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Journal articles on the topic 'Traditions and Craftsmanship'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Yi, Kuo Jze. "The Last Ten Years of Traditional Craftsmanship in Miaoxia Village." Cubic Journal, no. 3 (November 2020): 118–29. http://dx.doi.org/10.31182/cubic.2020.3.027.

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This article reflects on the disappearing carpentry tradition in a rural village called Miaoxia in Sichuan Province China. Since 2015, villagers, social workers, architects, and university scholars have been collaborating to look for alternative development possibilities in Miaoxia Village. The idea of using the local carpentry tradition has been one of the key focusses in the process. Since the Chinese Economic Reform in 1978, the influence of urbanisation and market economy in China has led the Chinese government to rethink the value of rural customs and traditions. While the country has bee

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Widadi, Zahir. "PEMAKNAAN BATIK SEBAGAI WARISAN BUDAYA TAKBENDA." Pena Jurnal Ilmu Pengetahuan dan Teknologi 33, no. 2 (2019): 17. http://dx.doi.org/10.31941/jurnalpena.v33i2.897.

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This research aims to improve the knowledge and understanding of the intangible culture heritage because many people do not understand the meaning of the confirmation of Indonesian batik as a intangible cultural heritage by UNESCO. This research uses qualitative research methods with descriptive format. The intangible cultural heritage means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage

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Cavalcante, Raniery Lopes da Silva. "Design and craftsmanship: an analysis of the role of designers in transforming artisanal practices." Concilium 23, no. 20 (2023): 650–63. http://dx.doi.org/10.53660/clm-2296-23r27.

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The article delves into the relationship between design and craftsmanship, highlighting the transformation in artisanal practices driven by collaboration with designers. Through a systematic review, the text explores interactions between designers and artisans, emphasizing manufacturing techniques of Batik and embroidery craftsmanship, both globally and in the Brazilian context. The employed methodology seeks to answer how these collaborations influence innovation, cultural preservation, and sustainability. Batik, an ancient dyeing technique, is showcased as a vibrant example, demonstrating ho

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Iancu, Bogdan. "Inside the Creative Traditions Workshops." Martor. The Museum of the Romanian Peasant Anthropology Review 22 (November 15, 2017): 197–203. http://dx.doi.org/10.57225/martor.2017.22.13.

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The interviews that make up this section of the journal illustrate some of the particular challenges facing recent initiatives to recover, in a creative way, a range of artisan products. These are projects that go beyond the standard efforts at re-activation and re-animation that created a cultural landscape generally characterised by inertia. Mention should also be made here of two other equally interesting projects, Mesteshukar ButiQ, a Bucharest-based social enterprise working at giving new value to traditional Roma craftsmanship, and PATZAIKIN Design, which grounds its inspiration in the f

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Nur Alia, Shamsul Bahri, Abd Wahab Norazilawati, Mohd Noor Arba’iyah, and Abdullah Mohd Firdaus. "THE BOATBUILDING PRACTICES AMONG BOATBUILDERS (TUKANG TIMBAL) IN TERENGGANU, MALAYSIA: A CASE STUDY IN WATER TRANSPORTATION, MARITIME HERITAGE AND CRAFTSMANSHIP IN ASEAN." ALAM CIPTA International Journal Of Sustainable Tropical Design & Practice 17, no. 1 (2024): 75–87. http://dx.doi.org/10.47836/ac.17.1.paper09.

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This case study explores the boatbuilding practices among boatbuilders (Tukang Timbal) in Terengganu, Malaysia, and their significance in preserving maritime heritage and craftsmanshipin ASEAN. By examining the techniques, materials, and cultural influences involved incontemporary boat construction, the research aims to document and analyse the unique practices of these skilled artisans. Employing a qualitative researchapproach, the study combines interviews, observation, and analysis of boatbuilding processes to uncover the knowledge andskills passed down through generations of boatbuilders i

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Bakhtiyor, R. Khalmuratov. "CRAFTSMANSHIP IN FERGANA VALLEY: ETHNIC AND REGIONAL CHARACTERISTICS." Look to the past 6, no. 2 (2023): 4. https://doi.org/10.5281/zenodo.7680672.

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This article is about hairdressing, one of the crafts that is widespread among the Uzbeks of the Fergana Valley and still preserves its age-old traditions. The main focus of the article is on regional and ethnic characteristics of hairdressing in the valley, secrets of the profession, methods, tools, other functions of the owners of this profession in society, customs and rituals related to hairdressing.

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Song, Yanzhi. "Research on the Digital Protection and Inheritance of Nanjing Goldleaf Forging Technology." Arts Studies and Criticism 5, no. 2 (2024): 65. http://dx.doi.org/10.32629/asc.v5i2.2201.

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Research Approach on the Digitization, Integration, and Visualization of Information Based on the Nanjing Gold Beating Craftsmanship — Key Technology Exploration for the Informatization Presentation. This essay explores the historical significance, technological intricacies, and digital preservation strategies surrounding Nanjing Goldleaf forging craft, a cherished tradition in China with a lineage spanning over 1,700 years. Amidst modernization, efforts to digitize this ancient craft are essential for its enduring legacy. Through the convergence of tradition and digital innovation, Nanjing Go

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Gavhar, Khabibullayeva. "thnographisms Related to Craftsmanship in The Prose Works of The Jadids." European International Journal of Philological Sciences 5, no. 1 (2025): 48–50. https://doi.org/10.55640/eijps-05-01-12.

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This article analyzes the ethnographies of crafts in the prose works of the Jadids from a linguistic and ethnographic perspective. It studies the terms of crafts found in the texts of the works, their meaning, function, and place in the cultural context. In the course of the research, the lexical units related to national terms related to crafts - embroidery, carpet weaving, jewelry, and headdress making - are analyzed. Also, the synonymous variants of these ethnographies and their interpretation in explanatory dictionaries are considered. The article aims to reveal the importance of language

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Sharma, Sarita. "THE ROLE OF RAJASTHAN'S TEXTILES IN WORLD OF FASHION." International Journal of Innovations & Research Analysis 05, no. 01 (2025): 185–90. https://doi.org/10.62823/ijira/05.01.7214.

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Rajasthan, India's desert state, is renowned for its rich cultural heritage, particularly its vibrant and diverse textile traditions. Rajasthani textiles embody a rich cultural legacy that continues to inspire the fashion world. These textiles, including printed textiles like block prints, dyed textiles like tie-dye (bandhani), hand-woven fabrics such as Kota Doria, and woollen textiles have gained global recognition for their craftsmanship and artistry. This article explores the role of Rajasthan's textiles in the fashion industry, whether it is traditional Attire, Global Runways, Accessories

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Yan, Mengran, and S. Siti Suhaily. "Decoding Traditional Malaysian Lanterns: Historical Cultural and Design Perspectives." PaperASIA 41, no. 3b (2025): 101–12. https://doi.org/10.59953/paperasia.v41i3b.506.

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The diversity of world cultures is a significant achievement of human social development, manifested through artistic creation, craftsmanship, dissemination, and commercialization. Among these, intangible cultural heritage (ICH) serves as a core component of cultural diversity, reflecting human creativity, national history, wisdom, and cultural traditions. Traditional handicrafts, due to their unique artistic value, symbolic meaning, and social function, play a crucial role in cultural heritage transmission. As a symbolic traditional handicraft in Southeast Asian cultures, lanterns in Malaysia

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Hamilton, Craig. "The Campanile at Old Parkland, Dallas, Texas." Journal of Traditional Building, Architecture and Urbanism, no. 5 (November 12, 2024): 176–89. http://dx.doi.org/10.51303/jtbau.vi5.753.

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The Campanile, a bell tower located on the Old Parkland campus in Dallas, Texas, was commissioned in 2018 by Crow Holdings as part of the development of a commercial campus with classical buildings and landscaped courtyards. Designed to house a large, newly commissioned bell, its architecture draws inspiration from America's early twentieth-century classical traditions. The 220-foot tower has three sections: base, shaft, and bell chamber, featuring traditional materials such as brick, limestone, and bronze. The project, completed in 2021 despite the challenges of the pandemic, involved skilled

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Omar, Ashurbaev, and Parvina Hikmatova. "THE ROLE OF SOCIAL MEDIA IN PROMOTING HANDMADE BUSINESSES IN UZBEKISTAN." Multidisciplinary Journal of Science and Technology 4, no. 12 (2024): 873–84. https://doi.org/10.5281/zenodo.14561341.

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Social media has become an indispensable tool for promoting small-scale businesses worldwide. In Uzbekistan, where craftsmanship is deeply rooted in cultural traditions, platforms like Instagram, Telegram and You tube provide artisans with opportunities to reach global markets and showcase their handmade products. This study explores the impact of social media on the growth and visibility of handmade businesses in Uzbekistan. It identifies strategies artisans employ, challenges they face, and the role of digital platforms in fostering innovation and economic growth. The research findings highl

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Xianfei, Liang, and Zairul Anuar Md. Dawam. "A Framework for Reviving Traditional Handicrafts: Craft Branding, Product Development, and Marketing Strategies for Dong Ethnic Craft in Sanjiang, China." International Society for the Study of Vernacular Settlements 11, no. 9 (2024): 114–25. http://dx.doi.org/10.61275/isvsej-2024-11-09-08.

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The traditional Dong handicrafts of Sanjiang, rooted in the cultural heritage of the Dong ethnic group face challenges in retaining their market relevance while preserving their traditional characteristics. Despite their cultural and historical significance, these handicrafts struggle to meet the growing demands of the modern cultural and creative industries, leading to declining sales. This study examines the traditional handicrafts of the Dong community in China. It produces a theoretical framework that can be applied to revitalize them by focusing on three key areas: product development, cr

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McGee, David. "From Craftsmanship to Draftsmanship: Naval Architecture and the Three Traditions of Early Modern Design." Technology and Culture 40, no. 2 (1999): 209–36. http://dx.doi.org/10.1353/tech.1999.0103.

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Mehak, Malhotra (Bdes Fd FDDI NOIDA) Shivani (Bdes Fd FDDI NOIDA) Mr Saurabh Srivastava (Jr Faculty FDDI NOIDA). "The Timeless Elegance of Baluchari Sarees: A Weave of Heritage and Art." Science world a Monthly e magazine 5, no. 3 (2025): 6689–84. https://doi.org/10.5281/zenodo.15424935.

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<strong> </strong>               Baluchari sarees stand as a proud testament to Bengal’s illustrious textile traditions. These finely woven silk sarees, adorned with intricate motifs and storytelling patterns, have remained a symbol of cultural grandeur for centuries. Their detailed craftsmanship, often depicting mythological narratives and floral artistry, makes them a sought-after choice among connoisseurs of heritage textiles.

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Dey, Ishita. "Who Owns Bogurar Doi? An Ethnography of Placemaking and Craftsmanship in Bangladesh." Gastronomica 22, no. 3 (2022): 35–45. http://dx.doi.org/10.1525/gfc.2022.22.3.35.

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Through an ethnography of Bogurar doi, a sweetened fermented milk dessert distinctive to the northern region of Bangladesh, I propose to explore the politics of naming of a food item linked to a place, especially in a geography that has witnessed three historic redrawings of borders, forced migration, and the changing form of labor involved in doi-making. Instead of the narratives of continuity of craft traditions, I trace three significant “movements” (West 2022) that are integral to Bogurar doi: (1) a history of “local” breeds of cows is produced by confluences (Banerjee-Dube 2016), thereby

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Sharaboyev Ulugbek Mukhamedovich, Abdullayev Alimardon Haydarovich, Ergasheva Orifakhon Kholmuratovna, and Yuldashоv Barhayоtjоn Tоshpulatоvich. "The Question of Raising Young People in The Spirit of Craftsmanship." Journal of Advanced Zoology 44, S6 (2023): 1534–37. http://dx.doi.org/10.17762/jaz.v44is6.2511.

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It is known that in our country, the classical professions, including crafts, have long been progressive, creating various exquisite items, making hanging equipment in our daily lives, through which it has been elevated to the level of high value to give people a taste for their work. Today, the routes of goods and goods (works, services) produced by artisans in Uzbekistan reached from 25 to 34. They are currently producing products for the domestic and foreign market. These products are also very significant in their quality, artistic exaltation, naturalness and harmonization of our national

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Ramanathan, Raammnath, Jayanthi Dhakshinamoorthi, and Mohammad Arif Kamal. "Vernacular Heritage and Craft Traditions: The Case of Handcrafted Athangudi Tiles in Chettinad, India." International Society for the Study of Vernacular Settlements 11, no. 6 (2024): 22–38. http://dx.doi.org/10.61275/isvsej-2024-11-06-02.

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India is renowned for its diverse traditional building crafts, passed down through generations. These traditional building crafts have a rich heritage and craftsmanship. However, they are encountering challenges due to declining artisan communities, modernization and economic pressures favoring mass-produced materials. Athangudi tiles, a 100-year-old traditional building craft from southern India, exemplify this trend. The craft's quality is declining due to the shortage of experienced craftsmen caused by urbanization and modernization. Hence, this study investigates the processing techniques

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Ciptandi, Fajar, and Widia Nur Utami Bastaman. "Development of Gedog batik crafts using pyramid guide innovation of traditional artefacts." Craft Research 16, no. 1 (2025): 73–87. https://doi.org/10.1386/crre_00143_1.

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Gedog batik products not only have high artistic and craftsmanship value but are also a representation of the traditions of Tuban itself. The current condition of these traditional artefacts is unavoidably experiencing intervention from modernization in the form of trends, technology and market tastes, which demand innovation to maintain their existence. However, this is challenging because modernization is considered to have the potential to threaten the uprooting of the virtues of tradition itself. In 2018, the concept of a traditional artefact innovation pyramid was produced as a guide to b

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J. Narmada, B.Venkateswara Reddy, and S. Snigdha, T. Sai Pujitha, Y. Geethika, M. Vaishnav. "Fashion And Textiles Indian Weaves A Digital Guide To Handloom And Textiles." International Journal of Information Technology and Computer Engineering 13, no. 2 (2025): 1392–97. https://doi.org/10.62647/ijitce2025v13i2pp1392-1397.

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Indian Weaves: A Digital Guide on Handloom and Textiles explores the rich heritage of India’s handloom traditions through an interactive and informative digital platform. This guide highlights the diversity of Indian textiles, from Banarasi silks and Kanjeevarams to Pashmina shawls and Khadi, while emphasizing their cultural significance, craftsmanship, and regional variations. By integrating project bridges the gap between traditional weavers and modern consumers, promoting sustainability and ethical fashion. The guide also addresses challenges faced by the handloom sector, such as competitio

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Zhao, Ji. "The Role of University Art Education in the Inheritance and Innovation of Intangible Cultural Heritage." European Journal of Education Science 1, no. 1 (2025): 28–35. https://doi.org/10.71222/2xh5xr41.

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This paper explores the pivotal role of university art education in the inheritance and innovation of intangible cultural heritage (ICH). Through a literature review and theoretical analysis, it first defines the core concepts of university art education and ICH, while examining the dialectical relationship between traditional craftsmanship and modern innovation. The study highlights that universities not only transmit traditional skills effectively through structured curricula and faculty training but also infuse modern creativity into cultural traditions via interdisciplinary collaboration a

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and pr

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and pr

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Morero, Elise. "MYCENAEAN LAPIDARY CRAFTSMANSHIP: THE MANUFACTURING PROCESS OF STONE VASES." Annual of the British School at Athens 110 (April 28, 2015): 121–46. http://dx.doi.org/10.1017/s0068245415000039.

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The first substantial corpus of developed and complex stone vases emerged on the Greek mainland in the shaft graves of Mycenae (Middle Helladic III – Late Helladic I) and was certainly, in large part, of Minoan origin. However, a Mycenaean industry appeared in the Late Helladic III period, which suggests a link with Minoan technology. Indeed, there is an extremely strong possibility that expatriate craftsmen had gradually transmitted their knowledge to local Mycenaean apprentices. A technological study of a corpus of 24 stone vases from Mycenae, dated to the Late Helladic I/II–III, enables the

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Basile, Gaston Javier. "Dragon's Blood or the Red Delusion: Textual Tradition, Craftsmanship, and Discovery in the Early Modern Period." Renaissance Quarterly 76, no. 4 (2023): 1223–71. http://dx.doi.org/10.1017/rqx.2023.543.

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This article explores the plurality of referents associated with the term “dragon's blood” (“sanguis draconis”), a legendary substance that brings together Greco-Roman and Arabic medical knowledge, local vernacular traditions and artisanal practices, and new Spanish and Portuguese botanical discoveries. The study of dragon's blood reveals the interface between overlapping epistemic paradigms governing the definition, use, and circulation of complex material substances in early modern Europe, ranging from humanist learned discussions and artisanal experimentation to vernacular narratives of dis

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Choirunnisa Rezky Ramadhani and Fajar Ciptandi. "Tradition and Spirituality: Exploring the Motifs of Rifaiyah Batik in the Context of Islamic Values." IBDA` : Jurnal Kajian Islam dan Budaya 23, no. 1 (2025): 43–66. https://doi.org/10.24090/ibda.v23i1.12930.

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Batik Rifaiyah is a cultural heritage of the Rifaiyah Community located in Kalipucang Wetan Village, Batang Regency, Central Java. It serves as an expression of Islamic spirituality. This type of Batik represents artistic craftsmanship and is a medium for teaching Islamic values through symbols and motifs. However, understanding the philosophical values and foundational aspects of Rifaiyah Batik is currently limited to the oral traditions passed down by batik makers and the Rifaiyah Community, with insufficient written documentation. This study aims to explore and comprehend the fundamental pr

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Imron, Nur Emylia Natasha Muchamad, and Liza Marziana Mohammad Noh. "From Tradition to Trend: Marketing Management in the Promotion of Baba Nyonya Beaded Shoes." International Journal of Research and Innovation in Social Science VIII, no. XIV (2024): 227–34. https://doi.org/10.47772/ijriss.2024.814mg0021.

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Baba Nyonya’s beaded shoes, also known as beaded shoes, are a unique creation of the Peranakan or Straits Chinese culture, which mixes Chinese and Malay traditions in Southeast Asia. Historically, these beaded shoes symbolised identity, wealth, and prosperity and were made with high craftsmanship for ceremonial and cultural purposes. However, in recent years, these shoes have transformed from traditional apparel to fashion statements that have piqued the interest of collectors and modern shoppers. This change is fuelled by a renewed interest in historical fashion, strategic marketing, and inte

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Zhang, Jiaojian, and Basitah Taif. "Overview of the Traditional Dyeing Technique of Mud-Gambiered Silk in Guangzhou, China." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 2 (2025): e003084. https://doi.org/10.47405/mjssh.v10i2.3084.

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This paper explores the Mud-Gambiered silk dyeing technique that is unique to the Guangdong Province of China. Document analysis methods are used to explore the historical origins, cultural significance and dyeing processes of local artisans. This traditional dyeing of the Mud-Gambiered silk relies on local river mud and Dioscorea cirrhosa root extracts. The process has demonstrated a reliance on local natural resources and an understanding of traditional craftsmanship. The application of the raw materials creates indigenous local textile products. The study traces the historical background of

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Kumar, K. Midhun, D. Narasimha Rao, Akash S,, S. Siva Anjaneyulu, G. Sunil Kumar, and Dr Zafar Ali Khan N. "HandloomHub: Empowering Artisans to Thrive Through Product Management, Sales Insights, and Event Engagement." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 01 (2025): 1–9. https://doi.org/10.55041/ijsrem40565.

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We aim to transform the lives of rural artisans through a user-friendly platform connecting their cultural heritage to a global audience. Artisans can register, upload product listings like textiles and handicrafts, and access sales analytics to refine their offerings. The platform supports collaboration via events such as workshops and exhibitions, fostering a sense of community. Trust is built through initial Cash on Delivery payment options, ensuring secure transactions. Features like “Artisan of the Month” enhance visibility, while dedicated sections for government schemes and updates prov

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Ahmed, Gomaa. "Analysing Heritage Building Conservation Against Sustainability factors." International Journal of Engineering Research and Reviews 11, no. 4 (2023): 26–47. https://doi.org/10.5281/zenodo.10082627.

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<strong>Abstract:</strong><i> </i>Conservation, in general, is a set of activities lead to preserving or protecting a resource or something before it is depleted or consumed due to natural causes or human activities, while Sustainability is considered as a positive action to maintain resources on a certain level. In a way Conservation is serving the purpose and leading to sustainability. This paper examines the Heritage Building Conservation activities and how they are affecting the Sustainability factors. A break down for Heritage building conservation activities was used to evaluate imp

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Kelly, Jessamy. "Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan." Arts 13, no. 5 (2024): 161. http://dx.doi.org/10.3390/arts13050161.

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Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the Heritage Crafts Red List of Endangered Crafts, an initiative which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut and engraved glass craftsmanship in the UK, categorising and placing both brilliant cutting

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Nair, Rathi, Basavaraj S. Biradar, and Sreevidya. "Echoes of Heritage: A Thematic Exploration of the Veena Makers of Simpadipura." European Journal of Arts, Humanities and Social Sciences 2, no. 2 (2025): 214–19. https://doi.org/10.59324/ejahss.2025.2(2).23.

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The art of Veena making in Simpadipura represents a well-established craft that embodies India's rich musical and cultural heritage. The documentary <em>The Melody Makers of Simpadipura</em> has been widely used in comparative analyses exploring the village’s significance to the world of classical music, as it is home to some of the finest traditional Indian string instruments—the Veenas. This research paper, based on qualitative analysis of the aforementioned cultural documentary, delves into the intricate process of Veena crafting, the various types of Veena, and their

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Thote, Alain. "Lacquer Craftsmanship in the Qin and Chu Kingdoms: Two Contrasting Traditions (late 4th to Late 3rd Century BC." Journal of East Asian Archaeology 5, no. 1 (2003): 337–74. http://dx.doi.org/10.1163/156852303776172926.

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Picard, Suzanne. "Gospel Formation and the Catalytic Corrective." Axis Mundi 2, no. 2 (2017): 29–43. http://dx.doi.org/10.29173/axismundi63.

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   Burton Mack’s Myth of Innocence delves into the nebulous territory of earliest Christianities with a reformer’s zeal and an academic’s rigour. Confronting a paucity of primary documentation and a scholarly obsession over the historical Jesus, Mack attempts to change the popular and academic vision of Christian origins with what he describes as “a single shift in perspective”: looking at the Gospel of Mark not to study the indelible uniqueness of the Christ Event, but to uncover the social histories of the document and its existence as a social charter.1 Thus, Mack turns to

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Finamore, Michelle Tolini. "“A Triumph in Culinary Art”: Epicurean Displays at the Copley Plaza." Gastronomica 11, no. 4 (2011): 78–85. http://dx.doi.org/10.1525/gfc.2012.11.4.78.

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From the early twentieth century through the 1960s, three generations of the Tolini family participated in culinary expositions organized by the Epicurean Society of Boston and Les Amis d'Escoffier. The French gastronomic traditions of Auguste Escoffier and Antonin Carême informed the creation of the elaborate and highly decorative tallow sculptures that were the centerpieces of these displays. Drawing upon an extensive family archive of photographs, menus, and ephemera, the author delves into the history of these extraordinaires, or pièces montées. The article explores the fabrication techniq

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Santos, Paulo Victor, Yngled Magalhães Mattos, Marcelo Santana Silva, Daliane Teixeira Silva, Cleiton Braga Saldanha, and Angela Machado Rocha. "Straw Craftsmanship from Port of Sauípe-BA: Possibility of Become a Geographic Indication." Revista de Gestão Social e Ambiental 18, no. 11 (2024): e09649. http://dx.doi.org/10.24857/rgsa.v18n11-048.

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Objective: Present the potential of the Geographical Indication for straw handicrafts from Porto de Sauípe – Bahia based on the Methodology for Identifying Potential Brazilian Geographical Indications, developed by the Micro and Small Business Support Service (Sebrae). Theoretical Framework: The article shows some reports that provide information about the history and context of straw crafts in Porto de Sauípe, including local traditions and the role of artisans in the production of the products. Method: The research has a qualitative approach with data collection through bibliographic survey

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Fugui, Li, and Konstantin M. Zubrilin. "Methods of teaching traditional Chinese painting style “Mogufa” in the Moscow institute of Arts (China)." Science and School, no. 2, 2020 (2020): 217–21. http://dx.doi.org/10.31862/1819-463x-2020-2-217-221.

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The considers the methodology of teaching the Chinese style of painting “Mogufa” at the Moscow Institute of Arts (China). The relevance is determined by the small number of research papers and historical records on the teaching methods of traditional Chinese painting, of particular interest is the influence of Western art on the style of “Mogufa”. Conducted research on this topic is mainly limited to the study of technology for reproducing the “Mogufa” style. The article analyzes the experience of implementing joint educational programs at the Moscow Institute of Arts in China. The features of

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Li, Zhihan, Zengzhan Xu, Shen Dong, Quan Zheng, and Yifei Zhao. "Analysis of Disseminating Intangible Cultural Heritage to ASEAN Countries Through AIGC: The Case of Chinese Tea Culture." Lecture Notes in Education Psychology and Public Media 63, no. 1 (2024): 165–69. http://dx.doi.org/10.54254/2753-7048/63/20240954.

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Intangible cultural heritage represents a vital aspect of global cultural diversity, embodying historical wisdom and identity across various regions. Chinese tea culture exemplifies this heritage with its unique traditions of tea-making, teaware craftsmanship, and philosophical underpinnings. However, globalization presents challenges such as language barriers, inefficiencies in traditional transmission methods, and economic marginalization. Artificial Intelligence-Generated Content (AIGC) emerges as a transformative tool to address these challenges, utilizing machine learning and natural lang

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Bharti, Dr. Reena. "Unveiling Indigenous Wisdom: Tribal Science and Tech Traditions in India." International Journal of Advance and Applied Research 5, no. 19 (2024): 245–49. https://doi.org/10.5281/zenodo.12652115.

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<strong>Abstract:</strong> Indigenous wisdom is rooted in deep connections to nature, integral to our cultural heritage. It offers valuable insights for modern sustainability, medicine and profound insights into ecological balance and societal harmony. Central to these traditions are agricultural methods embodying sustainable practices aligned with scientific principles. Tribal communities have preserved farming techniques that prioritize biodiversity, natural pest control, and soil conservation. These methods, harmonious with modern sustainability practices, demonstrate a sophisticated unders

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Frantová, Zuzana. "Salvatore Cosentino (Ed.): Ravenna and the Traditions of Late Antique and Early Byzantine Craftsmanship. Labour, Culture, and the Economy." Gnomon 94, no. 4 (2022): 335–39. http://dx.doi.org/10.17104/0017-1417-2022-4-335.

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Hasanov, Elnur Latif oglu, and Paul M. Taylor. "ABOUT SIGNIFICANCE OF BASIC ART CRAFTSMANSHIP TRADITIONS OF GANJA IN RESEARCH OF ETHNO-HISTORICAL PAST OF THE TURKIC WORLD." Theoretical & Applied Science 24, no. 04 (2015): 15–21. http://dx.doi.org/10.15863/tas.2015.04.24.3.

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JUYAL, KANCHAN DHARIYA AND RACHNA. "Tradition at the Crossroads: Globalization and the Cultural Identity of Uttarakhand." JOURNAL OF ENVIRONMENT AND BIO-SCIENCE 39, no. 01 (2025): 143. https://doi.org/10.59467/jebs.2025.39.143.

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As the process of globalization has created new windows of opportunities for economic expansion, especially from the tourism and industrial sectors, it has set huge challenges toward preserving traditional modes and cultural heritage. This discussion investigates the subtle relationship between cultural identity and the process of globalization in the northern Indian state of Uttarakhand. It gives prominence to Uttarakhand's multicultural identity framed by its historical background, physical environment, and religious traditions. Local rituals, craftsmanship, festivals, and folk music are the

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HUO, DONGZE, and N. V. SKLIARENKO. "DIGITAL REDESIGN OF TRADITIONAL CHINESE TEXTILE PATTERNS: A SYNTHESIS OF NATIONAL TRADITIONS AND INNOVATIONS." Art and Design, no. 3 (November 26, 2024): 39–56. http://dx.doi.org/10.30857/2617-0272.2024.3.3.

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Purpose: the study explores the complexity of digitally transforming ancient Chinese textile patterns and allows identifying the stages of its digital redesign, blending national tradition craftsmanship with contemporary intellect. Methodology. A Systematic Exploration of Digital Redesign for Traditional Chinese Textile Patterns presents a methodical approach to investigating the potential of digitally redesigning traditional Chinese textiles. Using the method of historical and retrospective analysis provides a study of the history and origin of cultural references to traditional patterns. Art

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Nair, Rathi, Basavaraj S. Biradar, and Sreevidya. "Echoes of Heritage: A Thematic Exploration of the Veena Makers of Simpadipura." European Journal of Arts, Humanities and Social Sciences 2, no. 2 (2025): 214–19. https://doi.org/10.59324/ejahss.2025.2(2).23.

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The art of Veena making in Simpadipura represents a well-established craft that embodies India's rich musical and cultural heritage. The documentary The Melody Makers of Simpadipura has been widely used in comparative analyses exploring the village’s significance to the world of classical music, as it is home to some of the finest traditional Indian string instruments—the Veenas. This research paper, based on qualitative analysis of the aforementioned cultural documentary, delves into the intricate process of Veena crafting, the various types of Veena, and their importance within the framework

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Zhang, Susu, and Vuthipong Roadkasamsri. "The soft power of kites: Leveraging the Yangjiabu Kite Festival as a model for international cultural diplomacy." Journal of Infrastructure, Policy and Development 9, no. 1 (2025): 6099. https://doi.org/10.24294/jipd6099.

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The Yangjiabu Kite Festival, originating over 2000 years ago in Shandong Province, China, stands as a testament to the enduring cultural heritage and artistic traditions of kite flying. This research explores the historical origins, cultural symbolism, festival format, community engagement, and international exposure of the Yangjiabu Kite Festival, shedding light on its evolution and impact over time. Findings reveal the festival’s deep roots in ancient Chinese traditions, its role as a platform for showcasing cultural diversity and craftsmanship, and its significance in promoting tourism, cul

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Matsin, Ave. "Kangakudujate hääled / Voices of Weavers." Studia Vernacula 13 (November 18, 2021): 210–22. http://dx.doi.org/10.12697/sv.2021.13.210-222.

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This review introduces a book titled „Voices of Weavers. Textile Cultures, Craftsmanship, and Identity in Contemporary Myanmar“ written by a German anthropologist Jella Fink and published by Waxmann publishing house in 2020. It is a lively piece of research that reveals the cultural and economic background of two strands of local weaving traditions in Myanmar. The book summarises author’s fieldwork that was carried out in Myanmar as part of her doctoral studies in the years 2014–2017. Focus on the makers’ perspective is the most important contribution of the present book to research in textile

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Matsin, Ave. "Kangakudujate hääled / Voices of Weavers." Studia Vernacula 13 (November 18, 2021): 210–22. http://dx.doi.org/10.12697/sv.2021.13.210-222.

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This review introduces a book titled „Voices of Weavers. Textile Cultures, Craftsmanship, and Identity in Contemporary Myanmar“ written by a German anthropologist Jella Fink and published by Waxmann publishing house in 2020. It is a lively piece of research that reveals the cultural and economic background of two strands of local weaving traditions in Myanmar. The book summarises author’s fieldwork that was carried out in Myanmar as part of her doctoral studies in the years 2014–2017. Focus on the makers’ perspective is the most important contribution of the present book to research in textile

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Ciptandi, Fajar, Jafar Sodik, and Ira Wirasari. "Strategy For Developing The Image of the Panjunan Arab Village Area with Tradition Insights in Cirebon." Journal of Islamic Architecture 8, no. 2 (2024): 423–36. https://doi.org/10.18860/jia.v8i2.23504.

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Panjunan Arab Village is a residential area located in Cirebon, West Java, Indonesia, with most of its inhabitants of Arab ethnicity. This ethnic group arrived in Indonesia and underwent various acculturation processes, giving rise to several unique mixed cultures. Previously, this area was known as the largest center for pottery craftsmanship in Cirebon. Although the traditional activity of pottery-making is no longer found today, several manifestations of tradition still characterize the acculturation with the Arab ethnicity, such as the Red Mosque of Panjunan, Middle Eastern cuisine, and Mi

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Lajsner, Włodzimierz. "Elementy scytyjskiego dziedzictwa kulturowego upamiętnione na ukraińskich monetach okolicznościowych." Folia Praehistorica Posnaniensia 29 (December 20, 2024): 133–57. https://doi.org/10.14746/fpp.2024.29.07.

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The Scythians were people living in the steppe areas of the Black Sea. They did not leave direct successors but their cultural heritage is a part of the Ukrainian historiography. Ukraine emphasizes its own cultural traditions, including that of the steppe peoples, and seeks its identity among them. In this connection, they refer to the barrow burials of the Scythian aristocracy containing numerous valuable items, including those imported from the Greek workshops and which could indicate high social status. Under the grave embankments, archaeologists discovered numerous gold wares of high craft

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Jonuks, Tõnno, Samantha Greeves, Mari Tõrv, and Aivar Kriiska. "Stone Age anthropomorphic flat figurines from Tamula, Estonia." Acta Academiae Artium Vilnensis, no. 116 (November 11, 2024): 95–131. https://doi.org/10.37522/aaav.116.2025.285.

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This article presents for the first time the full collection of anthropomorphic figurines found at Tamula, dating from the 4th to 3rd millennium BC. While some figurines show high levels of craftsmanship, others exhibit poorer execution, suggesting that these objects were made by different individuals, possibly even the owners themselves. The ZooMS results indicate that some figurines were either produced at another location and brought to Tamula or were made from an imported and exotic raw material (goat or reindeer). The deliberate damage to full-body figurines points to ritual practices, po

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