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1
Rahayu, Kania Sofiantina, and Anida Shafa Salsabila Putri. "PERANCANGAN PROGRAM EKOWISATA KERAJINAN TANGAN KOTA PALEMBANG PROVINSI SUMATERA SELATAN." Jurnal Sains Terapan 10, no. 2 (July 31, 2021): 1–13. http://dx.doi.org/10.29244/jstsv.10.2.1-13.
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ABSTRAKKota Palembang memiliki keanekaragaman sumberdaya budaya. Kesenian merupakan salah satu unsur budaya yang mencerminkan ciri khas suatu daerah asal kesenian. Kerajinan tangan merupakan salah satu kesenian Kota Palembang yang berpotensi sebagai daya tarik wisata. Ekowisata kerajinan tangan memiliki pengaruh dalam melestarikan produk kerajinan, meningkatkan perekonomian dan mensejahterakan para pengrajin tradisional di Kota Palembang. Tujuan penelitian ini adalah menginventarisasi dan mengindentifikasi sumberdaya kerajinan tangan di kota Palembang agar dapat dijadikan objek dalam rancangan program ekowisata di Kota Palembang Provinsi Sumatera Selatan. Metode yang digunakan yaitu studi literatur, wawancara, observasi langsung dan penyebaran kuisioner. Sumber daya wisata kerajinan tangan yang diinventarisasi terbagi menjadi dua klasifikasi yaitu kerajinan bahan keras dan bahan lunak. Terdapat empat kerajinan tangan di Kota Palembang yaitu terdiri dari satu kerajinan bahan keras dan tiga kerajinan bahan lunak. Sumber daya kerajinan tangan dianalis berdasarkan tujuh indikator penilaian Avenzora (2008) untuk mendapatkan hasil penilaian potensi sumber daya kerajinan tangan unggulan. Potensi kerajinan unggulan di Kota Palembang yaitu kerajinan Laker, Kain Songket, Kain Jumputan dan Ukir Kayu. Berdasarkan hasil identifikasi menunjukkan bahwa stakeholders setuju dan siap jika kerajinan tangan kota Palembang dimasukan ke dalam objek program ekowisata. Program Ekowisata dirancang dengan konsep eksplorasi kerajinan tangan yang melibatkan interaksi antara wisatawan dengan para pengrajin. Adanya program ekowisata kerajinan tangan ini diharapkan dapat merangsang pertumbuhan ekonomi kawasan dengan kapasitas masyarakat untuk mengelola sumberdaya.
ABSTRACTPalembang City has the diversities of cultural resources. Art is the cultural element that reflects the characteristics of an area. The Handicraft is one of Palembang City's arts which has the potential as a tourist attraction. Handicraft ecotourism has the influences in preserving the handicraft products, improving the economy, and the welfare of traditional craftsmen in Palembang City. This research purpose is to inventory and identify the handicraft resources in Palembang city so that they can be used as objects in the ecotourism program design in Palembang City, South Sumatra Province. The method used is literature study, interview, direct observation, and the questionnaire distribution. The handicraft tourism resources that are inventoried are divided into two classifications, namely the handicrafts with hard materials and soft materials. There are four handicrafts in Palembang City, consisting of one hard material handcraft and three soft material handicrafts. The handicraft resources were analyzed based on the seven assessment indicators from Avenzora (2008) to get the results of the superior handicraft resources potential assessment. The superior handicrafts potentials in Palembang are Laker, Songket, Jumputan, and the wood carving. Based on the identification results, it shows that the Stakeholders agree and are ready if Palembang handicrafts are included in the ecotourism program object. The Ecotourism program is designed with the handicraft exploration concept that involves interaction between the tourists and the craftsmen. The handicraft ecotourism program is expected to stimulate regional economic growth through the resource arranged by the community.
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Rautray, Priyabrata, and Boris Eisenbart. "ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS." Proceedings of the Design Society 1 (July 27, 2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.
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AbstractNew technologies have always been disruptive for established systems and processes. Additive Manufacturing (AM) is proving to be one such process which has the potential to disrupt handicraft and its manufacturing processes. AM is customisable, adopt multiple materials and is not restricted by the manufacturing process. Our research discusses this global phenomenon with case studies to highlights the growth of a new kind of professionals known as ‘Digital Artisans’. These artisans will assimilate the latest technologies with the cultural practices of the societies to create a new genre of products. The evolution of such artisans will be majorly led by people who have an equal inclination towards art and science and can act as the bridge between the handicrafts and technology. The development of such artisans will be supported by academics that will serve as a cradle and expose them to AM, design and handicraft. Its will also help in paving the growth of contemporary artisans who will utilise the strength of algorithms, artificial intelligence, CAD software and traditional aesthetics to create handicrafts of the future.
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Juliana, Juliana, and Hetty Zaharani. "REVITALISASI FILOSOFI ORNAMEN BERMOTIF MELAYU PADA DESAIN CORAK ANYAMAN GEDEBONG PISANG: KAJIAN KEARIFAN LOKAL BUDAYA MELAYU." Jurnal Lingua Idea 10, no. 1 (June 20, 2019): 12. http://dx.doi.org/10.20884/1.jli.2019.10.1.1541.
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This article aims to revitalize the phylosophy of Malay motif ornament in the design of woven gedebong. This research uses a qualitative descriptive method with ethnographic approach. The data were collected through observation, interview and documentation. There were four motifs used to revitalize and develop philosophical of Malay culture in the design of woven gedebong, they were flora, fauna, natural and wajik motifs. Firstly, flora motifs ornaments are from lined up flower (bunga berjajar), reap flower (bunga tampuk manggis), single florets (kuntum bujang), gundur florets, cloudy florets (kuntum awan larat), eartquake motion flower (bunga gerak gempa) on the handicraft of pencil case, cake box, skewer, kleenex box. Secondly, fauna motifs ornaments are from dragon (naga-nagaan) ant (semut beriring), twinned pigeon (merpati sekawan), return home duckling (itik pulang petang) on the handicrafts of sandal, kleenex box, and hat. Thirdly, outer space buih selari on the handicraft of astray. And lastly, Wajik motif are from portion form wajik (wajik petak tabur) and similar title of princess wajik (wajik payung sekaki tajuk puteri) on the handicraft of bag and stationery box. The philosophical local wisdom values of Malay ornaments are the values of good behaviours, taqwa (faith) to Allah, harmony, wisdom, heroic, affection, fertility, self-knowing, fair, responsibility. The result showed that there are some Malay motif ornaments used to develop in the woven gedebong that can be useful to revitalize the Malay philosophical of local wisdom values.
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Pattanapanithipong, Panu. "The Integration of the Pottery Handicraft Together with the Basketwork Handicraft Promoting Economic Community Strength." Asian Social Science 14, no. 6 (May 28, 2018): 50. http://dx.doi.org/10.5539/ass.v14n6p50.
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A study of the integration of the pottery handicraft together with the basketwork promoting economic community strength aims to 1) to study the basketwork identity to apply with the pottery handicraft 2) to examine the experimental design and to develop the pottery handicraft product combined with the basketwork in order to beautiful identical according to market qualifications and 3) to evaluate the market testing of the handicraft product developed conduce to the guidelines for producers apply to use. The samples were 400 people who interested in handicraft wherewith purposive sampling at the handicraft shop by used the accidental sampling, inquired for collect the data before as well as after design, evaluated by 3 groups of community product producer as 3 stars level which experience 10 years at least and 3 product design experts in order to evaluate the optimal pattern of product modified, therefrom, created the prototype as well as evaluated the opinion comments of consumer towards product designs. The results revealed that the most wanted of consumer that were the lamp product, basket product and decorated item products, the container rim of the 3rd pattern by weaving method was appropriate for forming pattern which were combined method with easy, strong and stable pattern, easy to fix when being ruined, the product pattern have been tested marketing by consumer found the satisfaction overall was the highest level, furthermore they satisfied in term of beauty than in term of usability.
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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.
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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.
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Shen, Hua Ping, and Wei Li. "The Function of the Materials Science in Industrial Design." Advanced Materials Research 798-799 (September 2013): 357–60. http://dx.doi.org/10.4028/www.scientific.net/amr.798-799.357.
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It is known that design means the art of times. As the industrial development enters the high-tech stage in current society, handicraft, industry and high technology have integrated with each other well. Moreover, informatization has been rapidly applied in the various aspects of human life. However, with the advent of digitalized era, design now lies in the age of reconstructing languages.
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Chan, Patrick K. C. "A Collaborative Design Curriculum for Reviving Sheet Metal Handicraft." International Journal of Art & Design Education 34, no. 3 (October 2015): 369–77. http://dx.doi.org/10.1111/jade.12092.
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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.
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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.
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Chandhasa, Rosjana, Jong Boonpracha, Somsakul Jerasilp, and Palang Wongtanasuporn. "The Guidelines of Product Design from the Vetivers Grass Fiber Innovation (Case Study of the Handicraft Product Group, Phayao Province)." Asian Social Science 13, no. 12 (November 28, 2017): 77. http://dx.doi.org/10.5539/ass.v13n12p77.
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This research aims to study the process and the physical property of the vitiate grass fiber by spinning vetiver grass with other natural fibers such as cotton, SamiaRicini, silk and plastic fiber such as plastic rope, wire rope and straw rope. The exploration was conducted by Ban KoSoa women group cooperative settlement, Ban Kae Mai handicraft product group and Ban Don Chai handicraft product group in Pusang District, Phayao Province. The physical properties examination, namely: ASTMD 1059:2001 Standard Test Method for Fiber Size, ASTM D 2256: 2002 Standard Test Method for Fiber Toughness with Hardness and Flexibility fiber Equipment, the results of examination would be brought to determinate for the handicraft product development design. The results from this exploration revealed that the fiber size was 0.73-0.15Ne, the tenacity (toughness) as maximum tensile strength was 4.75-9.97 kgf and the elongation at break was 7.73-11.48 percentages. The vetiver grass fiber mixed with straw rope had the tenacity as maximum tensile strength with differently at the statistically significant level of .05, the tenacity as maximum tensile strength average at 9.9 kgf, the vetiver grass fiber mixed with cotton fiber had the tenacity as maximum tensile strength with differently at the statistically significant level of .05, the tenacity as maximum tensile strength average at 6.60 kgf. The vetiver grass fiber mixed with wire rope had the highest elongation at break with differently at the statistically significant level of .05 by with the elongation break was 11.48 percentage. The vetiver grass fiber mixed with SamiaRicini fiber had the elongation break point with differently at the statistically significant level at .05, the elongation at break was 11.6 percentage. According to the handicraft product development guideline from the physical property of the vetiver grass fiber on the basis of this finding, the strength fiber as the vetiver grass fiber mixed with straw rope fiber or cotton fiber could be used for supporting weight product requirement, the elasticity fiber as the vetiver grass fiber mixed with straw rope fiber or SamiaRicini could be used for product which soft and flexibility requirement, the utility from using fiber color that spinning for beauty could be used the vetiver grass fiber that spinning and mixed with other fiber.
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Saitaer, Xiakeer. "The Traditional Dyes and Design Types of Uyghur Traditional Decorative Felt." Advanced Materials Research 472-475 (February 2012): 2801–4. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.2801.
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The ancient Uyghur people before entering the Tarim culture, that has not yet learned to grow cotton before, put the felt used to make houses, coat of important raw materials. As the title of felting Uyghur handicraft industry is a historical necessity, is indispensable for industrial and bedding material, Uygur ancestors felting skills to further develop, felt is not only common household items, and become aesthetic value of art, and also become a valuable asset of Uyghur people. Felt products with decorative designs are the most precious of the felt products. This paper discusses in detail the dye of traditional Uyghur decorative felt, the types of traditional Uyghur decorative felt designs, and sets forth reasons for its preservation.
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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.
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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.
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Yang, Yu. "Shadow Play Application in Children’s Wear Design." World Journal of Social Science Research 4, no. 4 (November 30, 2017): 385. http://dx.doi.org/10.22158/wjssr.v4n4p385.
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<p><em>In the mother of traditional culture, folk traditional handicraft is rich in content and various kinds, because of various artistic expression form and the artistic expression style that has visual effect is unique. As a kind of ancient Chinese folk traditional art, shadow play is famous for its rich traditional Chinese cultural patterns, unique color combination and retro characters.</em></p><em>Nowadays, the growth of children’s clothing market is especially bright in the market of adult clothing. But whether it is the children’s clothing derived from the foreign brands, or the brand that has been the market base in China for many years, the children’s clothes style is single, and the type of printing is not new. This research will use the performance of shadow play in children’s clothing, aiming to make children’s clothing with traditional Chinese elements.</em>
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Barani, Mahshid, and Helma Behbood. "The Hand-Tool Design Ergonomics Principles in Handicraft Workplaces: A Hybrid Approach of Ergonomics and Participatory Design." International Journal of Design Management and Professional Practice 15, no. 1 (2021): 63–74. http://dx.doi.org/10.18848/2325-162x/cgp/v15i01/63-74.
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Marhaeni, A. A. I. N., Ni Nyoman Yuliarmi, and Nyoman Djinar Setiawina. "Empowering small industry of wood carving handicraft in Bangli district." Asia Pacific Journal of Innovation and Entrepreneurship 13, no. 1 (April 15, 2019): 121–36. http://dx.doi.org/10.1108/apjie-07-2018-0045.
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Purpose The purpose of this study is to analyze the influence of social capital on human capital; the effect of social capital on transaction costs; the influence of social capital, human capital and transaction costs on empowerment; the indirect effect of social capital on empowerment through human capital; and the indirect effect of social capital on empowerment through transaction costs in Bangli Regency. Design/methodology/approach The population in this research is all wood carving business in Bangli Regency, in all districts some 366 business units. The number of respondents surveyed were 191 business units in all sub-districts. The sampling technique used is stratified random sampling, with strata of business area. Inferential analysis is preceded by using factor analysis techniques to obtain factor scores on each latent variable, followed by path analysis to answer the research objectives. Finding Based on the analysis, the following conclusions are drawn: social capital has a positive and significant impact on human resources; positive social capital and significant positive to transaction costs; social capital and human resources have a positive and significant effect while transaction costs and no significant positive effect on empowerment; human resources partially mediate the influence of social capital on empowerment; and transaction costs do not act as a variable, mediating the influence of social capital on empowering small woodcraft industry in Bangli Regency. Originality/value This study is one of the few to investigate the role of social capital, human capital and transaction cost on empowerment of small industries, especially wood carving in Bangli District. This small woodcraft industry is famous for its uniqueness that characterizes Balinese carving ornaments. But lately, the productivity of handicrafts wood carving, especially in Bangli District, fluctuates tend to decline. Social capital, in addition to human capital and technology, also plays an important role in the production process. Social capital equals other physical capital and can increase productivity and economic efficiency. Higher social capital owned by individuals or groups can reduce transaction costs; thus economic activity can run efficiently. Social capital is the information, trust and norms of reciprocity inherent in social networks.
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Izzan, Fauziana, Putri Dahlia, and Tria Ocktarizka. "KAJIAN ESTETIKA KUPIAH RIMAN DESA DAYAH ADAN KABUPATEN PIDIE." IKONIK : Jurnal Seni dan Desain 3, no. 1 (February 1, 2021): 23. http://dx.doi.org/10.51804/ijsd.v3i1.865.
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Daerah Aceh kaya akan kebudayaan, banyak hasil kebudayaan Aceh yang tidak terlepas dari nuansa Islami, salah satu contoh dalam seni rupa adalah kupiah riman yang digunakan oleh kaum lelaki Aceh. Sampai saat ini kerajinan kupiah riman masih diproduksi di Desa Dayah Adan Kecamatan Mutiara Timur Kabupaten Pidie. Kupiah riman memiliki ciri khas motif tradisional Aceh, seperti: motif pintoe Aceh, bungong kupula, bungong jeumpa,dan lain-lain. Pengetahuan tentang bentuk dan nilai keindahan/ estetika yang terkandung di dalam kupiah riman tidak diketahui oleh sebagian besar masyarakat Aceh saat ini. Masyarakat Aceh menganggap motif tersebut hanya sebagai hiasan semata. Nilai keindahan tersebut menarik untuk diteliti karena kupiah riman memiliki dua bentuk yaitu lonjong dan bulat. Kupiah ini digunakan dalam berbagai upacara adat. Penelitian ini bertujuan agar masyarakat Aceh pada umunya dan Kabupaten Pidie khususnya dapat mengenal kekayaan budaya daerah seperti kupiah riman agar dapat dijaga dan dilestarikan keberadaannya.Penelitian ini akan menggunakan teori estetika Monroe yaitu kesatuan (unity), kerumitan (complexity), dan kesungguhan (intensity) untuk menganalisis kupiah riman. Hasil penelitian ini nantinya dapat dijadikan sebagai acuan atau referensi bagi penelitian selanjutnya mengenai kupiah riman. Hal ini juga berpengaruh terhadap industri kerajinan kupiah riman yang ada di Desa Dayah Adan karena diharapkan melalui penelitian ini produk kupiah riman semakin dikenal.Aceh is rich of culture, many of its culture has islamic nuances, one of the example in art is "kupiah riman" which is used by man in aceh . Until now the handicraft of "kupiah riman" is still produced in Dayah village, Mutiara Timur sub district, district of pidie. Kupiah riman has characteristic traditional design of aceh , like : pintoe aceh design, bungong kupula design, bungong jeumpa design, etc. Nowadays, The knowledge about form and estetic value in kupiah riman is unknown by most of native people in aceh.people in aceh assumed that the design only as handicraft. The estetic value are interesting to be researched because kupiah riman has 2 form, there are oval and circle. This kupiah is used in many of traditional ceremonies. This research is aimed to purpose the people in aceh in general, and especially pidei distric know the wealth of region culture like kupiah timan, so that it can be saved and preserved. This research will use monroe estetic theory (unity), complexity, and intensity to analize kupiah ruman . The result of the research furthermore can be references to the next research. It also has influence to the handicraft industry sector of kupiah riman in dayah village, the researcher hope, due to this research , kupiah riman is more knowable .
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Ogawa, Risa, and Takayuki Fujimoto. "Feasibility and Application of 3D-ORIGAMI Modeling System Utilizing Mobile Device." International Journal of Software Innovation 7, no. 3 (July 2019): 51–64. http://dx.doi.org/10.4018/ijsi.2019070103.
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Origami, a well-known Japanese traditional handicraft work, is the very popular art for Japanese. The delicate design of origami is characteristic of Japaneseness, origami is considered part of a mysterious culture. In this study, the authors suggest the system by which the user can experience 3D expression easily with a smartphone. They develop the app for foreign people by which they can enjoy Japanese origami culture easily and suggest the system that enables the experience of the 3D expression by using the plastic reflector. Moreover, they enhance utility for the system by increasing the number of contents. They also evaluate the system and examine the utility.
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Hartomo Soewardi and Lintang Zahrima Kalsum. "ERGONOMIC DESIGN OF THE CUTTING MACHINE FOR CHOPPING CYPERACEAE PLANT." Malaysian Journal of Public Health Medicine 20, Special1 (August 1, 2020): 83–87. http://dx.doi.org/10.37268/mjphm/vol.20/no.special1/art.676.
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The manual cutting is still applied in the Small and Medium Industries (SMI) especially in cutting the Cyperaceae plant. One of the varieties is “Fimbristylis Globulosa (Mendong)”. This plant is used as a raw material to manufacture the handicraft. The process is commenced with chopping the plant by using a manual tool. However, the existing tool still causes some complains where 90% of users experienced discomfort and unsafe in the use. The tool is also not effective and efficient for cutting. Thus, it is significant to improve the better cutting tools. This objective of this study is to design the innovative and ergonomic cutting tools for satisfying user requirements. The survey was done to identify some discomfort. The participatory ergonomic method is applied to determine the specification of design on basis anthropometry data of users. Non-parametric statistical analysis is conducted to test the hypothesis. The results of this study show that the developed design is a valid to reduce the risk of work-related musculoskeletal disorders and more comfort and safer at 5% of the significant levels where the proposed design specification used electric motor system and pneumatic system.
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Carrillo Martínez, José Ignacio. "The Manufacture of Leather as an Applied Art in the Modernisme: the Factory-Workshop of Miguel Fargas y Vilaseca." Res Mobilis 10, no. 13-2 (June 14, 2021): 204–22. http://dx.doi.org/10.17811/rm.10.13-2.2021.204-222.
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This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress.
We will highlight the Miguel Fargas and Vilaseca Factory, which will manage to industrialize this handricraft, becoming one of the few internationally known manufacturers. We will try to illustrate the history of this office by analyzing this case study, since it reveals an interesting part of the panorama of decorative arts in Modernista Barcelona.
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Fan, Kuo-Kuang, and Xue-Hui Li. "Taking Lacquer as a Mirror, Expressing Morality via Implements: A Study of Confucian Ritual Spirituality and the Concept of Consumption in the Ming and Qing Dynasties." Religions 11, no. 9 (September 1, 2020): 447. http://dx.doi.org/10.3390/rel11090447.
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The periods of the Ming and Qing dynasties featured prosperous socioeconomic development; the development of industrial, commercial, and manufacturing production; and active urban consumer behavior with great advocacy for the doctrines of Confucius and Mencius in the imperial court, and extensive promotion of refined elegance of benevolence, righteousness, ritual, and wisdom among the public. Under the influence of such an objective environment, lacquerware, as China’s most ancient traditional form of artwork, also functioned as significant historical evidence for the development of the urban handicraft industry. Assuming a social role between ritual items and daily items, the development of lacquer arts was closely bound up with Confucian ritual spirituality. Based on relevant cultural relic data and documents in the literature, this study takes lacquer as a mirror with regard to the progress of the trend of lacquer culture and lacquer art during the Ming and Qing dynasties as the clue, and analyzes the embodied features of lacquer art design function, modeling, and themes to discuss the influence of Confucian ritual spirituality on social consumption.
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Oentoro, Kristian. "Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 6 (July 15, 2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.
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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro
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Herryprilosadoso, Basnendar. "Pengembangan Potensi Masyarakat Melalui Industri Kreatif Sebagai Rintisan Desa Wisata di Desa Kundisari, Kedu, Temanggung." Abdi Seni 10, no. 1 (April 28, 2020): 1–12. http://dx.doi.org/10.33153/abdiseni.v10i1.3031.
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AbstrakDesa Kundisari merupakan salah satu daerah yang berada di Kecamatan Kedu, Kabupaten Temanggung Proinsi Jawa Tengah yang memiliki beragam potensi di bidang kesenian yang terdiri dari 4 (empat) potensi, yaitu kesenian kuda lumping, gerabah, seni musik dangdut, sholawatan dan rebana. Selain potensi seninya dengan permukaan wilayahnya dengan dataran tinggi sangat berpotensial dijadikan destinasi pariwisata. Prioritas permasalahan yang ada, yaitu : 1) Metode pendampingan dalam pengembangan dan pengelolaan seni kerajinan berbasis bambu dan batik eco print sebagai cinderamata (souvenir); 2) Metode pendampingan dalam pengembangan dan pengelolaan manajemen sumber daya manusia untuk menyusun rintisan desa wisata kreatif; dan 3) Metode pendampingan dalam pengembangan untuk perancangan Environment Graphic Design. Tahapan dan proses pengabdian kepada masyarakat tematik ini terdiri dari 3 (tiga) tahapan besar, yaitu : Tahapan Identifikasi Masalah (Envisioning Phase), Tahapan Perencanaan (Planning Phase), dan Tahapan Desain/Rancangan (Developing Phase) dengan melalui teknis pelatihan, pendampingan, dan workshop bagi warga masyarakat Desa Kundisari.Sinergitas pihak kampus dan akademisi dalam mendukung program pelatihan kepada masyarakat dalam rangka pengembangan potensi desa di bidang industri kreatif sangat diperlukan, khususnya pelatihan teknologi tepat guna yang nantinya bisa langsung diterapkan oleh warga masyarakat desa.Kata kunci: Potensi Desa, Pelatihan Kerajinan, Industri Kreatif, Desa Wisata Kundisari. AbstractKundisari Village is one of the areas in Kedu, Temanggung , Central Java Province which has a variety of potentials in the arts consisting of 4 (four) potentials, namely kuda lumping , pottery, dangdut music art, sholawatan and tambourine. In addition to its artistic potential with the surface of its territory with a plateau is very potential to be a tourism destination.Priority problems that exist, namely: 1) Methods of assistance in the development and management of bamboo and batik- based handicraft arts as souvenirs (souvenirs); 2) Assistance methods in the development and management of human resource management to develop creative tourism village pilot projects; and 3) Assistance methods in development for designing Environmental Graphic Design. The stages and process of dedication to this thematic community consists of 3 (three) major stages, namely: the Phase of Identification Problems (Envisioning Phase), the Planning Phase (Planning Phase), and the Design / Design Stages through the technical training, mentoring, and workshops for residents of the Kundisari. Synergy between the campus and academics in supporting training programs for the community in the context of developing village potential in the field of creative industries is very much needed, especially training in appropriate technology which can later be directly applied by villagers.Keywords: Village Potential, Handicraft Training, Creative Industries, Kundisari Tourism Village
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binti Kindoyop, Salbiah, Noria ak Tugang, Humin Jusilin, and Junior Kimwah. "Traditional Kinulung Craft Weaving of the Dusun Tindal of Kota Belud, Sabah." SHS Web of Conferences 45 (2018): 02002. http://dx.doi.org/10.1051/shsconf/20184502002.
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Arts and cultural heritage is a potent reflection of the identity of a community. The art of traditional handicraft weaving in any society is dependent on the resources available in his environment and the needs of the particular community. The Dusun Tindal of Kota Belud is rich in weaving craft traditions with kinulung as one of its distinctive products. Kinulung is unique with its own specific purpose and simple design, and has been able to withstand modernisation and change. However the factors of adaptation, environmental change, and modern technological transformation could pose as threats to the traditional and heritage elements in the production of the kinulung. This study is important as a platform for the promotion of continuity and resilience of the Dusun Tindal heritage. Kinulung documentaton will clarify various aspects of the design and purpose elements of this traditional craft. The study focuses on the design and meaning presented in the kinulung weaving tradition as an object of culture in the community. Material for this study was derived from field work through observations, interviews and notations. The findings of the study indicate that the design and motif of the kinulung reflect the cultural values and local knowledge of the Dusun Tindal.
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Isnaini, Enik. "Upaya Pemerintah Kabupaten Lamongan Dalam Melindungi Hak Cipta Batik Tradisional." Jurnal Independent 1, no. 1 (June 1, 2013): 22. http://dx.doi.org/10.30736/ji.v1i1.3.
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Batik is a traditional handicraft that contains high value of art and has been exist as the part of Indonesian (partially, Javanese) culture since long. Thus, batik, with its traditional design, including design of Lamongan traditional batik, is one of the wealth of Indonesian culture inheritance. Based on the conclusion, batik needs to be perpetuated, protected, and supported for its long goal development. As the part of the traditional culture that has been passed on since generations, patent rights of batik will be controlled by the state as it‟s been arranged in Pasal 10 ayat 2 UU No. 19 tahun 2002 about patent rights (copyrights). The emerge of falsification and imitation of traditional batik connected tightly with the economic and social condition that occurs in our society, in which after economic crisis hit our country, economic and social stability of our people slipped off unarrangedly. Patent rights protection, based on Undang Undang nomor 19 tahun 2002 about copyrights already accomodating the protection of all creations including traditional batik, yet the protection given by Undang-Undang nomor 19 tahun 2002 about copyrights aren‟t wisely, or completely, used by the apparatus.Keywords : Batik of Lamongan, Culture Inheritance, Protection of Copyrights
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Turlyun, L. N., and N. V. Frantseva. "TEXTILE ORNAMENT. EVOLUTION FROM BLOCK PRINTING TO COMPUTER TECHNOLOGIES." Arts education and science 1, no. 1 (2021): 157–63. http://dx.doi.org/10.36871/hon.202101018.
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The article is devoted to technologies of pattern printing on fabric. It provides a historical overview of the development of printing techniques, examines the main stages of this process in terms of technology innovation and evolution of technical means. It also systematizes the information available in the literature about traditional methods and new technologies for pattern printing on textile, technical means for implementing these technologies. Such concepts as block printing, manner, machine printing, flat and roll printing, direct printing, transfer printing, digital printing, photo printing are revealed. The authors also touch upon the history of the art of handicraft printing in Russia, emphasizing that the first Russian masters to apply images on fabric were icon painters, who decorated church interiors with ornamental patterns and created drawings for handwritten books. It is noted that mechanization became an important stage in the development of Russian textile industry, which significantly increased the speed of fabric production and its artistic design. The article reviews the main types of modern fabric printing techniques, as well as graphic editors for creating patterns and drawings. Advantages and disadvantages of modern digital technologies on textile are discovered.
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Akhiyar, Dinul, Vivi Nila Sari, and Abulwafa Muhammad. "Analysis and Development of Marketing for the Creative Industry of West Sumatra Based on E-Commerce with the Concept of Customer Relationship Management (Crm) (Analisa Dan Pengembangan Pemasaran Industri Kreatif Sumatera Barat Berbasis E-Commerce Dengan K." Jurnal KomtekInfo 6, no. 2 (November 19, 2019): 144–54. http://dx.doi.org/10.35134/komtekinfo.v6i2.53.
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West Sumatra is an area in Indonesia that has many Creative Industries, this is the reason the government places representatives of the Ministry of Creative Industries in this region. This is done to foster, oversee and develop the Creative Industries that exist today. The Creative Industries that exist today are very diverse there are 15 fields that are very potential to be developed in Indonesia, Advertising (Advertising), Architecture, Art Goods Market, Crafts (Craf), Design, Video, Film, Photography, Interactive Games (Games), Music , Performing Arts (Showbiz), Publishing and Printing, Computer and Software Services, Television and Radio (Broadcasting), Research and Development (R&D), Culinary. Of the 15 creative industries in Indonesia for the West Sumatra region there are 9 sub-sectors of potential creative industries, namely, fashion, culinary, handicraft, music, performing arts, photography, design, animation, and film, but not all creative industry sectors it is developing so that it has an impact on the marketing of its products. For this reason, it is necessary to analyze and develop the marketing of creative industries in West Sumatra that prioritizes the concept of Customer Relationship Management (CRM) so that marketing concepts that have the potential to increase marketing of creative industry products will be known. Especially now that the Provincial Government is developing the Halal Tourism Industry, of course in this field there a re very many opportunities for the development of the Creative Industries
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SW, Hagung Kuntjara, and Muhammad Imam Tobroni. "EMPOWERING COMMUNITIES THROUGH CREATION OF MURAL ART AS AESTHETIC SUPPORT IN ‘KEDAI OMAH JLAMPRANG’ PEKALONGAN." ICCD 2, no. 1 (November 27, 2019): 220–25. http://dx.doi.org/10.33068/iccd.vol2.iss1.215.
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Krapyak Village - Pekalongan, is currently improving itself to become a tourist destination based on the carrying capacity of Geographical, Cultural, Human Resources owned, including; Slamaran Beach, Batik Industry with typical motifs of Jlamprang, Culinary specialties of Pekalongan, and community human resources who will be trained in their independence. Community Development Academic (CDA) - Binus University facilitates the transfer of knowledge from lecturers from various interdisciplinary disciplines to be applied directly to the community or community that requires capacity building in connection with the preparation to develop tourist destinations. Through a long collaboration and discussion between the campus and the government of Krapyak - Pekalongan Urban Village, it was decided to build a culinary shop where joint learning could serve typical Pekalongan meals, outlets selling batik and handicraft products of SMEs, as well as a convenient spot for community gathering to build understanding of tourist area preparation. Through training programs on the physical building architecture of the shop, Interior Design settings and selection of equipment for chairs and souveneer creation training, mapping of tourist attractions, culinary training in making menus and cooking, Management of shop and financial management. Visual Communication Design plays a role in thecreation of identity branding, starting from naming 'Kedai Omah Jlamprang' and its completeness and Mural Art to build a cozy atmosphere of a shop through the work of aesthetic elements that have meaning. All of these training programs involve discussions and practical workshops on product creation that involve lecturers and SME communities in the Krapyak - Pekalongan village, so that the objectives of the Fostering & Empowering Society can occur. It is hoped that this process will build trust and desire to grow economic independence in the community.
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Kumari, Gaitri, and Abhaya Ranjan Shrivastava. "The role of the state in saving Paitker painting in Jharkhand." Craft Research 12, no. 1 (March 1, 2021): 79–104. http://dx.doi.org/10.1386/crre_00041_1.
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This study investigates the background of Paitker painting in Jharkhand, India, and the role of the state in saving it. Paitker painting is more than 500 years old. It is exclusively practised by the Chitrakar community in Amadobi village, a tradition that had been encouraged by the emperors of the Dhalbhum dynasty (1300 ad). Today, Paitker painting is on the verge of vanishing as there are only 45 families left in the Chitrakar community of whom only two are keeping this rare art practice alive. Most have left their community and practice, and migrated to cities to find a more sustainable livelihood. The study adopted an exploratory research design using a qualitative research approach and oral narrative analysis. Four officials of Jharcraft, artisans and policy-makers were interviewed to understand the progress made by the government in saving Paitker painting. Additionally, secondary data was collected to better understand the cultural significance of Paitker painting, the socio-economic value of Paitker for the Chitrakar community and handicraft marketing processes within and outwith India. The main findings of the study reveal that clarity was lacking in the conservation approach and that additional government policy support was needed. The most significant initiatives of the state to date include training and e-retailing through the Jharcraft web-platform. The study found that improving the infrastructure and better promotional efforts to improve marketing, nationally and internationally, could improve the sustainability of Paitker painting in an effort to save it.
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Harrod, William Owen. "The Vereinigte Staatsschulen für freie und angewandte Kunst and the Mainstem of German Modernism." Architectural History 52 (2009): 233–69. http://dx.doi.org/10.1017/s0066622x00004202.
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In 1936, Nikolaus Pevsner asserted at the Royal Society of Arts in London that the Weimar Republic had produced two great modern schools of art: Walter Gropius’ Bauhaus and Bruno Paul’s Vereinigte Staatsschulen für freie und angewandte Kunst (Unified State Schools for Fine and Applied Art) in Berlin. Pevsner was outspoken in commending the ‘atmosphere of youth, conquest, thrill’ that pervaded the Bauhaus in emulation of the passionate and revolutionary spirit of its founder. But he was troubled by the shortcomings of its programme. By contrast, Pevsner praised the Vereinigte Staatsschulen for restoring the essential ‘balance between painting and sculpture on the one hand, and handicraft and design on the other’ (Fig. 1). Unlike the Bauhaus, Pevsner concluded, the Vereinigte Staatsschulen ‘represented a success in almost every respect’. Yet, despite its importance to the dissemination of the Modern Movement, the Vereinigte Staatsschulen has been largely forgotten in the English-speaking world, while the Bauhaus has been long been regarded as the epitome of twentieth-century modernism, and, particularly in popular culture, even of the very concept of modernity. Nevertheless the interwoven stories of the Vereinigte Staatsschulen and the Bauhaus, and of their directors, serve to illuminate the complexity of the unwritten history of the Modern Movement.The Vereinigte Staatsschulen and the Bauhaus were, as Pevsner noted, parallel developments. Both emerged from the artistic reform movements that characterized the final years of the German Empire, and which found their culmination in the Deutscher Werkbund. The faculty of Vereinigte Staatsschulen sustained the unbroken history of its progenitor institutions, reflecting a broad and inclusive Modern Movement that echoed the often-contentious composition of the Werkbund itself. The Bauhaus faculty sought, ultimately unsuccessfully, to effect a clear and decisive break from a similar historical context. Notwithstanding its brilliant achievements, the Bauhaus ultimately represents but a single, exclusive branch of the history of the Modern Movement. The Vereinigte Staatsschulen reflects the broader currents that engendered twentieth-century modernism.
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Abdullah, Zulkeflee, Nurul Fadzlina, Mohd Amran, Shamsul Anuar, Mohd Shahir, and Khairul Fadzli. "Design and Development of Weaving Aid Tool for Rattan Handicraft." Applied Mechanics and Materials 761 (May 2015): 277–81. http://dx.doi.org/10.4028/www.scientific.net/amm.761.277.
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The main purpose of this project is to design and develop an assisting tool in manufacturing of rattan handicraft. Rattan is a non-timber forest resource which has a variety of functions in the making of handicrafts and furniture. The production of rattan handicraft typically carried out using manual and traditional methods. However, there are some problems to be faced by the craftsman in making the handicrafts such as the time constraints for the creation of products, due to the difficulty in term of the size, and the pain in the hands while making the handicraft products. Therefore, assisting tools or devices in manufacturing of rattan handicraft are needed to solve the problem. The methods used are questionnaire survey, CATIA software for RULA analysis and SolidWork software for FEA analysis.
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., I. Kadek Agus Edi Yudana, Dr I. Ketut Sudita, M. Si ., and Dra Luh Suartini, M. Pd . "KERAJINAN MOSAIK DI DESA KENDERAN TEGALLALANG GIANYAR." Jurnal Pendidikan Seni Rupa Undiksha 8, no. 1 (July 26, 2018): 90. http://dx.doi.org/10.23887/jjpsp.v8i2.15174.
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Judul penelitian ini adalah ”Kerajinan mosaik di desa Kenderan Tegalalang Gianyar”. Masalah yang dibahas pada penelitian sebagai berikut : (1) Bagaimana keberadaan kerajinan mosaik di desa Kenderan (2) Bahan dan alat apa saja yang dimanfaatkan untuk membuat kerajinan mosaik (3) Bagaimana proses pembuatan kerajinan mosaik kaca (4) Apa saja jenis-jenis kerajin mosaik yang terdapat di desa Kenderan Tegalalang Gianyar.
Metode yang digunakan dalam penelitian ini adalah deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah artshop-arshop mosaik di desa Kenderan. Pengumpulan data dalam penelitian ini dilakukan dengan teknik observasi, wawancara, dokumentasi, dan kepustakaan.
Hasil-hasil yang ditemukan dalam penelitian ini adalah: (1) keberadaan kerajinan mosaik mulai berkembang tahun 2007 di desa Kenderan hingga saat ini dikarenakan sebelum tahun 2007 kerajinan kayu menurun sehingga masyarakat di desa Kenderan beralih ke kerajinan mosaik kaca. (2) bahan dan alat yang digunakan untuk membuat kerajinan mosaik kaca sebagai berikut. Bahan yang digunakan seperti : kaca, kayu, MDF, gerabah, lem fox, nat MU, cat impra, dan thinner. Adapun alat yang digunakan seperti : alat pemotong kaca, penggaris kayu, geregaji besi, kuas, spray gun, kompresor, amplas dan spon busa. (3) proses dilakukan dalam pembuatan kerajinan mosaik kaca adalah sebagai berikut : a.pemilihan bahan kaca, b.pemilihan alas atau landasan, c.Pemotongan kaca, d.pembuatan pola landasan, e.pemasangan kaca ke landasan, f. pemasangan nat dan g. finishing. (4) Jenis-jenis produk seni kerajinan mosaik di desa Kenderan adalah sebagai berikut : a.mosaik cermin lingkaran, b.mosaik cermin persegi, c.mosaik cermin fauna, d.mosaik tempat buah, e.mosaik tempat dupa, f.mosaik asbak, g.mosaik hiasan dinding berbentuk fauna, h.mosaik hiasan dinding berbentuk gitar, i.mosaik tulisan, dan j. mosaik pas bunga atau guci.
Dapat disimpulkan bahwa Kerajinan mosaik berkembang tahun 2007 di desa Kenderan, dalam proses pembuatan menggunakan beberapa bahan dan alat, adapun beberapa proses yang dilakukan dalam pembuatannya. Produk yang sudah dibuat seperti mosaik cermin berbentuk geometris dan fauna, tempat buah dan dupa, hiasan dinding berupa fauna dan gitar, mosaik berbentuk tulisan dan mosaik berbentuk guci dan pas bunga. Saran Untuk menumbuh kembangkan produk kerajinan mosaik di desa Kenderan. Disarankan agar pemerintah lebih memperhatikan terkait dengan memberikan pembinaan kepada para pengerajin dalam bidang pemasaran dan pengembangan bentuk desain. Kepada para pengerajin agar terus berkarya dan mengembangkan karyanya hingga menembus pasar internasional. Untuk Peneliti selanjutnya yang akan meneliti karya kerajinan mosaik kaca di desa Kenderan diharapkan untuk menambahkan aspek sejarah dari artshop-artshop yang ada di desa KenderanWayan, serta memasukan aspek pemasaran dan manajemen dalam pembuatan produknya.
Kata Kunci : Kerajinan, Mosaik kaca The title of this research is "The mosaic craft at Kenderan Tegalalang village, Gianyar ". The problems discussed in this study were as follows : (1) The existence of mosaic craft at Kenderan Tegalalang village, (2) What materials and tools were used to make the mosaic craft (3) The process of making the glass mosaic craft (4) What kinds of mosaic crafts were found at KenderanTegalalang village.The method used in this research was descriptive with qualitative approach. The subject of this research was the mosaic art shops at Kenderan village. The process of collecting data in this research was conducted through observation, interview, documentation, and bibliography.
The results that found in this research were: (1) the existence of mosaic craft firstly developed at Kenderan village in the year of 2007 till today because before the year of 2007 the wood craft decreased and the people at Kenderan village switch their interest to glass mosaic craft. (2) The materials and tools were used to make the glass mosaic craft as follows: a glass, a wood, a MDF, a pottery, glue, a fox, a nat MU, an impra paint, and a thinner. The tools used such as: a glass cutting tool, a wood ruler, a railing iron, a brush, spray gun, a compressor, a sand paper and a sponge foam. (3) The process in making mosaic glass craft were as follows: a. selecting the glass materials, b. selecting the base or foundation, c. cutting the glass, d. making the grounding pattern, e. installing the glass to the base, f. installing the nat and g. finishing. (4) The types of mosaic craft art products at Kenderanvillage were as follows: the circular mosaic mirror , the square mosaic mirror, the fauna mosaic mirror, mosaic of the fruit place, mosaic incense, f. mosaic ashtray, g) mosaic ornament of fauna-shaped wall, mosaic of wall hangings of guitar shaped, written mosaic , and j. flower-fitting mosaic or jar.
It can be concluded that Mosaic handicraft developed in the year of 2007 at Kenderan village. Actually, the process of making the object used some materials and tools. There were several processes in creating the mosaic crafts. Products that had been made such as geometric mirror mosaic and fauna, fruit and incense place, wall decoration of fauna and guitar, written mosaic shaped and mosaic shaped urn and flower fit. There were also the suggestions to grow the mosaic craft product atKenderan village. It was necessary for the government to give more attention related to providing the construction to the craftsmen in the field of marketing and the development of the design form. All of the craftsmen need to continue to work and develop the creation in order to penetrate the international market. For further researchers who will investigate the handicraft of mosaic glass at Kenderan village were expected to add the historical aspects of each art shops atKenderanvillage, Gianyar. They also were expected to enter the aspects of marketing and managing the manufacture of its products.
keyword : Handicraft, Glass Mosaic
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Fengfan, Ju. "Traditional Tie-dye Handicrafts and Modern Design Concept Combined." Journal of Arts and Humanities 6, no. 9 (September 16, 2017): 12. http://dx.doi.org/10.18533/journal.v6i9.1230.
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<p>Tie-dyeing is the traditional handicraft in china, and this traditional handicraft is the accumulation of people's wisdom and the survival of the skills.Due to rapid economic development in recent decades, spurred in pursuit of excessive consumption of fast, fast fashion, industrial production gradually replaced the traditional handicraft, resulting in many of the traditional handicraft industry is facing a crisis.How does the traditional tie-dye craft blend with modern lifestyles?It has become a pressing issue.And in modern society, people pay more attention to practicality, cultural and spiritual combination. there is a certain regional and differences in traditional culture and it aesthetic point of view, inevitably conflicting with the modern design concept.But this contradiction can be reconciled, we should be in the traditional level of culture to be in-depth research and application, based on the research of the traditional design and analysis from refining, refactoring, transforming in line with modern aesthetic standards.</p>
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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.
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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;
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Naidu, Suwastika, Anand Chand, and Paul Southgate. "Determinants of innovation in the handicraft industry of Fiji and Tonga: an empirical analysis from a tourism perspective." Journal of Enterprising Communities: People and Places in the Global Economy 8, no. 4 (October 7, 2014): 318–30. http://dx.doi.org/10.1108/jec-11-2013-0033.
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Purpose – The purpose of this paper is to examine the determinants of innovation in handicraft industry of Fiji and Tonga. Design/methodology/approach – Data for this study was collected via face-to-face interviews with handicraft sellers in Fiji and Tonga. In total, 368 interviews were conducted in Fiji and Tonga out of which, 48 was from Tonga and 320 was from Fiji. Findings – The results of this study show that eight factors; namely, value adding, design uniqueness, new product development, cultural uniqueness, advanced technology, experience of owner, ability of owner to adapt to trends in market and quality of raw materials have significant impact on level of innovation in handicraft industry of Fiji and Tonga. Originality/value – To date, none of the existing studies have examined determinants of innovation in handicraft industry of the Pacific Island countries. This is a pioneering study that examines determinants of innovation in handicraft industry of Fiji and Tonga.
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S. H., Hengky. "Snooping Handicraft-Ecotourism in Lombok." Business and Management Horizons 6, no. 1 (January 7, 2018): 1. http://dx.doi.org/10.5296/bmh.v6i1.12623.
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Handicraft ecotourism has not become a leading sector in Lombok. Recently, the President of Indonesia has targeted to improve the performance of this sector to be ten times over the next four years. Factually, obstacles encountered with the development of handicrafts in Lombok include raw materials, facilities, and weakness in material, design, creativity, and promotion. This study addressed a theme of a sustainability, economy and development of a region. Determining the performance gap between the existing and expected, would inform them about the priority over their program. This study found four (4) points that get to improve: Firstly, the Ministry of Tourism will prioritize training for the artisans in making the new design of the new craft actively. Secondly, develop innovative and developing creative new designs and themes from crafts, adapting lessons to the needs of travelers and meeting their criteria. Thirdly, the artisans expand their distribution area to improve its business by coordinating, strengthening the standardization of craft quality. Finally, they get to substitute the material without changing the function and culture of local handicrafts.
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Kumohin, Aleksandr, and Aleksandr Antonovskiy. "Craft education as a perspective direction of development of modern professional education." Applied psychology and pedagogy 6, no. 3 (July 1, 2021): 136–47. http://dx.doi.org/10.12737/2500-0543-2021-6-3-136-147.
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The article considers the main aspects of craft activity in modern society and reviews the literature on craft education as one of the directions of development and improvement of professional education. The main organizational, technological and psychological characteristics of handicraft activity are highlighted. The analysis of trends in the development of professional work in the context of providing professional training for handicraft business is carried out. The main problematic areas of handicraft activity are noted: the lack of legislative and regulatory documents regulating the field of handicraft; federal state educational standards in the field of training of handicraft personnel have not been developed in vocational education; professional standards have not yet been developed for existing handicraft professions and craft activities; the lack of educational and scientific literature on handicraft activities and craft professions, which limits the opportunity to master craft education. Currently, the development of handicrafts is on the path of complicating the performance of professional activities. Modern craft education requires significant intellectual investment associated with the idea and design of future products, the presence of imagination and creativity in their work, an important role is played by the ability to build and maintain interpersonal relationships with various groups of people involved in the structure of the organization of a craft enterprise. Today, the organization of handicraft work requires a certain professional training with the need to form professional competencies of various directions (technological, legal, economic, pedagogical, aesthetic, etc.), which, in turn, will be able to stimulate professional improvement and professional development in handicraft activities.
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Mahira, Eka Diana. "Strategi Dalam Memajukan Industri Kreatif Dan Pengembangan Ekonomi Lokal (Studi Kasus Industri Kerajinan Seni Desa Tegallalang)." Jurnal Ilmiah Vastuwidya 2, no. 1 (June 15, 2020): 72–78. http://dx.doi.org/10.47532/jiv.v2i1.77.
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This study was aimed to determine strategies for solving capital and marketing problems, especially handicraft industries in Gianyar Regency. This research was a case study research using descriptive data analysis method, where this method was used to explain a phenomenon that occurs. The object of this research was the art craft industry in Tegallalang Village, Gianyar Regency. Based on the results of field surveys and literature studies, one of the factors that inhibits the empowerment of small craft industries in Bali and Indonesia in general is the lack of modern integrated management to support productivity and innovation in production. The situation that has occurred until now is that there has not been a comprehensive arrangement of the various components that drive small industries. The handicraft industry that mushroomed in Tegallang Village faced a variety of serious problems related to capital, marketing, and the innovations of the production of cepuk woven fabrics themselves. As a handicraft business, the absorption of labor is actually very large. Many rural residents still rely on this craft industry. But the problem of marketing this handicraft is still a problem that is not maximally developed. Based on these problems as for the strategy carried out is by implementing cooperation with partners, one of which is the Bali Partner Institute. Mitra Bali plays a strategic role as a facilitator in empowering craftsmen and developing their entrepreneurial spirit. Craftsmen are motivated to continue to produce designs for handicraft products, market their products overseas, and continually find ways to promote domestic and foreign promotions for their handicraft products. This condition is certainly very conducive for craftsmen to continue to develop their businesses. But for the future steps of the synergy of various parties (government, private sector, tourism actors, and craftsmen themselves) in empowering the handicraft industry, it is very important to develop.
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Putra, Ardhansyah. "PRODUKSI LIMBAH BONGGOL JAGUNG DI DESA SAENTIS." Jurnal Pengabdian Kepada Masyarakat MEMBANGUN NEGERI 4, no. 1 (April 30, 2020): 34–40. http://dx.doi.org/10.35326/pkm.v4i1.503.
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The purpose of activities is to help solve the problems of partners to become independent and lead to a productive economy by utilizing corncob waste. The PKM partner is corn farmers in Desa Saentis which is ± 25 km or 40 minutes from UMN Al-Washliyah. The partner priority issues are ; (1) aspects of production, including; a) partners do not have the knowledge and skills in processing corncobs; b) partners never to training processing corncobs from the government or the private sector; c) partners don’t have the appropriate technology to process corncobs into handicraft items. (1) aspects of production, including: a) Focus Group Discussion on the potential of corn waste into handicraft items; b) the use of appropriate technology in the form of grinding machines and hacksaw to make handicrafts from corncobs; c) Benchmarking partners corn cob crafter; and d) training to design handicraft made from corn cobs. Output targets include: 1) grinding machines and hacksaw; 2) enhancing partner skills in the production of handicraft items made from corn cobs; 3) design of handicraft made from corn cobs such as tissue boxes, decorative lamps, placemats
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Yang, Xu Guang, and Bin Zhou. "Design of Decorative Glass Handicraft Products in Qinhuangdao." Advanced Materials Research 598 (November 2012): 289–92. http://dx.doi.org/10.4028/www.scientific.net/amr.598.289.
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The development of domestic and foreign decorative glass handicraft products is introduced, and the processing of glass handicrafts is described in this paper. It is an imperative to design with local characteristics glass handicrafts and make full use of local resources in Qinhuangdao so as to promote the local economic development.
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Li, Wen-Tao, Ming-Chyuan Ho, and Chun Yang. "A Design Thinking-Based Study of the Prospect of the Sustainable Development of Traditional Handicrafts." Sustainability 11, no. 18 (September 4, 2019): 4823. http://dx.doi.org/10.3390/su11184823.
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Traditional handicrafts have a time-honored history and tremendous cultural value in China. However, even with the strong impact of globalization and consumerism in recent years, design-oriented scientific thinking and sustainable development models are not yet available. Based on Stanford Design Thinking, this study explores the prospect of the sustainable development of traditional handicrafts. First, a literature review and analysis were conducted to show that design science, as a bridge between natural science and humanities, aims to improve the important methods and research tools for the sustainable development of traditional handicrafts. Then, we studied ceramic product design via workshops. Methods such as action research, expert questionnaires, and factor analysis were adopted to establish 24 “indicators of the sustainable value of handicraft design” and four value dimensions, namely, “material and innovative value”, “handicraft and cultural value”, “empirical and local value”, and “sharing and interactive value”. Next, an experimental method was employed to make design product prototypes according to the design-thinking procedure. These prototypes were measured and evaluated with the indicators to form an evaluation report. In addition, the exploration of the sustainable development of traditional handicraft design also contributes to the establishment of a sustainable development model of design thinking. It was demonstrated that scientific design is the current trend and future of the sustainable development of traditional handicrafts. Finally, this study put forward five dynamic thinking methods and design strategies, providing the most direct methods and theoretical evidence for the sustainable development of traditional handicraft design. Finally, taking design thinking as the sustainable design framework, five dynamic thinking approaches were proposed: Thinking with the body, thinking with the mind, thinking with the heart, thinking with the hands, and thinking with the soul. Five design strategies were also proposed: Enquiry learning, values education, future problem solving, experiential design, and appropriate assessment. These approaches and strategies provide the most direct method and theoretical basis for the future of sustainable design regarding traditional Chinese handicraft products.
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Arum, Nathya, Gerardo Harisson Setianto, Sally Malinda, Widasapta Sutapa, and Nida Daniyatul Muhdirah. "Redesign Tas Hand Sanitizer dari Limbah Kain Batik Cirebon." Jurnal Teknologi dan Desain 2, no. 2 (January 31, 2021): 112–18. http://dx.doi.org/10.51170/jtd.v2i2.116.
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Abstract
Cirebon is one of big city in Java island that develops and preserves Batik handicraft. Batik maker in Cirebon mostly producing only in primary textiles or basic clothing, while many derivative products from residual shred pieces sere less developed. Actually big portions of good residual pieces can still be used for handicrafts, especially handicraft and handmade souvenir for local and international tourists. Cirebon also the oldest batik center which influences various batik patterns at the north coast of Java Island. The research team is Interior Design students tried to solving this problem through research methods . It aim to utilize existing batik waste and develop a recycle handicraft model so that it is beneficial to the surrounding community. The research method is carried out by conducting observations, interviews and experiments online so as to produce hand sanitizer bag products.
Keywords: handicraft, Cirebon batik, recycling, hand sanitizer bag
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Bliesner, Anna, Christopher Manstein, and Holger Rohn. "Further Education for Trainers and Teachers - Findings of the Project "Eurocrafts 21 - Making Handicraft Sustainable"." Journal of Teacher Education for Sustainability 13, no. 2 (January 1, 2011): 44–58. http://dx.doi.org/10.2478/v10099-011-0013-1.
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Further Education for Trainers and Teachers - Findings of the Project "Eurocrafts 21 - Making Handicraft Sustainable" The purpose of the paper is to share the findings of a European innovation transfer project (2008-2010) for strengthening sustainability in European handicraft with the aim of transferring a German qualification and consulting concept. The focus of the paper is a train-the-trainer design, which was developed, tested and evaluated with regard to the specific qualification needs and the existing qualification concepts of five European countries. The paper provides content, didactic approach and methods of the train-the-trainer design and the key results of the related analysis of research data. Furthermore, the train-the-trainer design is embedded within the project approach, the methodology of realising an innovation transfer and the associated project products. The results of the train-the-trainer design evaluation are reflected upon with regard to starting points of a European qualification concept for sustainability in handicraft.
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Androshchuk, Iryna, Ihor Androshchuk, and Hanna Krasylnykova. "Preparing Future Handicraft Teachers for Inclusive Education in Ukrainian Schools." Journal of Vasyl Stefanyk Precarpathian National University 8, no. 1 (April 1, 2021): 122–31. http://dx.doi.org/10.15330/jpnu.8.1.122-131.
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The paper highlights the results of empirical research regarding the issues undermining the implementation of inclusive education in the context of training handicraft teachers and, consequently, discovers effective ways to eliminate them. It shows that future handicraft teachers are mostly not ready to implement inclusive education. This is due to the lack of adequate knowledge and skills required to work with children with special needs. Besides, the paper indicates students’ unawareness of categories of children with special needs and characteristics of correctional and developmental work in handicraft lessons, including relevant exercises, motor activity. This fact negatively affects future teachers’ emotional readiness to work under such conditions. Working with various tools while processing structural materials requires adherence to safety rules in lessons and appropriate organization of design and technological activities. The paper specifies that teacher placement supervisors do not have the necessary experience of working with children with special needs and thus cannot prepare their students for that. Also, it justifies the need to develop students’ emotional readiness to work with children with special needs, update the content of professional training for future handicraft teachers, taking into account the specifics of inclusive education, develop their ability to employ teaching methods appropriate for inclusive classes in handicraft lessons. Finally, the paper isolates the main areas that can help to increase the effectiveness of professional training of future handicraft teachers in higher education institutions so that they can work with children with special needs.
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Wu, Qiong, and Li Na Zhang. "Thinking about the Theory Construction of Chinese Industrial Design." Advanced Materials Research 228-229 (April 2011): 248–52. http://dx.doi.org/10.4028/www.scientific.net/amr.228-229.248.
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Concerning on the current vague definition of industrial design in China, this paper indicates that industrial design and engine design are compound concept. In the first place, it introduces the definition and theory of industrial design. Then, by analyzing design development and industry development relationship, it regards modern industrial design as a heritage and a production from the development of traditional handcraft design. Finally, it proposes that in order to regulate a modern design theory with Chinese characteristics. We must learn the advanced industrial design theory from the west. At the same time, we must fully excavate the essence of traditional Chinese handicraft culture. Also we should integrate Chinese traditional handicraft design theory into the west modern industrial design theory.
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Mwila, Natasha Katuta, and Mtendere Caroline Wemba. "Eliciting a profile of handicraft entrepreneurs in Maboneng." World Journal of Entrepreneurship, Management and Sustainable Development 14, no. 2 (June 11, 2018): 114–25. http://dx.doi.org/10.1108/wjemsd-03-2017-0011.
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Purpose The purpose of this paper is to explore and articulate the profile of handicraft entrepreneurs operating in the Maboneng precinct of Johannesburg, South Africa. Design/methodology/approach This study is qualitative in nature – implementing a phenomenology through which cases of four handicraft entrepreneurs are developed. Findings Handicraft entrepreneurs in Maboneng possess a spiritually motivated profile that does not allow them to be neatly characterised in the profiles of the literature. Originality/value This study contributes to addressing the dearth of knowledge in the literature on the profile of entrepreneurs in Africa. It provides insights on the spiritual motivation of artisanal entrepreneurs in particular who represent a part of the largest proportion of African small-scale entrepreneurial activity.
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Anh Thu, Luong, Sun Fang, and Sham Sunder Kessani. "Factors influencing Vietnam’s handicraft export with the gravity model." Journal of Economics and Development 21, no. 2 (October 7, 2019): 156–71. http://dx.doi.org/10.1108/jed-08-2019-0021.
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Purpose The purpose of this paper is to investigate the factors that affect handicraft export from Vietnam to trading partners in the period 2007–2017, and how those factors influence the export of handicraft products of Vietnam. Design/methodology/approach The research uses the approach of gravity model based on panel data to evaluate the export of Vietnamese handicraft to 50 main trading partners, covering the period from 2007 to 2017. Findings The estimated results reveal that Vietnam’s GDP, importer’s GDP, trading partner’s population, Vietnam’s inflation, the economic distance between Vietnam and importer, the openness of Vietnam, importing country’s common language and the issue that both Vietnam and importer are member of APEC are the main factors affecting Vietnamese handicraft export. Research limitations/implications This study also has some limitations. It is limited in the data, as some other areas in the world have not been observed and included in the research. In the future, a study with large-scale data of space and time should be conducted, which will certainly give a universal result and fewer errors. However, this paper, in our opinion, provides a significant result and may help the government and policy makers to undertake appropriate measures to improve and promote the export of Vietnamese handicrafts to the world markets. Practical implications The research describes the current situation, and it studies factors influencing Vietnam’s handicraft export using the qualitative analysis. The result should be useful for the policy maker and enterprises to promote export activities of Vietnamese handicrafts to international markets. Social implications Handicraft export of Vietnam plays an important part in retaining the culture value and social development as well as encouraging sustainable development for the rural poor within the country. Originality/value The past research related to Vietnamese handicraft export almost analyzed the situation to promote export handicrafts. This research is based on the study of factors affecting trade and the gravity model to elaborate and supplement the factors that affect the export of handicraft in accordance with the actual conditions of Vietnam.
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Saparudin, Muhammad Agus, Rizal Justian Setiawan, Eko Budi, Aji Puspito, and Imam Fauzi. "DESIGN AND MANUFACTURE OF BAMBOO HANDICRAFT DRYER MACHINE BASED ON LPG GAS." Tadulako Science and Technology Journal 2, no. 1 (August 12, 2021): 01–09. http://dx.doi.org/10.22487/sciencetech.v2i1.15555.
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Bamboo plant is one of Indonesia's natural resources. People use bamboo to make household furniture, fences, frames, and handicrafts. Bamboo plant is a special commodity that can be used as various kinds of handicraft products in DIY, precisely in Brajan area, Sleman Regency. Based on observations that have been conducted on one of the bamboo craftsmen in the Brajan area, bamboo handicraft is in great demand due to they have a unique and ethnic appearance, but the production process is quite complicated and takes a long time. According to the literature, this is due to bamboo plants are classified as herbaceous plants, namely plants with watery or wet stems. So far, the method used is drying bamboo handicrafts under the hot sun, and using a dryer that can only be used for one type of handicraft. This method is not optimal and not effective for producing bamboo handicrafts. Therefore, it is necessary to apply appropriate technology to optimize the production of bamboo crafts, the solution is to manufacture bamboo dryers to facilitate bamboo handicraft producers in the bamboo drying process. In general, the appearance of this tool resembles a cupboard. This tool has a size of 1200x800x1800 mm with three chambers. This tool works by utilizing the heat from the LPG gas stove. As a temperature controller, this tool is equipped with a blower that has been programmed with Arduino Uno and functions to stabilize the temperature if the heat generated exceeds the maximum limit. The dryer machine can dry bamboo handicrafts to a water content of 2.5% in just 40 minutes, very efficient compared to conventional methods. This tool can facilitate and optimize the production of bamboo handicrafts in the Brajan area, Sleman, Special Region of Yogyakarta.
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Alam Hamdani, Nizar, Sukma Nugraha, and Asep Suparman. "SUPPORTING FACTORS FOR THE SUCCESSFUL IMPLEMENTATION OF CORPORATE GOVERNANCE IN HANDICRAFT SMES." Humanities & Social Sciences Reviews 8, no. 1 (March 3, 2020): 913–19. http://dx.doi.org/10.18510/hssr.2020.81108.
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Purpose of Study: This research is to analysis and study factors that influence the successful implementation of good corporate governance in handicraft SMEs based on several factors related to business ethics, public information, and the company's ability to develop, be sustainable and compete. This study also aims to create a new element from several groups of factors that can be categorized based on grouping in a component matrix.
Methodology: This research was conducted using a descriptive correlational design. The samples were 54 handicraft SMEs that have implemented corporate governance principles in five regencies in West Governance. The sampling technique uses simple random sampling in 5 districts in West Java Province. Data processing used Exploratory Factor Analysis (EFA).
Main Findings: The results show that the four factors support the successful implementation of Handicraft SME's corporate governance. The first factor is profitability, financial report integrity, and competitiveness, this primary factor is called competitiveness. The second factor is decision making, business ethics, and planning and organizing aspects, and this factor is called leadership. The third factor is sustainability and access to banking and this factor is called the bankable factor. The fourth factor consists of growth and public information, and these factors are called growth factors.
Applications of this study: The results of this study can be used as a reference by handicraft SMEs to develop business management to improve leadership factors and maintain growth so that it becomes bankable and competitive. This information is also useful for investors and financial service providers to provide capital to handicraft SMEs.
Novelty / Originality of this study: First, this research formed a new factor that supports the success of governance in handicraft SMEs; these factors are leadership, competitiveness, bankable, and growth. These four factors are the main factors determining the successful implementation of corporate governance in handicraft SMEs. Both of these studies combine several concepts from previous research the characteristics of SMEs in West Java, Indonesia.
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Oyekunle, Oluwayemisi Adebola, and Mziwoxolo Sirayi. "The role of design in sustainable development of handicraft industries." African Journal of Science, Technology, Innovation and Development 10, no. 4 (June 7, 2018): 381–88. http://dx.doi.org/10.1080/20421338.2018.1461968.
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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.
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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.
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Banerjee, Subhojit, and Anuj Sharma. "Improving unsustainable livelihood through marketing interventions." Journal of Management Development 33, no. 2 (February 4, 2014): 107–18. http://dx.doi.org/10.1108/jmd-11-2013-0148.
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Purpose – The purpose of this paper is to describe an initiative to improve the daily earnings of a rickshaw puller by training them to retail branded FMCG products based on a “bulk buying retail selling” model. The paper is based on the findings of a survey conducted 112 rickshaw pullers in a semi-urban district of eastern India. It also dwells on the business of rickshaw pulling and the socio-economic status of the rickshaw puller. Critical issues related to the sustainability and the future of such interventions on a large scale has also been discussed. Design/methodology/approach – An initial survey of 112 rickshaw pullers was done using a structured schedule that captured data related to age, literacy level, earnings per day, ownership and working hours. Some additional aspects related to socio-cultural aspects were also collected as an unstructured interview. A secondary survey from 107 respondents representing different sections of the society who frequently use rickshaw as a means for transport was also done to take an opinion on intervention issues. Findings – Findings of the paper suggest that rickshaw pullers have three distinct strategic advantages of literacy, access and mobility, which makes them a potent resource for marketing intervention. Research limitations/implications – The paper reflects on a systematic intervention plan that can change the socio-economic pattern of rickshaw pulling. A possibility of contributory roles from garage owners and wholesellers is also explored. The proposed scheme may also bail-out the small-scale industries and handicraft businesses in villages. Major limitations of the research are long-term sustainability and large-scale implementation of the proposed model. Practical implications – The paper can act as a manual for small entrepreneurs and NGOs working in the social-development area for implementing schemes targeted at rickshaw pullers. The paper also has valuable points for the consideration of policy makers. Originality/value – The research has given insights in to the livelihood aspect of one of the most essential but neglected modes of transport, i.e. rickshaw pulling. The paper has also identified key strengths that rickshaw pulling has, which otherwise is considered purely physical and low-skilled job.