Dissertations / Theses on the topic 'Clay craft'

Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).

This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature. Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question: Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?

I have been investigating the way in which my mind has altered my memories, especially from childhood. The more a moment is recalled, the less precise it becomes. The most inaccurate memories from childhood are the ones I have fixated on. Bedrooms are spaces where dreaming, sleeping and reverie take place leading to even more fragmenting. The intimate space of a bedroom allows me to represent the personal distorted recollections. The bedroom furniture is missing parts, shifted in height and placement or combined together. By making doubles of furniture, a direct comparison can be made from the real piece to the made imagined work. A counterpart can be a defense against loss, by having multiples of the same. Through dwelling on the past I have lost most of the original content and am left with disintegrating parts.

Abstract This report accompanies my Master project in the fields of ceramic and glass, the CRAFT! MA program, Konstfack. In this project I fuse my industrial design toolbox and my current engagement in open-source 3D printing technology with my ceramic and glass craft practice. The first pair brings in notions of innovation and an active approach towards technological change, while the second carry ancient craft methods and knowledge. I develop and make 3D printers for clay and use them as an experimental ceramic work method. In this research based practice I use ceramics as the material for 3D printed glassblowing moulds. This act represents a link between ceramic and glass crafts, one that was known to the ancient Roman craftsmen.  A view on craft and digital innovation Although the computer is in use for several decades now, in most crafts it is still used mainly as an assistive device and we seem not to look at it as a professional tool; as a craft tool. New methods of making are out there. We need to have two toolboxes now: Our traditional one and our new digital one. We can already CAD our concepts, control CNC machines and build 3D-printers customised to our growing new practice. We share our new knowledge on open-source platforms, teach each other through the web (and around the globe) how to apply digital techniques to our craft. We now have the opportunity to join hands with the movements of democratisation of contemporary manufacturing techniques and reinvent our practice, our tools and what new-craft could be.

This practice-led project explores the idea of in-betweenness through the physical and metaphorical aspects of glass. The starting point of the research is that glass, as an artistic medium, when examined with a focus on materiality and the making process on both physical and metaphoric levels, can be compared to the idea of cultural in-betweenness. My aim is to provide metaphoric and theoretical analogies that contribute to an understanding of in-betweenness. To examine the mechanisms of in-betweenness, this research integrates literature review with studio practice and object analysis to interpret the material and process of making objects in both literal and metaphorical dimensions. Historical glass artefacts are analysed to explore the idea of a trans-culture embedded in glass exchange between East Asia and Western Europe during the early modern period (roughly sixteenth to nineteenth centuries) and in practice today. Building on the preexisting scholarly analysis of objects from disciplines including anthropology, art history and archaeology, I experimented with glass and creative process in the studio to provide a fresh analysis based on the materiality of glass and the making process. Findings achieved through the conceptual and practical research reveal parallels between the idea of cultural in-betweenness and the materiality of glass. The analogies drawn from my studio practice and theoretical research for understanding the mechanisms of in-betweenness include: - In-betweenness is a fluid concept that is in a transitional state: the state of ‘becoming’. - In-betweenness is a gradual yet disruptive action that breaks the order of things. 4 - In-betweenness is a process of partial or selective abstraction to the extent where the awareness of origin remains whilst ambiguity is also present. - In-betweenness can be achieved through a mixture of control and chance. It is deliberate creation with an element of chance while some amount of control is maintained.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico
A teia de relaÃÃes sociais que constitui a produÃÃo artesanal de louÃa de barro do CÃrrego de Areia, localidade no municÃpio de Limoeiro do Norte, CE revela a interaÃÃo das louceiras com instituiÃÃes como a Central de Artesanato do Cearà (Ceart), alÃm das feiras e dos compradores avulsos mostrando os vÃnculos que elas tÃm com os poderes socialmente estabelecidos, ficiais, mas principalmente aponta para as polifonias existentes no interior do prÃprio lugar, onde questÃes de gÃnero, conflitos entre as famÃlias e interferÃncias de instituiÃÃes ultrapassam a dimensÃo fÃsica dos objetos. Fazer louÃa de barro nÃo à uma atividade que possa ser entendida apenas do ponto de vista comercial. Um olhar mais atento sobre o cotidiano da produÃÃo apresenta as visÃes de mundo, o imaginÃrio, os arranjos sociais, enfim, a arte de quem a faz. Enquanto modelam seus objetos, os artesÃos moldam as prÃprias vidas, num processo constante de criaÃÃo e recriaÃÃo de seu universo cultural particular. O dia obedece a uma continuidade de afazeres que sÃo organizados a partir das necessidades dos artesÃos, nÃo estando seu tempo subordinado ao relÃgio, como ocorre na produÃÃo industrial urbana. Portanto, a produÃÃo artesanal sà pode ser entendida se a consideramos como um palco de disputas por recursos pÃblicos, pelos bens materiais e, sobretudo, como pelos bens simbÃlicos, caracterizando assim uma luta pelo poder que à expressa no desenrolar do prÃprio cotidiano das louceiras. Apesar de serem conhecidas dentro e fora do CÃrrego de Areia, como âas louceirasâ, essas mulheres nÃo podem ser pensadas como uma categoria sÃ, que denote unidade, pois tÃm histÃrias de vida, visÃes de mundo e interesses diversos, que as impedem de estabelecem uma identidade Ãnica. A observaÃÃo no cotidiano e as falas revelaram que diferentes identidades, guiadas por diferentes redes de sociabilidade descritas anteriormente, que orientam a aÃÃo social diÃria das louceiras.

Printmaking within the applied arts is an extremely diverse practice that can extend the concept of what a print can be. Rather than the dissemination of published images and text, in this context printed information is transformed into objects and materials, ceramics, textiles, tableware, clothing. Prints such as these are not ʻreproductionʼ they are ʻproductionʼ.Process is crucial to both printmaking and the applied arts and the determining aspect of production plays a vital part in defining the qualities of a work such as print-decorated ceramic objects. To work with a printmaking process in this sector requires interpretation, predictive foresight and a degree of ʻthinking-through-makingʼ to transpose an image into the physical world of materials and objects. Printmaking, specifically within the ceramic discipline, is often plagued by issues of integrity brought about by problems relating to ʻdivisionʼ, these issues include: - - The physical divisions between image and object - The divided tasks in production that can disrupt thinking and making - A division of perceptions surrounding the surface/form relationship that considers the surface as supplementary or artificial Commercial production has developed approaches and techniques to integrate surface and form, combat these negative perceptions and raise the value of this type of work. These methods are not, however, always appropriate or accessible to individual ceramist-printmakers working in the studio. How can this sector overcome these negative factors and adopt strategies that invest some value of visual integrity within production? The research project answers this question in two ways: A low-tech, accessible method was developed in the studio with the aim to offer a new practical approach that physically integrates complex ceramic forms with the printed image. The aim was to facilitate this unity at an early ʻraw-clayʼ stage, where the combined manipulation of surface and form can take place together, resulting in an aesthetic that has ʻvisual integrityʼ. The second aim of the research has been to identify the inherent qualities of working and thinking ʻwithinʼ the language of ceramics and print materials and processes. ʻSyntacticʼ qualities and factors have been determined through research into historical innovations and the observation of current commercial practice in the field of screenprinting and screenprinted ceramics. This has helped to establish approaches to overcome negative factors relating to the perception of division, and invest integrity in the work through principled approaches to practice. The project adopts a methodology of ʻthinking-through-makingʼ where iterative studio experimentation is undertaken through tacit understanding, gained from experiential knowledge combined with research of contemporary and historical precedents. This approach is reflected upon and informed by writers who discuss working within the inherent language of printmaking. The research contributes to the advancement of knowledge through the development of a new versatile technique that can be easily accessed by ceramists and printmakers who wish to produce integrated ceramics and print works. This contributes to the advancement of technology, perception and knowledge in the field of printed ceramic objects. My approach and the development of a value system also offers a tool to further the critical

A turn away from language and the human mind as the dominant (or only) determinants of reality can be identified within many disciplines, including anthropology, philosophy and literature, reflecting a growing acceptance of human and non-human, living and non-living entities as real, complex and partially withdrawn agents in the world. In Object Oriented Ontology the definition of object is extended to include humans, who have no special ontological status. Timothy Morton proposes rhetoric as a means of drawing closer to other objects, of contacting the ‘strange stranger’; objects cannot be known directly, or fully, but can be explored through imaginative speculation. Drawing on Object Oriented Ontology, my project explores making - an intimate engagement between body and material - as a means of thinking the body as a (strange) object within a mesh of strange objects. Facture is documented as image and language, prompting a series of shifting, speculative questions: • Can writing be brought to making to generate new new approaches to craft production? • How might writing in response to making, or objects, be reintroduced into a making process as a form of feedback? • Can writing_making methods generate new approaches to writing (about) making and materials? • How might a combination of production, documentation and reflection be displayed as artwork/research? • Can making be seen as a means for contacting the ‘strange stranger’?

La présente thèse, relative aux matériaux locaux et innovation dans les métiers d’"art-isanat" en Tunisie, vise, dans un premier temps, l'étude des ambiguïtés définitionnelles liées au métiers d’art avec toutes leurs déclinaisons dans le contexte socio-économique et culturel tunisien. Ces métiers seront comparés avec ceux de la France, pays partenaire de la Tunisie,pour en tirer les points de similitudes et de différences pour faire ressortir les principaux moteurs d'expansion. Dans un second temps, notre recherche se tourne vers l’établissement d’un bilan des connaissances des matériaux locaux répartis par régions tunisiennes. La poterie/céramique artisanale et la bijouterie ont constitué les deux créneaux majeurs de notre ensemble d’études. Des argiles locales et des pigments de la Tunisie utilisés ou pas par les artisans (es) dans les métiers liés à la poterie artisanale ont fait l’objet d'une caractérisation scientifique (minéralogique, chimique et géotechnique), réalisée dans des laboratoires spécialisés. Cela a permis d’améliorer les compositions des pâtes d'argiles et de découvrir des couleurs naturelles authentiques pouvant constituer un vecteur d'innovation. D’autres matériaux locaux, comme le quartz fumé bi-pyramidé pour la bijouterie, peuvent constituer un créneau valide et important pour la promotion des métiers d’artisanat en Tunisie. Cette recherche est basée essentiellement sur des analyses scientifiques et des réflexions épistémologiques et s’intègre principalement dans le cadre de la recherche en Design
The present thesis, relating to local materials and innovation in the craft trades of “art-isanat”in Tunisia, aims, initially, at studying the definitional ambiguities related to craft trades with all their variations in the Tunisian socio-economic and cultural context. These trades will becompared with those of France, Tunisia's partner country, to draw points of similarities and differences to highlight the main drivers of expansion. In a second stage, our research isaimed at drawing up an assessment of the knowledge of local materials distributed byTunisian regions. Artisanal pottery/ceramics and jewellery were the two major niches of ourset of studies. Local clays and pigments from Tunisia used or not by craftsmen in tradesrelated to artisanal pottery have been scientific characterization (mineralogical, chemical and geotechnical), carried out in specialized laboratories. This has allowed us to improve the composition of the clay pastes and discover authentic natural colors that could be a vector ofinnovation. Other local materials, such as bi-pyramid smoked quartz for jewelers, can constitute a valid and important niche for the promotion of crafts in Tunisia. This research isessentially based on scientific analyses and epistemological reflections and is mainly part of the design research

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The craft of clay in the city of Tracunhaém is an important sector of economic activity that generates employments and income for many families and features renowned artists, which makes the city one of the largest referral centers in the art of modeling clay in the country. This activity uses in its production process as the main energy input to the wood, and this demand causes a considerable impact on local biomes. The study was conducted by the Association of craftsmen Tracunhaém city, located in the Zona da Mata of Pernambuco. Data collection was conducted between June- December 2011, through questionnaires and semi-structured interviews with artisans to analyze the environmental perception regarding the use of forest biomass (wood) of the forest in its activity. Examined the context of craft activity in the city of Tracunhaém / PE, it was found that the majority of artisans (craftsmen 49) have their own wood-fired ovens in operation, and 29 artisans who did not have ovens themselves, but use third-party electric furnaces and 03, only 01 active and 02 kilns remain unused due to lack of a training program, enabling craftsmen to handle them properly to avoid accidents, it was identified that wood is the main source of energy matrix for the craft, was also identified that 70% of wood consumed comes from the backwoods of Pernambuco wood and 23% comes from the state of Paraiba. Further identified that 7% of firewood consumed is unknown. It was found that 79% of artisans (craftsmen 62) use an average of 05 cubic meters of wood per week, the activity of its ceramics since this demand is considerable development activity weekly. It is therefore necessary for the implementation of actions by the Municipality of Tracunhaém / PE in relation to environmental education for the artisans of the clay can make sustainable use of firewood on his craf activity.
O artesanato do barro na cidade de Tracunhaém é importante setor da atividade econômica que gera trabalho e renda para muitas famílias e conta com renomados artistas, o que faz da cidade um dos maiores centros de referência na arte da modelagem do barro no país. Esta atividade no seu processo produtivo utiliza como principal insumo energético à lenha, e esta demanda causa um impacto considerável nos biomas locais. O estudo foi conduzido junto à Associação dos artesãos da cidade de Tracunhaém, localizada na zona da Mata de Pernambuco. A coleta de dados foi realizada no período de junho a dezembro de 2011, através de aplicação de questionários e de entrevistas semi-estruturadas com os artesãos para analisar a percepção ambiental em relação ao uso da biomassa florestal (lenha) da mata nativa na sua atividade. Analisado o contexto da atividade de artesanato na cidade de Tracunhaém/PE, constatou-se que a maioria dos artesãos (49 artesãos) possuem os fornos próprios à lenha em atividade, além de 29 artesãos que não possuem os fornos próprios, mas utilizam de terceiros e 03 fornos elétricos, apenas 01 em atividade, e 02 fornos permanecem sem utilização, devido à falta de um programa de capacitação, que permitam aos artesãos manuseá-los corretamente de modo a evitar acidentes, constatou-se que a lenha é a principal fonte da matriz energética para o artesanato, também foi identificado que 70% de lenha consumida vem do Sertão do Pernambuco e 23% de lenha vem do Estado da Paraíba. Também foi identificado que 7% de lenha consumida tem origem desconhecida. Constatou-se ainda que 79% dos artesãos (62 artesãos) utilizam em média 05 m³ de lenha por semana, na atividade do artesanato de barro, visto que essa demanda é considerável para o desenvolvimento da atividade semanalmente. Sendo assim, é necessário à implantação de ações por parte da prefeitura do município de Tracunhaém/PE em relação à Educação Ambiental para que os artesãos do barro possam fazer o uso sustentável de lenha na sua atividade do artesanato.

This thesis uses the lens of building technology to examine cultural exchange and its relationship to the building crafts. By focusing on masonry vaulting in India, my research brings together two worlds – one that shines light on the variety of innovative masonry shell construction techniques that exist in the county and another that seeks to evaluate the scope of tile vaulting, an over 600-year old Mediterranean building technique, within India’s evolving building crafts culture. This thesis is organized in three parts: PART ONE Tile Vaulting and Relevance Today | A Brief History of Masonry Shells in India Part one introduces tile vaulting’s unique principles compared to other vaulting traditions while contextualizing its relevance to present day India. A survey of varied masonry vaulting techniques and modules, endemic and imported, practiced across India is presented against the backdrop of what is a predominantly reinforced concrete-based construction industry. PART TWO Modules, Methods and Motivations The second part of this research comprises case studies that include some of India’s most iconic buildings such as the Villa Sarabhai by Le Corbusier, the National Institute of Design by Gautam Sarabhai and Sangath by B.V. Doshi, each of which employed innovative construction techniques for its vaults. The production and use of the enigmatic ceramic fuses in India is examined for the first time alongside their indigenous cousins: burnt clay tubes. Together with Muzaffarnagar vaulting, the case studies reveal cultural motivations for architectural expression and production in postcolonial India. PART THREE Prototypes | Comparatives | Limitations & Extension of Research Part three presents five tile vaulting prototypes in India constructed with local artisans to gain understanding of its cultural reception, assess effective transfer of skills and potential internalisation. Recommendations for tile vaulting’s potential uptake into mainstream architectural production is evaluated by comparing findings against prevalent building methods and by contextualizing current architectural trends and social policy. Limitations and scope for extension of research are also discussed.

碩士
輔仁大學
國際經營管理碩士學位學程
106
In recent years, the structure of Taiwanese population has changed, making middle-aged to old-aged people become the major consumer, whom care about the health, and be willing to invest themselves to have higher quality life. They have strong needs for social life, companionship, self-realization and dedication. It would be a good business object if there is an activity satisfies the psychological needs, delay the aging process and maintain the health. Clay is a craft material with high plasticity, rich variety, age-free, safe and non-toxic, which combines with various media. Clay creation not only brings psychological healing, but also physical exercise, satisfying the needs of home decoration and gift giving, which is suitable for middle-aged to old-aged people as leisure activities. Therefore, this business plan will target middle-aged to old-aged people by using SWOT, STP analysis, etc. to give strategies, based on short-term, medium-term, and long-term business plans and financial forecasts. The result conducts to a high profit opportunity for the clay craft business.

碩士
華梵大學
建築學系碩士班
100
The Lin Family Mansion in Banqiao and Nan Yuan, respectively built in the end of Qing Dynasty and 1983 are two larger traditional gardens in North Taiwan with landscaping method of traditional techniques and Fujian style. This study uses Fujian style garden of Lin An-tai in 2010 Taipei International Flora Exposition as the example that uses clay structure mountain as the main architectural system and due to its construction nature, building time, and limited budget, traditional techniques and crafts have been failed to be fully utilized. The combination with modern material, new construction, and traditional craft punctuates its uniqueness and provides a good learning opportunity for future garden landscaping. The motivation and purpose of this study mainly conduct in-depth analysis of the research results of new construction method and explore the value of application. The preparation of Taipei International Flora Exposition began in 2010 and the researcher took part in the construction of Fujian style garden of Lin An-tai Historical Residence, Palace of Flora Teas from the starch and served as the director of construction site who was in charge of construction process monitoring, quality control, adjustment and construction interface adjustment. Based on records of construction process, this study interviews architects and craft men to further analyze the utilization of modern tools, construction method, and reinforcement method and examine with the principle of saving for time and material use, the effectiveness presented by traditional technique and craft. The process was found to undergo several rounds of testing, quality improvement and research and development; construction quality then has been used for the judgment of integrative effectiveness and the comparison between new construction and traditional method. The research results are expected to serve as the important reference for quality control of the similar projects with the combination of modern and traditional construction methods as well as future application.

碩士
國立屏東師範學院
視覺藝術教育研究所
91
This study adopts field work, interviews and iconography with two major objectives. First, I investigate the stone crafts and clay crafts from a variety of perspectives as their history and development, seating and positioning, significance of the contents used in glyphs, aesthetic value and appreciation. Finally I offer the discoveries the interviews with some sculptors. Secondly, I compare and criticize the expressional forms employed in both stone crafts and clay crafts. In the study, there are 40 temples in Taiwan chosen as research targets. Each has its artistic value. Step by step, I observe and analyze the following criteria: foundations, steps, plinths, balustrades, pillars, walls, windows, threshold, stone lions, acroterium, portals, fences, and so on. Conclusion: A: The essence of stone crafts and clay crafts at the temples in Taiwan . Stone Crafts: (1) Development: At the transition from Ming Dynasty to Ching Dynasty, stone crafts evolved through four major periods, namely, convention period, innovation period, growth period, and integration period. (2) Positions: The façade reflects a guest-and-host relationship, local customs, orderly patterns, and strong characteristics. (3) Contents: The teachings from Buddhism, Taoism, Confucianism and some stories from classics or daily life are used to produce auspicious patterns, personate characters, flowers and birds, dignified animals through the methods of implied, explicit and implicit expression. (4) Techniques in use: As we see, sculptures are often manually made in combination with electronic tools in order to speed up the making process. It’s a mix of traditional and modern methords. (5) Aesthetics and Appreciation: The embossing has an implication of Chinese Ying and Yang. It conveys the aesthetic sense of textures, colors, airs, circumstances. (6) What I discover from the interviews is that owing to the limited learning chances in Taiwan, the techniques and skills are digressing. Generally, sculpture merchants are near-sighted and they often neglect the aesthetic values. Besides, the market is very competitive and favors a utilitarianism. Clay crafts: (1) Development: It is imported from Mainland China during Ching Dynasty. There are four categories: clay works, arricciato sculpture, cut-and paste sculpture, koji sculpture. (2) Forms and positions Influenced by axis and symmetry, decorations appear on the focus. Broad space is advantageous for creativity. (3) Contents: Personate characters and dignified animals are mainly used. Characters from religions and mythology are often used. (4) Techniques in use: Technically, plastic sculpture was molded by liquid clay . Nowadays, concrete is used for re-modeling. Then, the surface was covered with color paints. (5) Aesthetics and Appreciation: With the meaning, forms and materials of using clay, It symbolically express the key ideas of the contents chosen and represent the hidden atmosphere. The decorations, functions and materials convey an unique artistic stylism . (6) Discovery from the interviews:Clay specialists are scarce. They face the challenge to pass on the traditional skills and techniques. Various styles exist, but most of the skills and techniques are mediocre and leaves much to be desired. B: Comparison and Criticism of the expressional forms employed by stone crafts and clay crafts at the temples in Taiwan. (1) In terms of expression: Both aims to reveal the teachings and focus on certain issues, also attempt to avoid taboos. In terms of patterns, stone crafts are more various and capricious, while claycrafts use a lot of personate characters. In styles, stone crafts focuses on sketching, while clay crafts focuses on the hidden approach. (2) Forms: Stone crafts appeared very often, clay crafts sometimes. Both keep the traditional styles and obey the general orders. Also, they respect the symmetry requirement, and follow upper-lower position courtesy. (3) Materials: Both they take into consideration of the concepts of adaptability, stability, and ethnic flavor. They both consider economic efficiency by using easy-made materials. (4) Techniques:Both demands high delicacy and tough training of sculptors. In practice, they start with a maquette and after final a few revision, (5) Color Texture:Colors are carefully selected to incorporate the five-elements awareness in Chinese culture. (6) Artistic Value: In contents, stone crafts are diverse, and clay crafts are simplistic. Speaking of forms, I see that both adopt traditional methods, obey the orders. In materials, stones are more endurable than clay. In terms of techniques employed, stone crafts require higher and more difficult techniques. As far as first impression is concerned, clay crafts are more outstanding. In implicit significance, both serve the task to educate the public about the morality. In cost, stone are more expensive than clay used in crafts.

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
106
Abstract This research aims at exploring the harmony in contrast by using integrating the bamboo-weaved patterns into the creation of clay tea crafts. It was initiated by the concern from my experience of my childhood memories. Though out the emotions associated with the moon, and the rural scenery. The outline of this study are as follows: Introduction: It includes the creation background, motivation and goal, definition of the terminologies and creation structure. Literature Review: In this chapter, I collected the documents of the clay teapots and bamboo weaving craft development to explore the idea of my creation in the future. Process and Method: Further discussion on The Harmony in Contrast and the idea of immersing the clay tea sets production with the bamboo weaving. Overview and analyze the techniques applied in these artworks. Art Appreciation: Based on theory and creating process to develop the 4 series of my painting: The Exploration of the Memory, The Wax and Wane, The Crossover, and The Harmony. In this chapter, each art work will be discussed and analyzed with its elements and techniques that make up an artwork. In this concluding chapter I summarize the contributions of this thesis and discuss the directions of future work. Keywords: Potting、 Tea crafts、 Bamboo weaving 、Tea culture