Academic literature on the topic 'Handicraft History'

AbstractThis paper analyses the trajectories of handicraft cloth production in three major sub-regions of Jiangsu Province in the late nineteenth and early twentieth centuries. In contrast to traditional focus on the bankruptcy of rural handicrafts in the face of competition from the modern industry, it argues that the fate of handicrafts depended on the specific characteristics of each sub-regional economy. Thus in Song-Tai, handicraft weaving declined as labour was drawn off into modern industry. In Tong-Hai the availability of machine-spun yarn in the market enabled the development of a commercialised handicraft weaving sector. Finally, in Xu-Huai-Hai machine-spun yarn enabled the inhabitants to substitute their own subsistence handicraft production for cloth purchased from elsewhere.

From beginning of the known history the handloom and handicrafts forms a valuable cultural trait of a society. The cultural pattern of a society is reflected in the quality and craftsmanship of their handicrafts. The term handloom and handicrafts refers those products of a common folk or a specific community, which are produced manually with their indigenous technology. The handicrafts of a society are one of the chief means of livelihood. The people of Arunachal Pradesh are artistically minded and gifted with deft hands and skilled fingers. Handloom and Handicraft for instance, offer wide scope to produce a variety of artistically blended and beautifully designed clothing. Handicraft is a very common craft in Arunachal Pradesh. The main handicraft items made in the state are masks, carpets, painted wooden vessels and silver articles. Cane and Bamboo play an important role in the rural economy of the state. Arunachal Pradesh has a rich tradition of Bamboo and Cane Handicrafts. The products reflect the rich and varied culture of the tribes inhabiting this enchanting State and the products featured are representative of the wide range of Handicrafts produced in the State.

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.

Thanh Hoa is a land with a rich history and culture, with many long-standing traditional handicraft villages, which have been lost over time, now gradually been restored and promoted their values ​​in modern life. In the spirit of Decree No. 52 dated April 12, 2018, of the Government on the development of rural industries, Thanh Hoa province has issued many mechanisms and policies to encourage the development of traditional handicrafts. The article focuses on clarifying the system of traditional craft villages in Xu Thanh (The Land of Thanh), the size, characteristics and guidelines, and policies of Thanh Hoa province to maintain and develop handicraft villages to serve the economy - social sustainability.

The present research featured educational and demonstration handicraft workshops in the Tomsk Province in the early XX century. The research objective was to determine the general course and features of the workshops that played a significant role in the modernization of technology and handicrafts in the region, along with other institutions of the Tomsk State Handicraft Committee, e.g. museums, warehouses, and libraries. The workshops became an important part of vocational education. A major role on the state level belonged to the administration of land management and agriculture and the Imperial Russian technical society. In the Tomsk province it belonged to the Tomsk Provincial Handicraft Committee and the Tomsk Department of the Russian Technical Society. By 1917, seventeen settlements in six parishes of the Province had seventeen workshops in nine areas of handicraft industry. Weaving, wagon-making, and agricultural engineering workshops predominated. They became centers for the development of vocational education and the popularization of new technologies. They organized educational support workshops for the adult population, sold modern machinery and materials, built warehouses for handicrafts and repair shops, instructor schools, etc. The network of workshops, along with vocational educational institutions, became the basis for the Soviet system of vocational education in Siberia in the post-revolutionary period. The paper contains an analysis of researches and historical sources. The results helped to fill the gaps in the history of vocational education in the South of Western Siberia.

The participation of women in entrepreneurship plays a significant role in economic development especially in reducing unemployment, increasing production and consumption, achieving gender equality, social and cultural reforms. One of the dominant areas for women is batik and songket entrepreneurs who are synonymous with women on the East Coast of Peninsular Malaysia. Studies have identified three key elements that contribute to the development of this craft entrepreneur, viz. attitude, business inheritance and religious value culture. Qualitative design methods based on case studies and in-depth interviews were used in this study on 12 informants in the state of Kelantan and Terengganu in Malaysia. The findings show that there are three main factors that cause the formation of women handicraft entrepreneurs, namely attitude, family heritage and religious values. Hence, all the factors that make up a female handicraft entrepreneur in Malaysia are discussed in this article. The findings imply that increasing women entrepreneurs in handicrafts can raise the quality of handicraft products into becoming the best tourism products in the East Coast.

The handicraft sector in India, due to its rich history and promising growth has been attracting a large number of entrepreneurs in recent times. A significant portion of these are women who have quit their previous careers due to the allure of the handicrafts sector. This study makes a modest attempt to explore the reasons why women choose to switch their careers at various organizations in favor of becoming a handicraft entrepreneur. The methodology employed uses a structured questionnaire which was circulated among women entrepreneurs through mail survey. The data was collected from select 53 women entrepreneurs in India who managed small to medium sized enterprises and who met the criteria of having quit their previous jobs to pursue their current chosen career and it was analyzed through the statistical software S.P.S.S. The results reveal that most of the respondents were motivated to engage in an entrepreneurial career in handicrafts because it made sense, they regarded it as a personal achievement and for some of them it was because they wanted to challenge themselves.

Diancui craft is a traditional Chinese handicraft, which has a history of more than 2000 years. Because of its complex production process and special materials, it has gradually faded out of the stage of history. In addition, due to the impact of western culture, many traditional Chinese handicrafts are facing the loss. This paper will study and analyze the history and development of Diancui craft, the production process of Diancui jewelry, and the application of Diancui craft in modern jewelry design. Combined with the relevant characteristics of modern jewelry design, we will find the commonness between traditional and modern, and provide new inspiration for the application of traditional crafts in modern jewelry design. How can we better inherit and develop the traditional Chinese Diancui craft.

In the article, the author discusses the ways of grouping and representing the handi-craft vocabulary items of the Sura Volga region dialects in a thematic dictionary orga-nized by the onomasiological principle. First of all, the author localizes the dialects in question and gives a brief description of their emergence paralleled with the history of the territory where they are present nowadays, that is of modern Penza and Ulya-novsk Oblasts, which were colonized by Russian-speaking settlers only a couple of centuries ago. The author concludes that these secondary idioms belong mostly to the Middle Russian group of dialects and share a lot of common features, which allows regarding them as a certain continuum liable to description as a whole. The author justi-fies the necessity of a dictionary containing the dialectal handicraft vocabulary of the Sura Volga region and claims that an accurate depiction of a certain thematic group of dialectal lexical items, such as handicraft terms, demands specific principles of organi-sation. These principles widely contradict the traditional alphabetic arrangement: for example, a coherent description of a bunch of words denoting related items (e.g. craftsman, his working place and result of work), or drawing of areal maps typically used in linguistic geography. Having analyzed the terms related to felting, carpentry and weaving, the author develops a special method of representing the relevant material both via lin-guistic data, such as phonetic variants, syntactic distribution and morphological peculiari-ties of each item, and encyclopaedic information on how each handicraft action or instru-ment contributes to the result and what this final result is for each type of the handicrafts under consideration. Thus, the author has chosen to divide the words related to each handicraft into seven subgroups such as ‘actor’, ‘instrument’, ‘result’, and so on, which shows the whole picture of what handicraft activities are like and why they need the terms they actually have. If one wants to look for a certain word, not a notion, an alphabetic index at the end of the book can be addressed, where each word is provided with the information on how it can be found in the main text of the dictionary. Finally, the author describes the principles of illustrative material selection. In general, the author hopes her project can prove useful for the description of Russian dialectal handicraft vocabulary

The article describes the current state of Russian handicraft industry research and outlines benchmarks for further studies. According to the authors, the completed historiographical path and the introduction of a wide range of sources into scientific circulation allows us to shift the focus of further research to issues related to determining the regional specifics of the traditional handicrafts transformation alongside the modernization of the social economy evolving in the second half of the XIX century. On the basis of the sources, including those introduced into scientific circulation for the first time, the authors show the specifics of the transformation of the peasant industry of the Black Earth Belt in the competitive business environment.