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Journal articles on the topic 'Handicraft History'
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1
JUNYA, MA, and TIM WRIGHT. "Industrialisation and Handicraft Cloth: The Jiangsu Peasant Economy in the Late Nineteenth and Early Twentieth Centuries." Modern Asian Studies 44, no. 6 (December 23, 2009): 1337–72. http://dx.doi.org/10.1017/s0026749x09990333.
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AbstractThis paper analyses the trajectories of handicraft cloth production in three major sub-regions of Jiangsu Province in the late nineteenth and early twentieth centuries. In contrast to traditional focus on the bankruptcy of rural handicrafts in the face of competition from the modern industry, it argues that the fate of handicrafts depended on the specific characteristics of each sub-regional economy. Thus in Song-Tai, handicraft weaving declined as labour was drawn off into modern industry. In Tong-Hai the availability of machine-spun yarn in the market enabled the development of a commercialised handicraft weaving sector. Finally, in Xu-Huai-Hai machine-spun yarn enabled the inhabitants to substitute their own subsistence handicraft production for cloth purchased from elsewhere.
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Mandal, Ram Krishna. "Present Scenario of Handloom and Handicrafts Industries of the ADIS." Journal of Global Economy 10, no. 3 (October 2, 2014): 191–203. http://dx.doi.org/10.1956/jge.v10i3.362.
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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.
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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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Buoi, Le Thi. "Traditional Handicraft Village in Thanh Hoa Today." Journal of Humanities and Education Development 4, no. 4 (2022): 43–51. http://dx.doi.org/10.22161/jhed.4.4.7.
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Thanh Hoa is a land with a rich history and culture, with many long-standing traditional handicraft villages, which have been lost over time, now gradually been restored and promoted their values in modern life. In the spirit of Decree No. 52 dated April 12, 2018, of the Government on the development of rural industries, Thanh Hoa province has issued many mechanisms and policies to encourage the development of traditional handicrafts. The article focuses on clarifying the system of traditional craft villages in Xu Thanh (The Land of Thanh), the size, characteristics and guidelines, and policies of Thanh Hoa province to maintain and develop handicraft villages to serve the economy - social sustainability.
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Ovchinnikov, V. A. "The Role of Educational and Demonstration Workshops in the Development of Vocational Education and Training for the Handicraft Industry of Tomsk Province in the Early XX Century." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 948–61. http://dx.doi.org/10.21603/2078-8975-2019-21-4-948-961.
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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.
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Awang @ Mohd Noor, Nor Hanim, Norfatiha Othman, and Nor Hayati Sa’at. "Pembentukan Usahawan Kraf Tangan Wanita di Malaysia: Peranan Sikap, Warisan Keluarga dan Pembudayaan Nilai Agama." Kajian Malaysia 39, no. 2 (October 29, 2021): 153–78. http://dx.doi.org/10.21315/km2021.39.2.7.
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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.
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Deya Gayatri, G., and C. S. Udhayakumar. "A Study on Motivations for Career Switching to Entrepreneurship in Handicrafts Among Women." International Journal of Engineering & Technology 7, no. 3.6 (July 4, 2018): 21. http://dx.doi.org/10.14419/ijet.v7i3.6.14926.
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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.
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Li, Shaojie. "Innovative application of Diancui technology in modern jewelry design." BCP Social Sciences & Humanities 18 (June 30, 2022): 546–49. http://dx.doi.org/10.54691/bcpssh.v18i.1160.
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Diancui craft is a traditional Chinese handicraft, which has a history of more than 2000 years. Because of its complex production process and special materials, it has gradually faded out of the stage of history. In addition, due to the impact of western culture, many traditional Chinese handicrafts are facing the loss. This paper will study and analyze the history and development of Diancui craft, the production process of Diancui jewelry, and the application of Diancui craft in modern jewelry design. Combined with the relevant characteristics of modern jewelry design, we will find the commonness between traditional and modern, and provide new inspiration for the application of traditional crafts in modern jewelry design. How can we better inherit and develop the traditional Chinese Diancui craft.
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Korolkova, Mariia D. "Representation of the Handicraft Vocabulary of the Sura Volga Region in a Thematic Dictionary: Prerequisites for Creation, Composition and Structure." Voprosy leksikografii, no. 20 (2021): 40–66. http://dx.doi.org/10.17223/22274200/20/3.
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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
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Egorov, Vladimir, and Olga Zozulya. "Handicraft industry in Russia in the second half of the 19th century: study results and further scientific research directions." OOO "Zhurnal "Voprosy Istorii" 2021, no. 04-1 (April 1, 2021): 51–73. http://dx.doi.org/10.31166/voprosyistorii202104statyi03.
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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.
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Zozulya, O. A. "Handicraft workshops of Moscow province as a factor of professional education of peasants." Izvestiya MGTU MAMI 8, no. 3-5 (October 10, 2014): 82–87. http://dx.doi.org/10.17816/2074-0530-67406.
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Article is dedicated to one of the pages in the history of professional training for handicraft industry of Moscow Province at the turn of XIX-XX centuries. Analyzing archival materials, the author shows that handicraft training workshops have become the centers for the dissemination of technical knowledge and new artistic techniques among the handicraftsmen contributed to the development of many kinds of crafts.
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Zhang, Xiyue, Yajuan Li, Jing Lin, and Yanjun Ye. "The Construction of Placeness in Traditional Handicraft Heritage Sites: A Case Study of Suzhou Embroidery." Sustainability 13, no. 16 (August 16, 2021): 9176. http://dx.doi.org/10.3390/su13169176.
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Traditional handicrafts are rooted in the idea of the place, and their revival can trigger a construction of place in terms of physical buildings and cultural ambience. This study focuses on traditional Suzhou embroidery and analyses the effect of its revival on the construction of placeness and sustainable development within its specific social context. The results showed that (1) reviving traditional handicrafts triggers changes to local public spaces, the reshaping of local architecture, and the development of a cultural landscape; (2) The revival of the handicraft in terms of local activities is reflected in increased efficiency and creativity and in the stable inheritance of skills. The traditional farming lifestyle of Zhenhu has been transformed, leading to better quality of life and social networks; (3) The revival of Suzhou embroidery has updated the place through renovating its image. The local residents’ awareness of the benefits of their handicrafts has also increased, and their increased dependence on place will strengthen their belongingness and attachment to it. These local changes exert positive impact on the realization of sustainable goals by boosting decent work and economic growth, ensuring environmental sustainability, building sustainable cities and communities, and enhancing community stability and cultural diversity. Thus, the revival of handicrafts can guide a place to refocus on local economic growth and cultural development towards sustainable development, bringing about an organic inheritance of its history and the reinforcement of placeness.
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Vallard, Annabel. "Laotian textiles in between markets and the politics of culture." Journal of Southeast Asian Studies 42, no. 2 (May 12, 2011): 233–52. http://dx.doi.org/10.1017/s0022463411000038.
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The policies of the United Nations Educational, Scientific and Cultural Organization (UNESCO) related to heritage preservation and promotion have been spreading worldwide for the past few decades. This ethnographically focused paper examines two UNESCO devices, the Crafts Prize and the Awards of Excellence for Handicrafts, as they apply to the contemporary Laotian textiles scene. It questions in particular the uses and values locally assigned to these international certifications of excellence and their mobilisation in the commoditisation of fabrics. On a larger scale, it considers what those devices reveal and entail regarding a ‘traditional’ handicraft that is, from now on, entangled between trade and the ‘politics of culture’.
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Ergasheva, Sayora A. "POTTERY ART OF SURKHAN OASISIN 1950-80s." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 77–82. http://dx.doi.org/10.26739/2181-9599-2021-6-11.
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The article tells about the history of ceramics and its features, which is one of the types of crafts in Surkhandarya. A scientific analysis of the social and spiritual basis for the development of crafts in Uzbekistan in the traditional national context and the thousand-year experience of folk crafts are given. Pottery is one of the national handicraft traditions of the Uzbek people, which has long been valued as one of the crafts. At the beginning of the twentieth century, various techniques and mechanisms began to be used in the production of handicrafts. This has had a significant negative impact on the quality of art production. By the 1950s and 1980s, ceramics had made many items disappear. Nevertheless, the oasis potters continued their work, remaining true to the tradition of the master apprentice
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Beech, Dave. "Art and the Politics of Eliminating Handicraft." Historical Materialism 27, no. 1 (March 29, 2019): 155–81. http://dx.doi.org/10.1163/1569206x-00001554.
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Abstract This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, also, on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists.
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Carrozzino, Marcello, Alessandra Scucces, Rosario Leonardi, Chiara Evangelista, and Massimo Bergamasco. "Virtually preserving the intangible heritage of artistic handicraft." Journal of Cultural Heritage 12, no. 1 (March 2011): 82–87. http://dx.doi.org/10.1016/j.culher.2010.10.002.
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Galang Windi pratama, Toebagus. "The Urgency of Protection of Hand-Rolled Kretek as Handicraft Product of Geographical Indication of Kudus District." FIAT JUSTISIA:Jurnal Ilmu Hukum 11, no. 2 (January 4, 2018): 133. http://dx.doi.org/10.25041/fiatjustisia.v11no2.937.
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Hand-rolled Kretek Protection as a Handicraft Product of Geographical Indication is an urgency because even though this product has taken r deep roots in Indonesian’s Culture, but because of the negative stigma of the danger of Cigarette made this product existence decreased over time, causing many small Hand-Kretek industries bankrupt and many Kretek-Roller Labourer Fired. The Study of Hand-Rolled Kretek as a Handicraft Product of Geographical Indication of Kudus District uses a Sociological Approach Method with Juridical-Empirical research method. The Primary data used in this research are Data Obtained from related people or Institution with the help of relevant literature, Documents and comparison to similar regulation from other countries as a secondary Data to find out whether Hand-Rolled Kretek is in accordance with product law provisions that can be a Geographical Indication Product of Handicraft or not and what implication that may occur. The result of the research shows that hand-rolled kretek can be a product of Geographical Indication because, regarding history, its distinguishing potential, and economic potential are sufficient, and are by the rules given, morality, religion and public order stated in Law No. 20 of 2016. The implications that arise can be seen both in the field of Economics such as increasing state income and employment, in the field of Social which can straighten the negative stigma of Hand-rolled kretek, and also in the field of Law where Hand-Rolled Kretek as a Geographical Indication Product of Handicraft can be used as a Reference for other industries to become a Geographical Indication products. Keyword: Hand-Rolled Kretek, Geographical Indication, Handicraft Product, Kudus District.
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Krishnamurty, J. "XIV. Handicrafts in India and Indonesia in the Nineteenth Century: Some Tentative Observations." Itinerario 11, no. 1 (March 1987): 253–64. http://dx.doi.org/10.1017/s0165115300009487.
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When one looks at the phenomenon of declining handicrafts either in terms of the impact of modern technology or in terms of the onslaught of imperialism, India and Indonesia are obvious cases to examine in relation to the nineteenth century. For India there is a well developed literature, much of t i of contemporary nineteenth and early twentieth century vintage; the literature for Indonesia, however, appears somewhat thin in comparison. On closer examination there appear to be many questions of a common nature raised by the literature on the two countries and potentially fruitful issues awaiting investigation in a comparative perspective. To illustrate these possibilities and to stimulate discussion I attempt in this paper to draw upon some work I am doing on two major Indian handicraft industries, textiles and rice processing, and relate some findings of mine and of others to what has been done (or can be done) on these industries in Indonesia.
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Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.
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In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.
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Chai-Arayalert, Supaporn, and Supattra Puttinaovarat. "A Digital Micro-Game Approach to Improve the Learning of Hand-Weaving Art and History." International Journal of Emerging Technologies in Learning (iJET) 16, no. 08 (April 23, 2021): 4. http://dx.doi.org/10.3991/ijet.v16i08.19795.
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This research focuses on the young people and an issue of national handicraft preservation in the form of southern style hand weaving. A game is used in the study on arts and cultures as a learning medium optimized for the young people who play an important role in preserving the traditional handicraft being at the verge of extinction. The “Exploring Na Muen Sri” was developed based on digital micro-game and Person-Artefact-Task model as well as the game production with the purpose of creating the learning media and a simulation containing new knowledge about hand-weaving art and history that is suitable for the young people. The case study was on the weaving history of Na Muen Sri Community located in the southern Thailand. An experiment was conducted with undergraduate students to explore the effectiveness of the proposed approach in the field of cultural study. The results show that the game can effectively enhance players’ cognitive growth along with cultural awareness. It can be concluded that the simulated learning environment created in the digital game enables to bring about comprehension supporting the lifelong learning of hand weaving art and history while simultaneously preserving the local wisdom of hand weaving of fabrics.
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Smith, William, and Elnur Latif oglu Hasanov. "IMPORTANCE OF HANDICRAFT TRADITIONS IN INVESTIGATION OF HISTORY OF URBAN CULTURE IN GANJA." Theoretical & Applied Science 7, no. 11 (November 30, 2013): 61–66. http://dx.doi.org/10.15863/tas.2013.11.7.10.
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Khalikulova, Guzal. "Customs and Rites of the Regions of Uzbekistan." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 89–98. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_010.
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The given article deals with the fact that in the Pskent and Buka districts of the Tashkent region there were unique rituals, people of these localities were engaged in handicraft, weaving, needlework, animal husbandry and they created ancient songs associated with these phenomena, various events were sung by folklore songs and they passed from generation to generation contributed to the familiarization of people to beauty. Keywords: customs, tradition, national songs, culture, history, region, oral history
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Hansen, Hal. "Rethinking the Role of Artisans in Modern German Development." Central European History 42, no. 1 (March 2009): 33–64. http://dx.doi.org/10.1017/s0008938909000028.
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Since so much of what distinguishes Germany's social-economic development from that of other advanced capitalist societies derives from the prominence of the handicrafts (Handwerk) and their institutional legacy, it is regrettable that artisan sightings have become so rare in recent central European scholarship.1It is especially so because disparaging postwar historiographic portrayals of “backward” late-nineteenth- and early-twentieth-century artisans leave us without a way to understand the emergence of a prosperousMittelstandof small and medium-sized craft producers in the postwar years. Moreover, inasmuch as the existence of a vibrant, legally distinct class of handicraft firms constitutes one of the most striking features of the modern German political economy, we need an account of how it evolved and why.2Furthermore, without this, we have no way to explain several other distinctive “peculiarities” of German institutional arrangements: an educational system that directs a majority of young Germans to practically oriented, work-based apprenticeships supplemented by part-time schooling instead of academically oriented, full-time secondary schools; a labor market that effectively professionalized all occupations and limited the creation of mere “jobs”; and a training system that, as it diffused from the craft to the industrial and service sectors, reinforced Germany's historic manufacturing preference for producing diversified, high-quality goods and services.3In short, no history of modern German economic, social, or political development can afford to dispense with artisans or their institutions.
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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.
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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.
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Saitaer, Xiakeer, and Xiao Ming Yang. "An Analysis of Uyghur Folk Carpet Craftsmanship of Xinjiang." Advanced Materials Research 627 (December 2012): 275–78. http://dx.doi.org/10.4028/www.scientific.net/amr.627.275.
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The Xinjiang Hotan/(HeTian) carpet, as a kind of ethnic handicraft, plays a very significant role in the Uyghur living, embracing a long history, which is a product combining comprehensive arts such as drawing, spinning, carving, knitting and dying etc. by innovative Uyghur people with many years of industrious work. In fact, carpet craftsmanship is handed down by Uyghur’s ancestors, experiencing a great long development process, which has great fundamental meaning for Uyghur people. The paper tells about its history, patterns and craft of Uyghur carpet.
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Digby, Simon. "Export industries and handicraft production under the Sultans of Kashmir." Indian Economic & Social History Review 44, no. 4 (December 2007): 407–23. http://dx.doi.org/10.1177/001946460704400401.
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Fyfe, Gordon. "Art and its Objects: William Ivins and the Reproduction of Art." Sociological Review 35, no. 1_suppl (May 1987): 65–98. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00083.x.
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This paper is a critique of the contribution of William Ivins's Prints and Visual Communication (1953) to an understanding of the meaning of fine art reproductions. Ivins showed that photographic reproduction was constructed in relation to, and displaced, older ways of reproducing art which were carried out by handicraft engravers. His analysis alerts us to the fact that ambiguity characterized art reproduction before photographs. Art reproductions, then, were interpretations in line based on conventional modes of representation – what Ivins calls a visual syntax. In this respect he enhances our understanding of the social construction of the artist. For Ivins the social history of reproduction seems to end with the camera. This completed an individuation of creativity ushered in with the Renaissance, but which was always qualified by the interfering visual syntax of craftsmen-interpreters. It is argued that the value of Ivins's account resides in its reconstruction of the relationship between handicraft engraving, fine art reproduction and aesthetic objects that have long since slipped from our consciousness.
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KARAMIAN, Gholamreza. "Historical Metal works named Warsaw in Iran." Historia i Świat, no. 9 (September 23, 2020): 205–18. http://dx.doi.org/10.34739/his.2020.09.15.
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Since long times ago, the artists of Lorestan, have been earning their livelihood through making various types of handicraft a valuable art piece deeply rooted in the province’s history called nickel silver crafts. In Farsi, varsho is actually the word ‘War-saw’. What is the reason for such labeling of these works of art in the Qajar and Pahlavi periods in Iran? Lorestan artists in Borujerd town created such magnificent art at that time. We still don’t know the reason for this naming, but one thing is clear, such metalwork is part of the history of art in both Poland and Iran.
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de Moreno, Christiana Borchart. "Beyond the Obraje: Handicraft Production in Quito Toward the End of the Colonial Period." Americas 52, no. 1 (July 1995): 1–24. http://dx.doi.org/10.2307/1008082.
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The obrajes of the Sierra and the plantations of the Coast are the poles around which, in different eras, the economy of the Audiencia of Quito seems to revolve. Woolen cloth and cacao are the two products that allowed this territory to participate in regional and international commercial circuits, and have attracted the most attention from historians in the last two decades.In a region lacking large mining centers, encomenderos were from early times compelled to develop activities that would allow them to move in the Andean colonial sphere, which was dominated by the “Rich Hill” of Potosí, the actual force behind the formation of this great interregional market, as Carlos Sempat Assadourian has demonstrated. The inter-Andean corridor and its plateaus, suitable for the raising of sheep and a source of ready Indian labor, facilitated the development of the obrajes that were set up in Indian communities, on private haciendas, and in urban areas.
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Belchinkova, Svetlana. "Empress Alexandra Feodorovna — the Patroness of the All Russian Handicraft Industry Exhibitions." ISTORIYA 12, no. 2 (100) (2021): 0. http://dx.doi.org/10.18254/s207987840013882-9.
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DOSTÁL, Jiří. "HISTORY OF TECHNOLOGY AND HANDICRAFT EDUCATION IN THE AREA OF THE CZECH REPUBLIC IN 18th AND 19th CENTURY." Journal of Technology and Information 9, no. 2 (December 12, 2017): 31–47. http://dx.doi.org/10.5507/jtie.2017.008.
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Xu Xinwu and Byung-kun Min. "The Struggle of the Handicraft Cotton Industry Against Machine Textiles in China." Modern China 14, no. 1 (January 1988): 31–49. http://dx.doi.org/10.1177/009770048801400102.
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Roberts, Richard. "French Colonialism, Imported Technology, and the Handicraft Textile Industry in the Western Sudan, 1898–1918." Journal of Economic History 47, no. 2 (June 1987): 461–72. http://dx.doi.org/10.1017/s0022050700048191.
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European technology, both practical and managerial arts, had an impact on the well-established cotton and handicraft textile industries of the Western Sudan during the first twenty-five years of colonial rule. But French efforts to shape cotton production for export did not always have the intended results. Indigenous historical processes as well as French colonial policy account for the changes in these industries.
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Belko, Tatiana V., Vladimir A. Krasnoshchyokov, and Nikolai P. Beschastnov. "From the history of the project culture of the middle Volga region: sleigh and carts production of the middle 19 – the first half of the 20 centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 20–37. http://dx.doi.org/10.37816/2073-9567-2021-61-20-37.
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The origins of design lie in the traditional forms of design culture of pre-industrial societies, expressed in handicrafts and folk crafts. Sledges and carts production (and the associated manufacture of wheels and rims) on the Middle Volga, as well as throughout Russia in the mid-19 – first half of the 20 centuries, was a common and traditional type of craft activity, handicraft. Due to the multi-ethnicity of the region, we can talk about its small local features — the specifics of production processes, decor, and the ethnic division of labor. The exchange of cultural forms led to the typification of tools and techniques in the sledges and carts production of all ethnic groups of the Middle Volga — Mordovians, Tatars, Chuvashs. The reasons for this alignment are the practical benefits and long cohabitation of peoples in the region, which through cross-borrowing determined the general economic structure and nature of the project culture. Sledges and carts production of the Middle Volga region from the mid-19 – first half of the 20 centuries was realized through traditional design forms (sledges such as dróvni, rózval`ni, koshévny`e; carts such as pólok, ry`dván, dolgúsha, drógi, tarantás). The paper pays particular attention to the analysis of their manufacturing technologies. The study of various aspects of the sledges and carts production of the Middle Volga region will allow enriching theoretical ideas in the field of studying the traditional design culture of the region. Some of the points and conclusions of the study may be useful in designing an urban environment.
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Huang, Philip C. C. "Development or Involution in Eighteenth-Century Britain and China? A Review of Kenneth Pomeranz'sThe Great Divergence: China, Europe, and the Making of the Modern World Economy." Journal of Asian Studies 61, no. 2 (May 2002): 501–38. http://dx.doi.org/10.2307/2700299.
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Kenneth pomeranz argues that “the great divergence” between development and involution in Europe and China did not occur until after 1800. Until then, Europe and China were comparable in population history, agriculture, handicraft industry, income, and consumption. Europe before 1800, in other words, was much less developed than the last two decades of scholarship have led us to believe, while China before 1800 was much less involuted. To make his case, Pomeranz spotlights England, the most advanced part of Europe, and the Yangzi delta area, the most advanced part of China. They diverged only after 1800, mainly because of the lucky availability of coal resources for England, and also of other raw materials from the New World.
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Way, Jennifer. "Narrative Failures." Anthropos 114, no. 2 (2019): 547–62. http://dx.doi.org/10.5771/0257-9774-2019-2-547.
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This article considers what an unstudied collection of Vietnamese handicraft owned by the Smithsonian National Museum of Natural History reveals about its collecting culture and, conversely, what the collecting culture discloses about the collection. I show how the collecting culture’s activities intersected with American State Department efforts to bring postcolonial South Vietnam into the Free World during the Cold War. Attention to the Smithsonian National Collection of Fine Arts’ exhibition, “Art and Archaeology of Vietnam. Asian Crossroad of Cultures,” also reveals narratives of power and knowledge associated with the collecting culture. Ultimately, these failed the collection by leaving it disregarded.
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Hilton, Alison. "From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe." Russian History 46, no. 4 (December 23, 2019): 241–61. http://dx.doi.org/10.1163/18763316-04604002.
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Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.
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Badino, Anna. "Le immigrate e il lavoro marginale nel Piemonte del boom economico." PASSATO E PRESENTE, no. 76 (March 2009): 99–120. http://dx.doi.org/10.3280/pass2009-076005.
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- Takes into consideration the topic of women's irregular and not recorded by the statistics jobs in the 50's, 60's and 70's in Piedmont. The attention is directed on the women immigrated, who seem to have more difficulties than the native ones in keeping a regular and full-time job through family life. One of the main obstacles is the absence on the place of these women's mothers, the ones who can look after their grandchildren. Many women with children fall back on more flexible and unqualified jobs, or on family business and handicraft started by their husbands. Keywords: Italy, Piedmont, Women, Immigration, Family, History. Parole chiave: Italia, Piemonte, Donne, Immigrazione, Famiglia, Storia.
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Maijala, K. "History, recent development and uses of Finnsheep." Agricultural and Food Science 60, no. 6 (October 1, 1988): 449–54. http://dx.doi.org/10.23986/afsci.72300.
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The use of Finnsheep (F) as experimental animals on fertility has created interest in the origin of it and its prolificacy. Linguistic and archeological evidence indicate that wool has been used in Finland for 2 000 years and that sheep have been kept for over 1 000 years. The ancestors of F may have arrived either with Finns from the present Russia, where the short-tailed and prolific Romanov breed is found, or with Vikings or western settlers from Scandinavia, where there also are short-tailed breeds. Finnish terms concerning weaving (mainly Slavic loans) speak for the former, the sheep husbandry terms (mainly Germanic loans) for the latter source. In the 16th and 18th centuries, foreign breeds were imported to western Finland, but they were not accepted by farmers. When animals from northeastern Finland were mainly used as foundations for the herd book work, the present F may stem mainly from the original stock. The breed has long been kept in small flocks and thus been subject of inbreeding and weak selection. Since the establishment of herd book and production recording the live and fleece weights as well as litter sizes have increased. Wool was the main product until the 1920’s, but meat has been most important during the last 60 years, excepting war times. Presently one aims at effective utilization of its versatility, i.e. for meat, handicraft wool, luxury furs, and forest and landscape management.
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Proskurnin, Boris M. "Handicraft versus Chivalry: Town Community and Historical Progress in the Later Novels of Walter Scott." Вестник Пермского университета. Российская и зарубежная филология 14, no. 2 (2022): 111–19. http://dx.doi.org/10.17072/2073-6681-2022-2-111-119.
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The article is devoted to two novels by Walter Scott in which the writer demonstrates his vision of the late Middle Ages having taken France and Scotland as bright examples. In these works, Scott, both at the level of the general concept, which reflects his understanding of historical progress, and at the level of the images of the novels and their narratives, reconstructs socio-political and moral-psychological role of the standoff between chivalry and town communities in the dynamic of the time. The novels convincingly show the peculiarity of the late stage of Scott’s creative work, when the narrative importance of the love-adventure knot in the plot increases, as does the role of real historical figures. In the after 1819 Scott’s novel, more obvious is the writer’s desire to embody his understanding of historical laws, based on a mixture of conservative and progressive assessments of the dynamics of history. He does it with the help of both the narrator’s comments and digressions, often constructed as a talk between a historian, an expert in the times under analysis, and a reader, and the central images of the novels. For the ideological and artistic wholeness of the works, the collective images of Liege and Perth, presented by means of a ‘general plan’ and bright individualized images of citizens, are fundamentally important. Colourful and at the same time super important for the historisophical idea of the novels are the images of the ‘outgoing class’ – chivalry: in each of them, the degree of ‘falling out’ of the dynamics of history is emphasized and becomes character-forming. At the same time, the article accentuates, especially in The Fair Maid of Perth, the author’s idea of changing not only economic but also moral leader in the late Middle Ages: the defining role is gradually passed on to the townspeople. In this respect, the image of Catharine Glover, the titular heroine, acts in the novel as the writer’s ‘Reasoner’. The article also traces the nature of the coexistence of romantic and adventurous (in relation to the novel about Perth – romantic and Gothic) and socio-psychological principles of creating the ‘image of the era’.
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Garunova, Saida M., Robert Chenciner, Alexander N. Sadovoy, Magomedhan M. Magomedhanov, and Alexander V. Bakanov. "MONETIZING THE MOUNTAINS: TOWARDS THE STUDY OF ETHNO-CULTURAL AND DEMOGRAPHIC ASPECTS OF THE SOCIO-ECONOMIC DEVELOPMENT OF THE MOUNTAIN DAGESTAN." History, Archeology and Ethnography of the Caucasus 15, no. 4 (January 6, 2020): 751–68. http://dx.doi.org/10.32653/ch154751-768.
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This article aims at a preliminary study of the status and prospects of the use of ethno-cultural and demographic potential of Dagestan in the recreational and socio-economic development of Mountainous areas of the North Caucasus region, so-called mountain tourism for example: spas, sanatoria, skiing, climbing, trekking and handicrafts.
The perspectives of development of recreational opportunities in the North Caucasus are strongly connected with the population mobility and the stability of ethno-social situation and so have to be to be considered in the context of inter-ethnic (economic and cultural) communications of largely outsider authorities and inhabitants on regional and international levels. In this sense, acknowledgement of the country its culture, an introduction to the history of traditional economic specialization and its evolution, traditional customs and ethnic particularities, seems very important.
The practical, social significance of the development of recreational potential is determined by its metaphysical place in the preservation of historical-cultural and natural heritage: traditional social-support systems, economic specialization, and the handicraft centers.
Ignored by previous researchers, the fact that the phenomena of "ethnic economy", "ethnic entrepreneurship" and "preservation of traditional social institutions" of the peoples of the Caucasus (in this case) can be traced at all stages of their history, manifesting its exceptional stability during periods of change, such as local forms of government, changes of political regimes and ideological systems. Moreover, it is often ignored that the actual problems of integration of these social institutions into ‘state-modernized’ Russian society are the basic factors or reasons for destabilizing the system of interethnic relations.
This occurs especially in areas where various forms of ethnic entrepreneurship are represented by first- or second-generation often forced migrants.
We propose a practical approach to advise local good policy.
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Tyagi, Ruchi. "Meerut Embroidery Cluster: A Case Study." South Asian Journal of Business and Management Cases 1, no. 2 (December 2012): 185–202. http://dx.doi.org/10.1177/2277977912459445.
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This study tries to integrate marketing, backward–forward linkages and agency support to handicraft cluster in Meerut. The cluster has a large artisan base and opportunities of large domestic market and export potential. However, it lacks transportation facility, an organized infrastructure, networking, production line approach and designer input. There is a need for technological upgradation. The case throws light on the development of embroidery, presenting a broad view of Indian embroidery history with its diversity and the turning point in embroidery with the advent of new technology. The case takes up for study Meerut embroidery cluster with objectives of identification of areas of intervention for inclusive growth by integrating marketing with product development and designing.
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Brokaw, Cynthia J. "Eating Rice from Bamboo Roots: The Social History of a Community of Handicraft Papermakers in Rural Sichuan, 1920–2000." Harvard Journal of Asiatic Studies 71, no. 2 (2011): 381–89. http://dx.doi.org/10.1353/jas.2011.0030.
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Pivovarova, Irina. "Features of labor relations in the industrial sphere in Russia in the 19th century." OOO "Zhurnal "Voprosy Istorii" 2022, no. 3-2 (March 1, 2022): 164–71. http://dx.doi.org/10.31166/voprosyistorii202203statyi47.
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The article shows that the development of industrial sectors and peasant crafts in the first quarter of the 19th century. it contributed to the spread of freelance labor, the share of which by the beginning of the 1861 reform was 87% of the total number of workers employed in industry. The reasons determining the long-term preservation of the feudal-serf system in the management of factories and plants of the studied period after the abolition of serfdom are indicated. It was revealed that in order to reduce labor costs, as well as in conditions of shortage of premises and equipment, manufacturers used handicraft industry. It is shown that the end of the 19th century was a turning point in the labor relations of manufacturers and workers, the requirements for which were now fixed in multiple legislative acts adopted during this period.
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Walton, Whitney. "“To Triumph before Feminine Taste”: Bourgeois Women's Consumption and Hand Methods of Production in Mid-Nineteenth-Century Paris." Business History Review 60, no. 4 (1986): 541–63. http://dx.doi.org/10.2307/3115658.
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In this article Professor Walton examines the influence of bourgeois women on industrial production in nineteenth-century Paris. She argues that women, as arbiters of taste and consumers for the family, sought art and originality in manufactured goods, and that their demands in turn fostered handicraft and less skilled hand methods of manufacturing as the best means of providing such goods. By establishing the connections between women's roles and bourgeois demand, and between bourgeois demand and hand manufacturing, this study offers a new perspective on the persistence of hand production in France.
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Petracca, Luciana. "The trade fair network in Apulia during the thirteenth and fourteenth centuries." Historical Research 95, no. 267 (December 16, 2021): 1–18. http://dx.doi.org/10.1093/hisres/htab038.
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Abstract The article examines the places, times and spaces dedicated to the free market in Apulia during the thirteenth and fourteenth centuries. The primary documents consulted for this article indicate a significant increase in the regional fair circuit, starting from the reign of Frederick II. The increase in the number of fairs (divided between major and minor) inevitably favoured the development of the local and regional economy. Trade fairs, the focus of this article, represented the main opportunity for regular exchanges and the buying and selling of consumer goods. They allowed agricultural producers to sell their products, offering a variety of different goods from handicraft products to agricultural surplus.
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Shih, Ju Yi, Shu Ling Lai, and Huai Tzu Cheng. "Design and Applications of LED in Chinese Knots." Advanced Materials Research 655-657 (January 2013): 2042–47. http://dx.doi.org/10.4028/www.scientific.net/amr.655-657.2042.
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The craft industry is a part of culture and creative industries, and the Chinese knot is one of ancient handicraft products in China. Noted that the Chinese knot contains the quintessence of China's thousands of years of history and culture. If a new and creative idea can be input to the traditional design of Chinese knots, it may create a new appearance and life of these knots. This paper intends to add an element of new technology into traditional Chinese knots. The object is use of LED lighting to reshape the style and the value of Chinese knots. Both new design concepts and methods of Chinese knots with LED lighting have been proposed and implemented to stimulate the creativity of design and the development of products.
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Roberts, Richard. "Reversible Social Processes, Historical Memory, and the Production of History." History in Africa 17 (January 1990): 341–49. http://dx.doi.org/10.2307/3171823.
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In my research on gender relations and household dynamics in the handicraft textile industry of the western Sudan, I have been frustrated by the silences in the oral record concerning changes during the early colonial period. Whereas I have been able to reconstruct the social history of the precolonial era, including the changes induced by increased use of slave labor, my informants have been silent on what I would consider equally significant changes in the early colonial period.Using colonial sources, I have been able to reconstruct the broad contours of the period following the end of slavery, which hint at profound changes in the nature of the textile industry, gender relations, and household dynamics. These would, I anticipated on the basis of my previous fieldwork, be exactly the kind of transformative social change which would be recalled in the oral record. They ought to have become a central part of the social construction of the meaning of historical processes. But, as far as I have been able to determine, this has not been the case. Detail on gender relations and the productive processes appear again in my informants' accounts for the period just before and after World War II, drawn from personal experience. This paradox—apparently richer evidence in the oral record for an earlier era than for a chronologically closer one—has implications for both fieldwork strategies and for social history.
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MISHCHENKO, L. "VISUALIZATION OF INDEPENDENT WORK OF LAW STUDENTS IN THE CONDITIONS OF BLENDED LEARNING." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 29 (September 10, 2022): 151–57. http://dx.doi.org/10.33989/2075-146x.2022.29.264295.
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The article highlights the life and scientific achievements of Olexandr Tverdokhliebov (historian, ethnographer, writer, teacher, member of the Kharkiv Historical and Philological Society, archivist of the Kharkiv Historical and Philological Society, member of the project of the Ministry of Finance of the Russian Empire, dedicated to various studies activist, member of the Okhtyrka Enlightenment (1917–1918), whose scientific work on the history of Sloboda and Left-Bank Ukraine still remains on time and which significance of works for historical and regional scientific research on the history of Slobidska Ukraine. The manuscripts of the researcher, which are stored in the funds of the Okhtyrka Museum of Local Lore, archival institutions, confirming the exceptional importance of works for historical and regional scientific research on the history of Sloboda Ukraine, which are published and currently important nowadays. The historical essay «City of Akhtyrka» describes all aspects of life of the inhabitants of the provincial Slobozhansk city in Kharkiv province in the XIX century, where the author delinetes the historical and geographical features of the city, its physical and geographical characteristics, settlement history and version of the origin of the city name. The industrial development of the city of Okhtyrka is illuminated in the work «The fate of the tobacco factory, established under Peter I in Akhtyrka», where the historian described the socio-economic and production conditions of tobacco growing and tobacco production. In the research and description of Orthodox parishes, churches and monasteries of Okhtyrka district of Kharkiv province, which are described in the work «On the history of Skelsky monastery». The author showed the formation of the monastery economy, in particular, its land tenure, which was an extremely important issue for the monastery, which was associated with the names of famous in the Left Bank of Ukraine family Shimonovsky, Hetmans I. Mazepa and I. Skoropadsky. The creative work of the historian includes explorations dedicated to Kotelevshchina, where the author provided information about the geographical location, socio-economic development of the region; archaeological monuments, features and descriptions of Kotelva buildings. Tverdokhlebov's ethnographic studies for the purpose of collecting folklore material became the basis of scientific ideas, methods of collecting ethnographic materials.The researcher managed to record many songs, thoughts of blind people, lyre players, bandura players of Okhtyrka district, which were written from lyricists Glushchenko and Gordienko. Ethnographic explorations became the basis for writing the works «Old World Carnival», «Popivna», «From the Past and Present Povorsklania» and others. O. Tverdokhlebov as a participant in the project of the Ministry of Finance of the Russian Empire, which was devoted to the study of handicrafts in different regions, studied pottery, leather, blacksmithing, sailing of several districts of Kharkiv province, the results of which were published in the third issue «Proceedings of the Commission for the Study of Handicrafts of the Kharkiv Province of Akhtyrsky District» 1885,where handicraft tools and means, living and working premises of craftsmen of Boromlya, Okhtyrka, Kuzemin, Kotelva and other settlements were illuminated and demographic characteristics of artisans (marital status, surnames, etc.) were described, also economic side of crafts and many other important issues that contribute to an objective assessment of the then state of folk crafts in Slobozhanshchina were outlined. The researcher focuses on the economy, culture, life, handicrafts, education, spiritual heritage of Slobozhanshchina, which are reflected in the work of the scientist «Hereditary Colonel», «Akhtyrka city», «Kotelva», «The fate of the tobacco factory founded by Peter I in Akhtyrka», «Century of Akhtyrsky district school (1790 – 1890)», «Akhtyrsky district on the eve of the XIX century» etc.
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Makarchuk, S. V. "Social-Democratic Underground of the Far East in the early XX Century: Public Records of the Center for Social and Political History." Bulletin of Kemerovo State University, no. 3 (October 27, 2018): 36–42. http://dx.doi.org/10.21603/2078-8975-2018-3-36-42.
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The research features public records concerning the Social-Democratic organizations of the Far East (Russia), stored in the collection of illegal publications at the Center for Social and Political History, the rare book section. The collection contains archival documents originating from the two largest Social-Democratic groups of the Far East located in Blagoveshchensk and Vladivostok. The records include: various reports, corporate charters, resolutions of party meetings, mandates to elected officials, and small newspapers. Publications issued by the Far Eastern social democratic organizations were mostly leaflets printed on a typewriter or published on a hectograph or mimeograph. Some leaflets were printed in actual print shops of private publishing houses or in handicraft illegal print shops. Most of the documents were previously unstudied. However, they belong to the category of particularly valuable and unique historical documents of cultural, historical and scientific value for the study of the Socio-Political movement of the Russian East. The author believes that the public records stored at the Center for Social and Political History, in combination with other archival data, may cast light on the state of the history of Social-Democratic underground in the Far East, its formation and development.