India, people are expert in producing handicraft items traditionally. The worth of Indian handicrafts in the international market was realized when the exports crossed Rs. 300,274.12 crores in 2012-13. The handicrafts sector has made considerable contribution to the Indian economy through exports. ICT brings success to marketing and export activities and production part of the craft. But knowledge on marketing technology was poor for artisans. So, an attempt has been made in this paper to bring out the problems and opportunities of artisans in the handicraft industry with the usage of ICT, and the opportunity for exporting to foreign countries and to help artisans improving their standard of living and thus the economy.
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Marzuki, Khairan, Apriani Apriani, and Ni Gusti Ayu Dasriani. "Pemberdayaan Pengrajin Perak Melalui Market Place sebagai Media Penjualan Online di Desa Ungga,Kabupaten Lombok Tengah." ADMA : Jurnal Pengabdian dan Pemberdayaan Masyarakat 1, no. 2 (January 30, 2021): 107–14. http://dx.doi.org/10.30812/adma.v1i2.1023.
Full textAbstract:
The impact of the industrial revolution era 4.0 has been switched from a traditional system to a digital. Therefore, craftsmen also must follow the changing of this era to sell their handicrafts that previously used a traditional sales system where buyers have to go to the counter/gallery selling silver, especially the silver handicrafts in the village of Lombok, Central Lombok. The output of this community service is that craftsmen have an online shop as a medium for selling the silver handicrafts in Ungga. This online shop can be accessed by residents all over the world anytime and anywhere in making an online store uses the word press content management system because it probably solves the problem to increase the product sales.
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Pengxia, ZHANG. "On the Formal Characteristics and Cultural Attributes of Dongyang Wood Carving." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 2 (June 30, 2022): 070–74. http://dx.doi.org/10.53789/j.1653-0465.2022.0202.008.p.
Full textAbstract:
Dongyang wood carving is a local traditional handicraft art, and it is an important part of the cultural heritage of the Chinese nation. As a national intangible cultural heritage, the formal characteristics of Dongyang wood carving are worth sorting out and studying. Dongyang wood carving has careful conception and rich imagination in theme, and there are rich themes and alternate between vagueness and concretization in its’ techniques of expression. The form of Dongyang wood carving is often based on the line and the combination of line and surface, which forms the simple, extensive and powerful formal features. It is a necessary way to inherit and carry forward traditional handicrafts to explain the cultural attribute of Dongyang wood on the basis of sorting out the formal characteristics.