To see the other types of publications on this topic, follow the link: Art and handicrafts.
Journal articles on the topic 'Art and handicrafts'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Art and handicrafts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
Ergasheva, Sayora A. "POTTERY ART OF SURKHAN OASISIN 1950-80s." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 77–82. http://dx.doi.org/10.26739/2181-9599-2021-6-11.
Full textAbstract:
The article tells about the history of ceramics and its features, which is one of the types of crafts in Surkhandarya. A scientific analysis of the social and spiritual basis for the development of crafts in Uzbekistan in the traditional national context and the thousand-year experience of folk crafts are given. Pottery is one of the national handicraft traditions of the Uzbek people, which has long been valued as one of the crafts. At the beginning of the twentieth century, various techniques and mechanisms began to be used in the production of handicrafts. This has had a significant negative impact on the quality of art production. By the 1950s and 1980s, ceramics had made many items disappear. Nevertheless, the oasis potters continued their work, remaining true to the tradition of the master apprentice
8
Rzuqi, Assist Inst Baidaa Anwar. "Educational bag in the art of crochet and effectiveness in the development of handicrafts skills." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 3 (March 1, 2018): 273–92. http://dx.doi.org/10.36473/ujhss.v224i3.300.
Full textAbstract:
Modern technology, including educational bags has a role in increasing the efficiency of teaching and learning through various levels of students' skills and reflects a new idea that is set in easy way. The study aims to ((prepare educational material handicraft in the art of crochet bag, as well as identify the impact of the instruction in the development of the bag for second grade students’ average skills. And the researcher to build an educational portfolio in the material handicrafts to teach students the art of crochet through the booklet educational steps, as well as disc CD where everything related to the art of crochet steps as well, and formed the research sample of 48 female students and the use of the test Altaia (t) researcher found that there are very effective in teaching the students the art of crochet.
9
Lovtsova, Irina V., and Lyudmila A. Burovkina. "Preservation of nonmaterial cultural heritage through the implementation of additional educational programs in the field of folk crafts and handicrafts." Tambov University Review. Series: Humanities, no. 184 (2020): 107–13. http://dx.doi.org/10.20310/1810-0201-2020-25-184-107-113.
Full textAbstract:
We substantiate the importance of preserving the nonmaterial cultural heritage, folk culture and the development of traditional handicrafts, the need to integrate culture and education. We prove the effectiveness of measures to preserve the nonmaterial cultural heritage through the development of children’s traditions and technologies of folk art crafts and handicrafts in additional education. We analyze the implementation of additional general educational programs in the field of decorative and applied arts and activities to preserve folk art crafts and handicrafts are being conducted in the regions of the Russian Federation. We make proposals for the development of educational programs in the field of folk crafts.
10
Garcerá Ruiz, Javier. "Ver desde el Hacer: Materia, Tiempo y Silencio en el Arte Contemporáneo." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 204. http://dx.doi.org/10.17583/brac.2020.4227.
Full textAbstract:
Using as a starting point the artwork from a group of contemporary artists whose language is grounded on handicraft techniques, this article puts forward several reflections on the art production process and its impact on the act of seeing—in particular, creative processes which, by dissolving the watertight categories of arts, handicrafts, and design, focus on the sensory qualities of materials, rein in rational control on the act of making, and result in artwork which can only be understood beyond discourse. Drawing from ideas that are central to the writings of Juhani Pallasmaa, Richard Sennett, Byung-Chul Han, and Doris von Drathen, this article discusses various theoretical questions underlying the work of the aforementioned artists. They all point towards the possibility of an artistic practice that represents an ethics rooted in detachment and silence.
11
Rahmanpour, Nahid. "Applying the Kaizen Management System in the Manufacturing Process of Artistic Products in Handicraft Workshops." International Journal of Engineering & Technology 7, no. 2.15 (April 6, 2018): 185. http://dx.doi.org/10.14419/ijet.v7i2.15.12689.
Full textAbstract:
Being knowledge-based, handicrafts-manufacturing workshops established by art graduates are to design and manufacture innovative products in line with modern lifestyle. Unfortunately, such workshops are often encountered with challenges due to lacking the use of a specific management system in their production and supply processes. For this purpose, the application of Kaizen’s management system was discussed in the present study because of its ease of implementation, high effectiveness of results, low costs, and emphasis on teamwork in the production of handicrafts. This study was applied in terms of the research purpose with a descriptive survey design. The statistical population of the study included 17 handicrafts-manufacturing workshops established by art graduates in the last fifteen years. The results of this study showed that the application of Kaizen’s management system and its operational procedures could provide conditions for continuous improvement in the production process of handicrafts, reduce the cost and time of production, increase quality, and enhance delivery performance.
12
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.
Full textAbstract:
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.
13
Belko, Oleh. "Formation of a network of credit organizations as forms of support and development of pottery production in the Poltava region (1894–1914)." Ethnic History of European Nations, no. 60 (2020): 44–54. http://dx.doi.org/10.17721/2518-1270.2020.60.05.
Full textAbstract:
The article focuses on the creation of credit organizations network by the Poltava provincial local council to support and develop handicrafts, in particular pottery, and the production of ceramic refractories. The article looks at several ways of obtaining funds for the development of handicraft industry, especially the pottery industry which was distinguished by the Poltava provincial local council in a separate category, and for raising its production and artistic level. Here belongs the bank industrial loan which was allocated by the state bank, although not all manufacturers could use it. The second way is a well-established mechanism of state financing of pottery educational institutions, in particular the Opishnenskaia, Postavmutskaia workshops, the Mirhorod Art and Industrial School named after Mykola Hohol, as well as provincial tile workshops and tile-and-brick factories, whose network was increasing with each passing year. One more way was formation of mutual benefit funds, credit societies. Their active growth was observed in Romenskyi, Kostyantynohradskyi, Hadyatskyi, Zinkovskyi and Mirhorodskyi counties. Such forms of financial support solved the production problems of most potters of the province. Credit societies were regarded by the zemstvo not only as financial mutual assistance but also as a guarantor of their members’ activity. Poltava provincial zemstvo could act as a guarantor of fulfillment by its member of obligations to organizations-manufacturers of tools for artisanal production. The positive thing was also the fact that financial capability of the credit societies were not limited to their own funds. They could borrow from banks under a contractual arrangement or get the State Bank loans for development of handicraft business. The formation of the credit organizations network by the zemstvo contributed to the development of handicrafts, pottery in particular, as well as to the intensive production of environmentally friendly ceramic refractory materials and to an increase in the economic potential of the province.
14
Öncel Taskiran, Nurdan, and Nursel Bolat. "Visual discourse of the clove: An analysis on the Ottoman tile decoration art." International Journal of Research in Business and Social Science (2147-4478) 1, no. 1 (January 3, 2012): 18–28. http://dx.doi.org/10.20525/ijrbs.v1i1.54.
Full textAbstract:
In tile art, one of the world-famous Turkish Handicrafts, a wide variety of patterns are used on tile objects. The most common of these, after the tulip pattern, is the naturalist clove pattern. Different meanings were assigned to this pattern within the boundaries of form, color and design. Identification and perception of these meanings have a special place within the frame of the culture that they relay. In this present study the fields of meaning of the clove pattern frequently used in tile decoration arts among Turkish handicrafts were tried to be determined. By taking Greimas' Actantial Model as the theoretical model, in the study visual discourse analysis of the clove pattern will be made.
15
KILIÇ KARATAY, Semra. "The State of the Kilis Quilt Art Today." International Journal of Social, Political and Economic Research 7, no. 3 (October 15, 2020): 730–42. http://dx.doi.org/10.46291/ijospervol7iss3pp730-742.
Full textAbstract:
Quilt is an art that has existed in the culture of every nation in the world and continues to exist today. The artists, craftsmen and apprentices engaged in this art are also trying to adapt the quilt art to today's modern life. The quilt is a large cover for covering, and the inside is a material that was previously filled with wool and now cotton or fiber and used to protect from the cold.
There are handicrafts performed today in Kilis. Our handicrafts such as quilting, yemenism, embroidery, wickerwork, copper making, wire breaking and wood carving are among our arts.
Time-varying patterns, composition and materials used are seen as a means of communication used to express people's ideas and thoughts to the environment. The motifs used in Kilis quilts originated from the stylization of objects around people and are today still mentioned by the people of Kilis with these names.
With this field research, information about Kilis quilt art, tools and equipment used, patterns and meanings and their current status are collected and it is aimed to share this information as written literature.
16
Purwanthari, Aristha. "PELATIHAN PEMBUATAN BROSS DENGAN BAHAN DASAR KAIN PERCA DESA CANGKRINGTURI KECAMATAN PRAMBON KABUPATEN SIDOARJO." Jurnal Abadimas Adi Buana 1, no. 1 (July 31, 2017): 9–14. http://dx.doi.org/10.36456/abadimas.v1.i1.a674.
Full textAbstract:
Cain perca handicrafts are Crafts that memperpadukan between traditional and contemporary art. Perca handicraft is a combination of two sheets of cloth center in charge with the warming batting material from silicone. The top layer of handicrafts perca can consist of a combination or one of the patch work or application. The three layers of shaped sandwhich sewn with tailoring machine or hand (Delujur).Use of fabrics perca can be various forms but this time the use of fabrics perca only focused on bross. Bross is bross to scarf, so the committee invited only PKK mothers and women representatives from each RT. For the purpose of this activity is aimed to provide skills to the community so that later can increase their creativity and productivity to the community besides that can increase the level of community economic Turi Cangkring village when the handicrafts perca cloth can be in comersil. In the era of MEA economic competition tight enough so the requirement of qualified Human Resources improvements to compete with other countries. All the people who follow the training quite enthusiastic so that the implementation of the training the alleged price running well enough and smoothly. For almost two hours the people have been able to create bross from cain perca. As a result most people who participate are able to create bross beautiful and beautiful. Saw it should be village governments provide mentor for people who want to serve in the world of business sales bross. So that the proceeds from the sale of bross additional will gesture can earn money for their families.
17
Cirakoglu, Huriye. "Hand arts and industrial design." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 128–33. http://dx.doi.org/10.18844/prosoc.v5i6.3849.
Full textAbstract:
The ornamentalism that starts with the history of mankind was born from the passion of mankind to embellish the material used and to shape it with an understanding of art. Handicrafts are income-generating, production-oriented activities based on the individual’s knowledge and skill, often using natural raw materials, made by hand and simple tools, reflecting the pleasure and skill of the person carrying the cultures, traditions folkloric characteristics of the community. Handicrafts are the most important items showing the level of culture and civilisation of the society or nation in which they have emerged. Thus, handicrafts indicate the economic level, beliefs, customs and customs of that society, the climate and technological level of the geographical area in which they live. Increasing world population and technological developments have affected production methods and tools. In developed countries, it is very important to cultivate the human power that can produceand use the technology.Keywords: First keyword, second keyword, third keyword, forth keyword;
18
Rokita, Jan Gustaw. "XVII-wieczne medale oraz numizmaty pamiątkowe poświęcone oblężeniu osmańskiemu Wiednia w 1683 roku i jego niektórym aspektom." Studia Europaea Gnesnensia, no. 20 (July 8, 2020): 83–104. http://dx.doi.org/10.14746/seg.2019.20.4.
Full textAbstract:
The chief aim of the paper is to introduce the reader to five specific pieces of medallic art, answer the questions what propaganda goals they were to accomplish, as well as provide am iconographic analysis, in comparison with selected examples of medals, graphic works, sculptures, and handicrafts.
19
Hogan, Skylee-Storm, and Krista McCracken. "Creation and purpose: A conversation on art created by students at the Shingwauk Residential School." Art Libraries Journal 45, no. 4 (October 2020): 143–47. http://dx.doi.org/10.1017/alj.2020.22.
Full textAbstract:
AbstractWhat are the ethics behind caring, preserving, and displaying artwork created by Residential School Survivors? By looking at sketches and small handicrafts held by the Shingwauk Residential Schools Centre this piece examines the possibilities for caring for this unique type of Indigenous artwork in a culturally appropriate and ethical manner.
20
Upadhyay, Prakash. "Promoting Employment and Preserving Cultural Heritage: A Study of Handicraft Products Tourism in Pokhara, Nepal." Journal of Tourism & Adventure 3, no. 1 (September 21, 2020): 1–19. http://dx.doi.org/10.3126/jota.v3i1.31354.
Full textAbstract:
Handicraft s form a fundamental part of tourist experience representing local traditions and indigenous population’s talents and skills, income and job opportunities. This paper aims at exploring the role of handicraft products in promoting employment as well as preserving the cultural heritage of Pokhara. The study result reveals that there is a significant level of correlation and dependency between handicraft products and tourist’s arrival, job creation and the increase in income and social status of artisans and handicrafts shopkeepers. As a unique experience for tourists, handicraft products have enriched national economy, identity and promoted cultural heritage, uniqueness and authenticity, and cultural commercialization. However, handicraft is notjust about commercialization of cultural arts or displaying and selling products, it is about allowing tourists to truly understand the skill and the craft at rear and realize handicraft s unique tradition, linking tourists to artisans to facilitate them understand and appreciate the art. Further it is about how culture is recognized through display of a new self-representation or ‘enterprising spirit’, but not with the total loss of primordial ‘pure culture’ albeit an authenticity of hybrid culture. Lack of effective advertisement and marketing, inequitable price, scarcity of raw materials, intrusion of foreign goods, ineffective government policies are the crucial tribulations of handicraft products tourism in Pokhara. State policy improvement, increase in supply of raw materials, creative production and marketing are the ways that can promote handicraft market. It is necessary recognizing the prominence of handicraft products tourism as a prodigious agent for preservation of traditional craft, methods of production and an effective means of socio cultural and economic empowerment, cultural renovation and national identity building.
21
Robinet, Jacob, P. Mahadevan, and T. A. Anita. "The Green Souvenir Industry of Kerala – A Comprehensive Analysis." Atna - Journal of Tourism Studies 11, no. 1 (January 1, 2016): 47–57. http://dx.doi.org/10.12727/ajts.15.4.
Full textAbstract:
Handicrafts and souvenirs have a long and glorious tradition behind them. They represent the culture of the people and from a great heritage of art. Souvenirs are a manifestation of the creative impulse of people. The specialty of the handicraft is that it reflects the craftsmanship of each and every part of the country. Souvenirs always remind a traveller of a particular place that it was purchased from. Souvenir trade improves the local economy and even serves as a brand image or icon of the destination visited by tourists while providing easy visibility. Souvenirs also help in the word of mouth marketing of a destination. The souvenir trade worldwide is part of a rich handicraft tradition that evolved over the years. India has a diversity of souvenirs, and so does Kerala. The uniqueness of Kerala isits abundance of plant or natural fibre-based souvenirs. But, little research has been done on the process of production or the potential it provides in promoting tourism. This study is an attempt to look into the problems and prospects of plant or natural fibre based - ‘green souvenirs’ of Kerala and to offer suggestions for improving its market.
22
Edwards, C. "'Home is Where the Art is':: Women, Handicrafts and Home Improvements 1750-1900." Journal of Design History 19, no. 1 (January 1, 2006): 11–21. http://dx.doi.org/10.1093/jdh/epk002.
Full text
23
Liu, Bing, Feng Hu Wang, Fu Liu, and Jian Ping Sun. "Study of Wheat Straw Weaving Process and Decorative Effect." Advanced Materials Research 605-607 (December 2012): 179–82. http://dx.doi.org/10.4028/www.scientific.net/amr.605-607.179.
Full textAbstract:
Take full advantage of the natural luster of the wheat straw surface pleasing to the eye, fresh and natural, easy and pro-and texture, on the basis of the traditional weaving process, as a guide to modern art and design school, linear weaving straw art research and the use of modern aesthetic point of view of its weaving pattern design, explore traditional weaving skills at the same time, optimize the performance of straw handicrafts decorated, reliable optimization of design parameters and the overall theoretical basis for the new straw art and fiber art R & D and innovation, efficient use of straw raw materials and increase value-added products to explore new avenues.
24
Chen, Wei, and Mei Zhen Liu. "Research on Innovation of Traditional Hand-Painted Silk Fabrics through Second Design." Advanced Materials Research 175-176 (January 2011): 817–21. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.817.
Full textAbstract:
Under the background of modern industrialization, the traditional process bursts out new vitality with unique hand-painted art taste and traditional culture connotation. On the basis of absorbing the essence of traditional handicrafts, in this paper the traditional silk hand-painted fabrics is focused. Its artistic character, fashion and practicability are discussed respectively. The second design methods based on modern science and art concept retain the original aesthetic characteristic, and furthermore do innovation in process, pattern and fabric design. The research results would be helpful to practical production design and satisfy the relative market.
25
Ridwan, Ridwan, and Catur Surya. "PEMBERDAYAAN MASYARAKAT DESA DALAM MENGEMBANGKAN EKONOMI KREATIF DI DESA CITENGAH KABUPATEN SUMEDANG." Jurnal Riset Akuntansi Kontemporer 10, no. 1 (April 27, 2018): 28–33. http://dx.doi.org/10.23969/jrak.v10i1.1059.
Full textAbstract:
Creative economic development in Citengah Village seeks to 1) realize the potential of nature and exploit it maximally and develop the character of the villagers through the art community, 2) improve the human resources of the local villagers. Many of the natural wealth besides the natural tourist destinations also have other natural potentials to be developed into goods of economic value, as well as woven handicrafts, handicrafts from leaves or jepal bark (upih). To uncover and discuss such problems using methods, interviews, literature studies, field studies, and experiential experiences as part of the village community of Citengah Kabupaten Sumedang. The results show that the social characteristics and skills significantly show positive things. At the end, goal is able to create and empower the natural wealth of more economic value in addition to the value and cultural richness.
26
Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (June 20, 2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.
Full textAbstract:
Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a wider regeneration process. Even though regeneration really determines the development in the future. Looking at the current development of the craft, efforts to make a more open regeneration process seem necessary. Through this paper, the author try to find steps that can be taken by the supporting community and the Regional Government to form a formal and informal container. It is intended that interested people have access to learn about this craft. Regeneration is carried out to maintain the continuity and development of monel crafts.
27
Becker, Tania. "So Sorry––Never Sorry. Ai Weiwei’s Art between Tradition and Modernity." Asian Studies, no. 1 (December 1, 2011): 113–26. http://dx.doi.org/10.4312/as.2011.-15.1.113-126.
Full textAbstract:
Ai Weiwei’s 艾未未 (b. 1957) artistic expression revolves around his use of traditional Chinese techniques to create new designs and forms, shaping traditional materials into contemporary configurations. In the face of obstruction from state officials and local politicians, Ai Weiwei exposes himself to considerable personal risk in order to continue his activities as an artist and stay loyal to his convictions. This paper examines the roots of Ai Weiwei’s work in Chinese art history and looks at how the artist has deliberately adapted traditional motifs to bring about a sense of alienation. Ai Weiwei’s unique stance between current trends in western art and the Chinese feeling for handicrafts is also explored.
28
Azizov, Dilshod. "CERAMICS IN CERAMICS P. PICASO FROM THE COLLECTION OF THE STATE MUSEUM OF ARTS OF UZBEKISTAN." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 16–29. http://dx.doi.org/10.26739/2181-9599-2021-6-3.
Full textAbstract:
The works of P. Picasso in ceramics in the collection of the State Art Museum of Uzbekistan are among the masterpieces of the museum and are kept as priceless works. These works are one of the periods when the artist P. Picasso worked on clay.The Spanish artist, sculptor, graphic artist, ceramist and designer Pablo Picasso made a worthy contribution to the development of world art. He laid the foundations for Cubism by dividing objects into handicrafts and creating works of art from pieces, carved and three-dimensional on a flat surface. From the second half of the 1930s, the social status of Picasso came to the fore. The article is significant in that it provides comments on his rare works.
29
Mahoney, Dillon. "Changing Strategies in Marketing Kenya's Tourist Art: From Ethnic Brands to Fair Trade Labels." African Studies Review 55, no. 1 (April 2012): 161–90. http://dx.doi.org/10.1353/arw.2012.0013.
Full textAbstract:
Abstract:This article explores recent changes in Kenya's curio or handicrafts industry. In addition to a crisis in access to raw materials and a diversifying tourist market, the rise in the use of cell phones and the Internet during the early 2000s present unique challenges. Nonetheless, innovative Kenyan entrepreneurs are using these challenges to market and brand products in new ways—by representing modern global interconnectedness as “fair trade” or creatively promoting the authenticity of their products in other ways. Kenya's artisans and traders have also adapted to diverse and complex tastes beyond the desire for an invented tradition of ethnic and “tribal” art.
30
Kupiainen, Jari. "Art, Culture Change, and the Study of Solomon Islands Wood carving." Dialogue and Universalism 7, no. 3 (1997): 161–70. http://dx.doi.org/10.5840/du199773/416.
Full textAbstract:
During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual colonialism'. The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global.
31
Harmaen, Dheni. "The Growth of Indonesian Aesthetic Value of Kriya (Handicrafts) in the 21st Century." Journal of Social Science Studies 3, no. 2 (February 29, 2016): 62. http://dx.doi.org/10.5296/jsss.v3i2.8586.
Full textAbstract:
<p>The development of aesthetic values in the handicraft have been changing in terms of function, shape, appearance and even in terms of its significance, the changes will appear also to changes in the aesthetic value of a work of craft, because the essence of the aesthetic is beauty. In terms of language, the term <em>kriya</em> used in Indonesian language derived from Sanskrit, the word Kriya, when transferred to the Java language has a meaning work or action, and in particular the work related to religious ceremonies. Aesthetic value in a craft covered elements of line, shape, texture, color, composition and so on. The growth of aesthetic value to the craft woven eve of the 21st century can be traced starting from animist civilizations, until the civilization Ekotek Dynamic information (science and technology), or what we call the global community that positions the craft as a commodity. This development is an inter-linkages which always affect one aspect with other aspects including its aesthetic elements. Art craft is one branch or twig arts is undergoing a transformation, both form and function that are often lengthy conversations or discussions, regarding the status and position in the art developments in Indonesia. The development of craft capable of evolving to position itself in three directions, each of which has different interests, they are: 1) preservation oriented, 2) development to economic or commercial interests (craft industry) oriented, and 3) personal expression (artistic achievement) oriented.</p>
32
Jiamrungsan, Supamas. "The Ancient Technique of Weaving with the Contemporary Art." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 13. http://dx.doi.org/10.24821/ijcas.v4i1.1951.
Full textAbstract:
This study is a qualitative research method. The purposes are firstly to trial production of Pha Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is the guidelines for handling core issues of the creation and must start from studying motif of design, focus on techniques the golden fabric is located at weaving with gold threads, called Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok Dok texti le design in making fabric. It is a complex process which requires highly skilled weavers. In researcher’s point of view, for weaving of each fabric-depending on the design and used for similar was weaving 1500 shaft/Ta-kor. Thirdly to invent textile art inspiration from Yok Dok textile design to create new works of art. The results showed that the fabric weave of the operation weave structure on motifs of Yok Dok textile design. This is an outstanding special technique. The contemporary new fabric pattern can be operated by opening and closing of the warp yarn on a draw frame. The new pattern design and process of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that is the process a nd design which is the first method of fabric craft practice use for the manual textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving process by adding a special fabric pattern these characteristics come from the roots and identity of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving alternatives for creating a product and to serve as a guideline for further research. This handicraft highlights the significance continuation and bridge the relationship between classic fabric contemporary. Art to humanity from the ancient world until the present day. In summary the researchers plan to design and c ontemporary Yok Dok, a synthesis between classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai litterateur work which telling design.
33
Muka, I. Ketut, and Ni Made Rai Sunarini. "Forms And Functions Of Sandstone Handicrafts In Singapadu Kaler Village In The Global Era." Mudra Jurnal Seni Budaya 33, no. 3 (September 27, 2018): 360. http://dx.doi.org/10.31091/mudra.v33i3.500.
Full textAbstract:
In this era, the forms and functions of sandstone handicrafts in Singapadu Kaler Village have undergone very rapid development and change. This is marked by the emergence of various types of sandstone handicrafts, which enrich the arts and culture of Bali in particular and Indonesia in general. Several forms of sandstone handicrafts produced by craftspeople in Singapadu Kaler Village are very popular and much in demand by consumers. Among these are garden lampshades, wall lights, ventilation decor, flower pots, fauna and flora bas-relief, statues of the Buddha, and other sculpture motifs. These forms have a different function, style and aesthetic impression than traditional sandstone handicrafts in other regions. Overall, the products were created as a result of the influence of globalization, which gave birth to a wide variety of forms and innovations. Hence, it is important to write about so that the forms and functions as well as the messages contained within them can be clearly revealed. A qualitative interpretive method was used to analyze this phenomenon with a cultural studies approach utilizing deconstructivist theory and postmodern aesthetic theory. This lead the authors to the general conclusion that these new forms and functions of sandstone handicrafts have given rise to positive and negative impacts, which have not only been accepted by the craftspeople, but also the broader community of Singapadu Village and consumer society. In addition, these handicrafts also contain important creative, economic, aesthetic, and cultural change functions. This brief article hopes to be useful as a medium for study by secondary and higher education institutions of art or the general public about the field of sandstone handicrafts growing in Singapadu Kaler Village. It also hopes to be a useful reference for writers and researchers in other regions, so that the repertoire of scientific knowledge on sandstone handicrafts in Indonesia can become more widely known.Dewasa ini bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler mengalami perkembangan dan perubahan sangat pesat. Hal ini ditandai munculnya berbagai jenis kerajinan batu padas dengan fungsi yang berbeda sehingga memperkaya khasanah seni budaya Bali khususnya dan di Indonesia pada umumnya. Ada beberapa bentuk dan fungsi kerajinan batu padas yang sangat populer dan diminati para konsumen merupakan produksi perajin-perajin dari Desa Singapadu Kaler Gianyar. Bentuk kerajian batu padas tersebut memiliki fungsi, gaya dan kesan estetis yang berbeda dengan bentuk kerajinan batu padas tradisional didaerah lain. Secara keseluruhan kerajinan yang diciptakan tersebut pada dasarnya akibat dari pengaruh globalisasi, sehingga melahirkan bentuk dan fungsi kerajinan batu padas yang sangat variatif dan inovatif. Hal tersebut berdampak positif dan negatif tidak saja diterima oleh para pengrajin, namun lebih luas, pada masyarakat desa dan masyarakat konsumen. Selain itu, bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler secara umum mengandung fungsi yang bereka macam dan sangat penting, antara lain: fungsi kreatipvitas, ekonomi, estetis, dan fungsi perubahan budaya. Metode yang dipakai untuk menganalisis permasalahan adalah kualitatif dengan pendekatan kajian budaya, memanfaatkan, teori dekonstruksi, dan teori estetika postmodern. Tulisan ini diharapkan dapat dipakai sebagai media pembelajaran baik oleh lembaga pendidikan seni tingkat menengah dan perguruan tinggi atau masyarakat umum, khususnya dalam bidang kerajinan batu padas yang berkembang di Desa Singapadu Kaler Gianyar. Di samping itu tulisan ini juga dapat dijadikan acuan oleh para penulis dan peneliti dalam melakukan penelitian ilmiah yang lain, agar khasanah ilmu pengetahuan seni kerajinan batu padas di Indonesia semakin diketahui dan berkembang dengan pesat.
34
Giovine, Cinzia Maurizia, and John Cullars. "Jean-Marie Gavreau: Art, Handicrafts, and National Culture in Quebec from the 1920s Until the 1950s." Design Issues 10, no. 3 (1994): 22. http://dx.doi.org/10.2307/1511690.
Full text
35
Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.
Full textAbstract:
The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, animals and many mythological figures are crafted by the local craftsmen. The dolls, peacocks, parrots, elephants, horses, goats, bulls and cows are the repertoire of rural children. Uttar Pradesh is world known for its carved and brass inlayed or tarkashi wooden handicrafts. The craftsmen of Saharanpur are excelled in the art of inlayed wood work it is now widely used to decorate the centre-table, ash-trays, fruit-basket, service tray and other furniture articles etc. Varanasi and Amroha are particularly well known for lacquered woodcraft of UP. Numbers of lacquered toys, miniature kitchen utensils for children are made in this state.
36
Ikhsan, Muhammad, Hamdil Khaliesh, and Irwin Irwin. "PADEPOKAN SENI DAN BUDAYA MELAYU KALIMANTAN BARAT." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (February 17, 2021): 184. http://dx.doi.org/10.26418/jmars.v9i1.44986.
Full textAbstract:
Pontianak City has the potential for training and development of Malay cultural arts. The arts in West Kalimantan generally include dance, music, theater (folklore) and handicrafts. Special events in West Kalimantan will be the culmination of these arts and cultural performances, namely through festivals. This art can be used as a mainstay to face the ASEAN Economic Community. The final project of the Malay Art and Culture Hermitage of West Kalimantan aims to produce a special building design for Malay art and culture with the scope of cultural arts education, recreation, and tourism that can attract public interest. Design boundaries include the arts of music, dance, theater, crafts and cooking in West Kalimantan. The design method of the Malay Art and Culture Hermitage of West Kalimantan was carried out in several stages, namely ideas, data collection, identification, analysis, synthesis, and design development. The concept used in the design is based on the Facilities and Infrastructure Course and Training Institute Standards in 2017. Design analysis produces three functions, namely primary (education), secondary (administration, exhibition, performance) and tertiary (maintenance) functions. The result is that these three functions are combined in one into nine main buildings with a centralized organizational pattern of space, circular circulation, facades, and forms with Malay characteristics.
37
Ruangnarong, Chanakarn. "The Suitable Fabric for Thai Art Folding of Banana Leaves on Clothing." International Journal of Creative and Arts Studies 4, no. 2 (March 9, 2018): 53–63. http://dx.doi.org/10.24821/ijcas.v4i2.1965.
Full textAbstract:
Thailand has a uniquely long-standing tradition of arts and crafts. Thai art folding of banana leaves, probably the best-known such as food wrappers and precious handicrafts has been practiced to make colorful decorations for festivals. As time passed, roles of using parts of banana have been reduced but there has been an attempt to help conserve it only some art and craftsmanship. This research will study and analyze about Thai art folding of banana leaves, the folding technic from art and design, product and fashion for diversity of folding. Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding. Thus, the experiment and practice show the fabric qualification by selected 9 properties included 1. Good stability 2. Good draping 3. Heat resistance 4. Smoothness 5. Balance 6. Wrinkle 7. Stretch 8. Strong 9. Soft with the wearable fabric are 1. Natural Fabric 1.1) Cotton 1.2) Linen 1.3) Muslin 1.4) Jute 1.5) Ramie 2.Man-made fabric 2.1) Polyester 2.2) Nylon 2.3) Organza 2.4) Satin 3. Blended Fabric 3.1) Cotton Spandex 3.2) Linen Viscose. The result is Polyester, Cotton Spandex and Linen Viscose respectively suitable for folding. In conclusion, the purpose of this research compiles the theory, technique, and method of Thai art folding of banana leaves. Moreover, the many types of folding technique from Thai art folding of banana leaves for clothing construction that can be a guideline and modified in the next stage for designers who interested in craftsmanship, culture, and tradition. Then, to create the guideline from the Thai art folding of banana leaves. Finally, the wearable art by using the clothing construction guideline from the Thai art folding of banana leaves.
38
Vyazova, Ekaterina. "English Influences, Russian Experiments." Experiment 25, no. 1 (September 30, 2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.
Full textAbstract:
Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.
39
Yamborko, Olha. "Ukrainian industrial carpet weaving in 1940-1980s. in terms of the so called “folk handicrafts industry”: between folk art, artistic quality and economic efficiency." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 12–16. http://dx.doi.org/10.37131/2524-0943-2019-42-02.
Full textAbstract:
Background. Program of development of industrial carpet weaving in sub-Soviet Ukraine is considered. In this connection, influence of folk arts crafts on the the Ukrainian carpet weaving of a mass sample are analyzed: stylistics, artistic quality, production economy. Methodological approaches to the subject of folk crafts in the Soviet system are highlighted and the expediency of their revision from the standpoint of the present day is emphasized. Objectives. The Ukrainian Soviet carpet weaving as economic branch was a component of art industry in the segment of folk arts crafts. This direction implied production of artistic products with use of creative manual labor on the basis of folk art tradition. According to this principle, the carpet-making of republics in the USSR was developed where appropriate traditions were preserved. Today, in Ukraine there are fundamentally different socio-economic conditions that dictate new requirements including for carpet weaving. At the same time, in the national art history there is a need to revision the current approaches to the study of carpet weaving in the system of folk art, handicraft - industrial production and author's artistic textiles. The purpose of the paper is to raise the problem of rethinking and formulating modern approaches to the analysis of Ukrainian carpet weaving according to different systems of its production practices. "Neo-folklore" practice of industrial carpet weaving in Ukraine in the Soviet period generally established the meaning about Ukrainian Soviet carpet as a new phenomenon of Ukrainian folk art. The stylistic range here was determined "ethnographically", so production was concentrated in historically formed cells in Lviv region, Ivano-Frankivsk region, Transcarpathia, Chernivtsi region, Kyiv region, Poltava region, Vinnytsia region, Chernihiv region, Kirovograd region. The basis of products, in accordance with the traditions of national weaving, was made by hand-made ornamental smooth-wool carpet of vegetative and geometric types. Conclusion. Industrial carpet weaving from "living tradition" varied by a number of features, caused primarily by considerations of the economy of production. The economy of industrial carpeting is due to the pace of scheduled production. Therefore, for mass production, drawings with simpler compositions and larger forms of ornamentation were chosen. This worsened the artistic quality of the carpets, and consequently the demand for them sharply decreased. Changing the methodology of Soviet folk arts crafts - an analysis of them as an object of factory production, corresponds to the real practice of its time and relevant to study in the XXI century.
40
Buğrul, Hasan. "A study of 1970s Hakkâri handmade shoes: An ethnography." Clothing Cultures 6, no. 3 (October 1, 2020): 329–49. http://dx.doi.org/10.1386/cc_00021_1.
Full textAbstract:
This study examines the types of shoes that were worn in the 1970s in Hakkâri – a city and province in Turkey close to the Turkish–Iraqi border – and its surroundings, linking them to social status, choice and taste, as well as economic power and the original cultural heritage of the local community. The findings detailed herein are based on samples taken from fieldwork conducted in 32 localities. Severe winter conditions have an important place among the factors that shape the social life of the local people of Hakkâri. In winter, they used to wear snowshoes called ‘leken’ to walk comfortably on snow of 2 m depth. Unlike various types of shoes worn today, there were three types of shoes worn in Hakkâri and its surroundings in the past in addition to snowshoes. The first is the one made of goat hair called ‘reşik’; the second is called ‘lastik’, which has a tyre sole and has knitted sides made of goat’s hair yarn; the third is a shoe called ‘kalik’, made from cattle skin. The characteristics of these have close relations with the material, colour and shape of shoes and the class and status of the people who wore them as well as with traditions and culture of the community. As well as exploring the material and other features of these shoes, similar examples, redesigned and made in other nearby provinces, are compared and discussed. This study is significant in that these traditional handicrafts are at risk of vanishing, as are other handicrafts in other parts of the world, due to the influence of technology and industrialization. By considering the traditional methods of shoe-making in Hakkâri and contextualizing this amongst the practices of other nearby provinces, this study aims to contribute to the promotion of the culture and art of the region and add to the limited literature in this field.
41
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.
Full textAbstract:
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.
42
Pandey, Anjali. "BIDRI WARE: A UNIQUE METAL CRAFT OF INDIA." International Journal of Research -GRANTHAALAYAH 4, no. 3 (March 31, 2016): 170–75. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2799.
Full textAbstract:
Handicrafts are valuable; they make our life enriched by their grace. Many times the question rises in our mind, about the origin and concept of the art and craftsmanship, its method and technique, material and attribute of the craftsmanship. The master craftsmanship of Bidri ware has all requisite qualities of excellence. Bidri is a type of encrusted metal ware. It is an intricate process involving several steps. Its preparation process and manufacturing is unique. The decorative designs describe the influences of Mughal impact. Often Bidri ware had inscription Arabic calligraphy of high quality. The metal commonly used is an alloy of copper and zinc. The zinc content gives the alloy deepan black colour. Bidri artist used simple and handmade tools for working. The textural ornamentation by hammering, engraving, inlaying creates the unique decorative effect Mainly six techniques -Aftabi, Koftgiri, Tehnishan, Zarbuland, Munabatkari and Tarkashi are used for ornamentation. Huqqa, Pandan, Surahi, Lota, Thali, Katora, Battle shield, sword etc are the main articles of Bidri ware. Today the Bidri artisans made some changes for new up comings.
43
Saaidin, Munira Binti, and Amri Bin Ahmad. "An Assessment of Cultural and Heritage Tourism Products in Kampung Hujong Permatang and Kampung Permatang in Kuala Selangor." International Journal of Early Childhood Special Education 13, no. 1 (May 5, 2021): 163–71. http://dx.doi.org/10.9756/int-jecse/v13i1.211019.
Full textAbstract:
The purposes of this study were to explore the availability and conditions of the cultural and heritage products in Kampung Hujong Permatang and Kampung Permatang in the Hujong Permatang sub-district of Kuala Selangor. The data and information were collected via observations and unstructured interviews, guided by using checklists on resources such as community, site, physical and natural, environmental, and the tourism facilities and services, that were to be examined. The findings indicated some very interesting and unique cultural and heritage products that were available and could be promoted as tourism products such as the historical sites which had the graves of famous warriors at Bukit Raja, the old mosque of Kampung Permatang, the traditional Bugis and unique Malay houses, the Malay art of self-defence called Silat Lincah, the almost extinct traditional dance called Dabus with the accompanying musical instruments, and the handicrafts made of jute fibres. Proper planning for tourism development which should include all the stakeholders, especially the community members, had be carried out at the onset of ideas for improvement of the villages.
44
Sihombing, Sabrina O., Rudy Pramono, and July Hidayat. "PELATIHAN KOMERSIALISASI KRIYA BAMBU-BATIK INDONESIA JEPANG BAGI MITRA USAHA SAHABAT BAMBU YOGYAKARTA [TRAINING ON COMMERCIALIZATION OF INDONESIAN-JAPANESE BAMBOO-BATIK CRAFTS FOR BUSINESS PARTNER SAHABAT BAMBU YOGYAKARTA]." Jurnal Sinergitas PKM & CSR 4, no. 2 (September 24, 2020): 105. http://dx.doi.org/10.19166/jspc.v4i2.2287.
Full textAbstract:
<p class="p0">Bamboo craft is one of the components of the creative economy that can support the country's economic growth. It's the kind of cooperation needed between the government, academics, business people and the craftsman community so that handicrafts are not only oriented towards the domestic market but can penetrate the export market to obtain higher economic value. Therefore, small industries with innovative products will advance the regional and national economy and eventualy can contribute to the country's foreign exchange when it successfully penetratrates the export market. The product chosen to be developed, namely bamboo-batik craft, already has IPR registration. This training aims to transfer systematic and standardized production system knowledge for bamboo crafts in Yogyakarta. The training was attended by 12 participants of bamboo craftsmen in Rimpak Village, Wonosobo Sapuran Regency. This training was facilitated by Mrs. Takayuki Shimizu from Japan. Participants were taught to craft bamboo combined with batik to become an export-value art object. Based on the results of the evaluation, the participants were impressed with the ability of the facilitator to craft bamboo into a work of art. The result of the training was that the participants' abilities improved in crafting bamboo into art objects. The next stage, the craft of bamboo-batik, will be developed for sale in the domestic handicraft market and penetrate the international market through the stages of the commercialization process as follows: 1) imagination, 2) incubation, 3) demonstration, 4) promotion, and 5) sustainability.</p><p class="p0"><strong>Bahasa Indonesia Abstrak: </strong>Abstrak Kerajinan bambu merupakan salah satu komponen ekonomi kreatif yang dapat menudukung pertumbuhan perekonomian negara. Hanya saja, diperlukan kerja sama antara pemerintah, akademisi, pelaku bisnis dan komunitas pengrajin agar hasil kerajinan tidak hanya berorientasi pada pasar domestik namun bisa menembus pasar ekspor untuk mrndapatkan nilai ekonomis yang tinggai. Oleh karena itu industri kecil dengan produk yang inovatif akan memajukan perekonomian regional, nasional dan akhirnya bisa ikut menyumbang devisa negara ketika berhasil menembus pasar ekspor. Produk yang dipilih untuk dikembangkan, yaitu kriya bambu-batik sudah memiliki pendaftaran HKI. Pelatihan ini bertujuan untuk melakukan transfer pengetahuan sistem produksi yang sistematis dan terstandarisasi bagi kerajinan bambu di Yogyakarta. Pelatihan diikuti oleh 12 peserta yang berasal dari pengrajin bambu Desa Rimpak, Kecamatan Sapuran Wonosobo. Pelatihan ini didampingi oleh Mrs. Takayuki Shimuzu dari Jepang. Peserta diajarkan mengolah bambu yang digabungkan dengan batik untuk menjadi benda seni yang bernilai ekspor. Berdasarkan hasil evaluasi, peserta terkesan dengan kemampuan fasilitator mengolah bambu menjadi sebuah karya seni. Hasil dari mengikuti pelatihan, kemampuan peserta meningkat dalam hal mengolah bambu mejadi benda seni. Tahap selanjutnya, kriya bambu batik akan dikembangkan untuk dijual di pasar kerajinan domestik dan menembus pasar internasional melalui tahapan proses komersialisasisebagaiberikut: (1) imajinasi,(2) inkubasi,(3) demonstrasi,(4) promosi, dan (5) keberlanjutan.</p>
45
Beniakh, Nataliia. "Challenges and prospects for the world studio glass development: based on the results of the International Scientific and Practical Conference-presentation “World Studio Glass. Tradition and Experiment”." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 17–20. http://dx.doi.org/10.37131/2524-0943-2019-42-03.
Full textAbstract:
The international studio glass movement, which emerged in the 1960s and became an important phenomenon in the recent history of decorative arts, today faces new challenges of today. The movement of studio glass has led to the emergence of a new concept in contemporary art - fine glass, which in recent decades has formed new artistic values. Despite the global nature of the spread of the studio movement, the common vector of the development of art glass in the direction of liberation from industrial dependence poses new requirements and challenges to glass artists, designers, national schools. The desire for imagery and ideology prevails in modern glass. National schools have a clear identity and are distinguished by their own individuality. The International Scientific and Practical Conference-presentation of the creativity of world-famous glass artists “World Studio Glass. Tradition and Experiment” was held within the frames of the XI International Blown Glass Symposium in Lviv. Every three years the artists meet in Lviv, demonstrate their skills on the workshop basis of the only Glass Art Department in Ukraine and tell the public about their experience. Creative meetings took place in the Gallery of Lviv National Academy of Art during the period from October 7 to October 10, 2019. The project was implemented with the support of the Ukrainian Cultural Fund. In the reports, delivered during four days of the Conference, the current issues of the contemporary glass art development and professional education, the formation of creative workshops and artistic groups, the roles of festivals, symposiums in the glass art development, the use of new techniques and technologies in postindustrial eraб, were discussed. Generally, the speakers analysed a wide range of problems and phenomena of the studio glass, shared their own observations and considerable researches of individual technological processes. The participants in the Conference touched in their reports on the important issues of culture dialogue, the development of contemporary studio movement, the impact of the latest technologies on traditional methods of processing. Much attention was paid to the discussion of the main tendencies of glass art development. The speakers concentrated on acute challenges of modernity, which glass artists are faced with, and which are, at the same time, universal for all representatives of contemporary decorative art. The range of works is very wide: from small handicrafts to landscape glass, sculptures, performance, installations and so on. The contemporary glass is utilitarian, duplicated works and original author’s projects. This is a constant balancing between the tradition and new experiments, between the genres and kinds of art.
46
Pandey Minare, Mitali. "LACQURED CRAFT OF SHEOPUR- A SUSTAINABLE CRAFT OF MADHYA PRADESH." ShodhKosh: Journal of Visual and Performing Arts 1, no. 2 (December 29, 2020): 1–11. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.5.
Full textAbstract:
The world of arts and handicrafts represents a great saga of culture, traditions and historical legacy associated with each particular region. India, in general and Madhya Pradesh, in particular are known for the impressive range of hand-made artifacts that enthrall onlookers, buyers and collectors of art.
The innate are honored with the characteristic specialty of cutting and make extremely appealing things. There are wooden chowkies made for estimating grains. Wedding mainstays of Bharia and wooden entryways of Gonds and Korkus are extremely appealing and unordinary. Machines turned and lacquered toys in splendid hues and at moderate costs are famous everywhere throughout the state. Cut wooden toys, dolls and elephants displaying the abilities of the craftsman are likewise made.
The Woodcrafts of Madhya Pradesh are self-viable and have contributed in maintaining the environment healthy by using all the natural colors and polishes. Moreover, it generates the employments to the artisans, which encourages them to design and produce the products as per the market demands. And as per the demand it encourages the Social-distance which is much need in present scenario.
47
Suyatmi, Suyatmi, and Diffa Maysca. "PENGEMBANGAN PRODUK ANYAMAN TAESTHIC.CO DALAM MENINGKATKAN PENJUALAN." Journal Competency of Business 5, no. 1 (July 17, 2021): 62–74. http://dx.doi.org/10.47200/jcob.v5i1.873.
Full textAbstract:
Indonesia has a variety of cultural diversity and handicrafts from generation to generation. Preserving the art of woven crafts which is one of the arts that must be preserved, one of which is plastic woven bags. As times change to modern times, not many people use plastic woven bags because they are considered old-fashioned and less varied. Local products are also widely abandoned because the value is not of quality and also does not vary. The lack of interest in plastic woven bags has resulted in many craftsmen losing their jobs. So Taesthic.co is here to help craftsmen in marketing their products and introducing local products. Taesthic.co was formed in February 2020 located in the Special Region of Yogyakarta which aims to collaborate with empowering craftsmen and also to develop local products of woven plastic bags in order to increase sales. The sales target of taesthic.co is women aged 25-45 years. In developing and increasing sales, Taesthic.co uses a canvas business model because it works together with plastic woven craftsmen from the Ponorogo area, emphasizing the quality and uniqueness of woven products, promotions are carried out using websites, social media and also e-commerce.
48
Никифоров, Андрій. "ТЕНДЕНЦІЇ ФАХОВОЇ ПІДГОТОВКИ МАЙСТРІВ ХУДОЖНЬОЇ ОБРОБКИ МЕТАЛУ В ЗАКЛАДАХ ХУДОЖНЬО-РЕМІСНИЧОЇ ОСВІТИ УКРАЇНИ ХІХ – ПОЧАТКУ ХХ СТОЛІТТЯ." Педагогічні науки: теорія, історія, інноваційні технології, no. 5-6(99-100) (August 31, 2020): 236–46. http://dx.doi.org/10.24139/2312-5993/2020.05-06/236-246.
Full textAbstract:
The article is devoted to the problem of art education formation in Ukraine, the territory of which in the XIX – early XX century belonged to two empires – Russia and AustriaHungary. The paper analyzes the leading trends in the professional training of future craftsmen in Ukraine in the XIX – early XX centuries. The author focuses on the organizational and pedagogical principles of training specialists in the field of artistic metalworking. It is stated that in order to meet the demands of the society of that time for the training of highly skilled workers in the field of artistic-industrial production, with the assistance of the governments of two empires – Russian and Austro-Hungarian (which included the lands of Ukraine in the period under study) – the schools, arts and crafts schools, complementary industrial schools, courses for masters, vocational schools, such as: art blacksmithing and metalwork, artistic metalwork and boilermaking, metal, etc. were founded. The urgency and timeliness of the study are noted, because the scientific substantiation of the formation and development of domestic art education, the study of positive historical and pedagogical experience of predecessors – artists, masters and artists-teachers are undoubtedly important in training modern specialists in visual and decorative arts. The methodological basis of the study are the laws and categories of scientific knowledge, the relationship and interdependence of phenomena, historicism, system, the relationship of historical and logical, the interaction of national and universal. It is stated that development of art education in Ukraine in the second half of the XIX – early XX century was accompanied by the expansion of the system of education institutions that provided special arts and crafts education. It is found out that the leading features of the system of arts and crafts of the outlined period were: the imitative nature of the students’ activities; use of demonstrative and explanatory method of teaching techniques of future masters-craftsmen; practical training in the workshops of the institution; predominance of practical classes over theoretical training of students; internship in production; fulfillment of orders by the apprentices; dependence of the level of the educational process on the conditions created in each individual crafts education institution; lack of consistency in the process of mastering the techniques of handicrafts.
49
Suarditya, I. Made, and I. Nyoman Sunarta. "Strategi Pengembangan Banjar Samu, Singapadu Kaler Sebagai Desa Wisata Di Kecamatan Sukawati, Kabupaten Gianyar." JURNAL DESTINASI PARIWISATA 5, no. 1 (October 31, 2018): 61. http://dx.doi.org/10.24843/jdepar.2017.v05.i01.p12.
Full textAbstract:
The research aim is to determine development strategy of Banjar Samu as a tourism village. This research used qualitative and quantitative data with source from primary and secondary data. Observation, interview and documentation are data collection techniques. The sample method used purposive sampling while data analysis used descriptive qualitative and SWOT analysis.
Based on the results, the research indicate is that Banjar Samu have tourism potential which is consisted of natural potentials include panorama of rice fields and water springs. While the potential of culture include: community activities, hospitality and attitude of mutual cooperation, temples: building architecture and religious activity, sacred art of barong landung and another arts entertainment such as joged bumbung, arja, gambelan geguntangan, as well as local craft communities such as wood carving, silver handicrafts, yoga-meditation activity and sekaa such as sekaa gong, joged, geguntangan, arja, angklung, subak and sekaa santi.
Based on the analysis of SWOT Matrix, the results obtained by SO strategies are improving the quality of tourism potential and establish tourist activity. ST strategy is improving the security services. WO strategies are increasing cooperation with the government college, arranging some promotion. WT strategies are providing education and establish a tourist village management system immediately.
Keywords: Tourism Potential, Strategy Development, TourismVillage
50
Vo, Tuyet Thi Anh, and Hop Vinh Dao. "The horizontal lacquered boards and couplet tablets at Trung Hoa Huiguans in Hoian, Quangnam." Science and Technology Development Journal 19, no. 4 (December 31, 2016): 166–79. http://dx.doi.org/10.32508/stdj.v19i4.738.
Full textAbstract:
During the 17th-18th centuries, Hoian gradually became an urban centre and a prosperous trade-port. At that time, the Hoa people settled in Hoian and built five huiguans consisting of Phuc Kien Huiguan, Trung Hoa Huiguan, Quang Dong Huiguan, Quynh Phu Huiguan and Quang Trieu Huiguan. The Huiguans are extremely special buildings with high historic and cultural values. It marks the notable stages of the Hoa’s immigrating and settling in Hoian and reflects the up-and-down stages of this land. Horizontal lacquered boards and couplet tablets are special items in these Huiquans. It conveys to us the message from history, the value of handicrafts in such aspects as archaeology, Han-Nom, society, culture, chirography, literature, etc. They also express Hoianese’s spirit life, offerers’ and skilled workers’ concept and art standards handed on to future generations. Trung Hoa Huiguan is that of the Five Bangs (one type of congregations the Hoa people in Vietnam) in Hoian. This Huiguan was built in the early 18th century and took an important role in the Hoa’s history of settling in Hoian. At present, in the most formal spaces of the Huiguan, many horizontal lacquered boards and couplet tablets are hanged up for display and worship. The Huiguan’s special tradition and uniquities needs to be conserved and researched since it provides materials for full research works on the Hoa people and on the history of Hoian in general.