Hasil untuk "Handicrafts. Arts and crafts"

I. Majeed, Rayees Ahmad, Sumbl Ahmad Khanday

Handicraft activities are mostly done by women, especially in rural areas of Kashmir. They are engaged in various craft activities such as embroidery, shawls, crewels, paper machie 1 and carpets. The position and status of Kashmiri women artisans have been a matter of great concern for the last few decades. The New Economic Policy results in the free flow of machine-made goods in the domestic market, which results in the extreme marginalization and deprivation of women artisans in the handicraft sector (Majeed, 2018, American International Journal of Research in Humanities, Arts and Social Sciences, 25[1], 129–135). This article focuses on gaining deeper insights into the real-life situations of women artisans in the Pulwama district of Kashmir. The purposive sampling was employed for identifying the women artisans concentrated in various villages of the Pulwama district. The selection of the participants from villages was done through snowball sampling. In the present study, 15 women artisans associated with manufacturing different handicraft products were interviewed. The collected data were analysed and interpreted carefully. The themes that emerged after the data set were interpreted thematically include problems and challenges faced by women artisans, exploitation and political conflict. The findings showed that women artisans in Kashmir are suffering extreme deprivation and poverty as a result of political conflict, the closure of the Kashmir valley after the removal of Article 370, and restrictions imposed as a result of COVID-19.

Toyibah Kusumawati, Isbandono Hariyanto, S. Widodo

Striated weaving is one of the traditional handicraft arts of the people in java. Striated weaving is known as one of the traditional fabrics that have a very simple but unique look, namely in the form of a composition of various colors that form rows that produce ornamental patterns. The straight lines impress firmness and simplicity. So far the development of striated weaving is limited to the development of the design and shape of the products produced, and has not explored many opportunities when combined with motif making techniques on top of other textiles. In addition to the technique of cutting, one of the techniques that has always been a distinctive icon in textile craft art in Java is batik. This is what encourages and inspires the proposer to combine the two. The purpose of this research is to make product innovations from striated weaving materials that are applied with batik motifs and techniques in the form of shawl cloth. The research method used ispractice-based research that refers to the object of research. This stage of research begins with data collection, data analysis, and presentation of analytical results.

A. Sinha, Vandana Sehgal, Shriya Singh

Abstract: The dominant fragment of India, the central belt and the central-eastern states are the most important part of India where the tribal communities live. The tribal people are deeply rooted in India and have developed their own techniques and characteristics from various sources. Various tribal arts are increasingly recognized as distinct art forms with distinct aesthetic beauty. All the artistic factors that give an artistic formation a distinctive individuality, such as composition, line, color, texture, and rhythm, are examined in this study to evaluate the emerging trends of tribal art in interior design. Art allows people to express their personality and their beliefs. A tribe harbors an environment for generating new ideas for work and life whilst also fostering a sense of community which is vital for a healthy productive life. Tribal Art encourages dialogue and inspires our imaginations. Art improves the quality of our lives and our living spaces. It adds warmth and texture to your space. Thus, Tribal Art lets us think about new ideas, explore and experience new perspectives in life. It helps us take a moment away from our busy lives to connect with new community also. The research is based on secondary data collection through case studies and information collected by government departments based on different research papers respectively. Finally, it is concluded that these tribal art products are astonishing and due to this reason, it makes an interior space more enticing and aesthetic. By promoting the handicraft of Bastar, we are not only revealing the hidden talents of the artisans to the world but also strengthening the Indian culture by escalating it in the global scenario

H. Melnychuk, V. Dutka

In Hutsul region, due to many historical circumstances and peculiarities of the natural and geographical environment, a specific way of managing the locals was formed; home crafts and handicrafts were developed.The process of formation and development of Hutsul crafts is inextricably linked with the life of the mountaineers, who almost completely provided themselves with consumer goods. The availability of natural raw materials and the remoteness from industrial centres encouraged locals to engage in pottery, weaving, producing furniture, utensils, brass, clothing, lizhnyky (blankets of wool) and more.The most popular trades of Kosiv region at the end of the 18th – second half of the 19th centuries were pottery and artistic weaving, including lizhnyk making. Having a fertile artistic and raw material base, the manufacture of lizhnyks has always played a huge role in the life of Hutsul house. The lizhnyk had to be among the dowry of the girl; it was given at baptisms and it accompanied the last journey.The development of Kosiv, Pistyn and Kut pottery was facilitated by the presence of rich deposits of plastic pottery clays, as well as the need to make utensils for everyday use. The products of each of these centres of pottery differed in their characteristics, which depended on the natural properties of materials, the level of ceramic production and local traditions.The artistic traditions and the unique spiritual culture, over the centuries, are a permanent basis for the development of folk arts and crafts. From generation to generation passed artistic and stylistic techniques of decoration; the secrets of technical and technological skills, and improved techniques for processing natural materials. Traditions of folk arts and crafts, which have stood out in a bright artistic phenomenon, have become one of the important aspects of socio-economic and artistic life of modern Hutsul region.The rapid development of factory industry in the second half of the 19th century caused a reduction in the production of most household items. At the same time, the growth of industrial production of goods, trends in their domestic use contributed to the rise of the role of artistic origin in traditional types of applied crafts. Improving the quality of products, adjusting the development of industrial production and folk crafts required the introduction of art and industrial education. In this context, the establishment in 1882 of the Weaving School in Kosiv was a significant event in the beginning of professional education in Hutsul region.

Liudmila A. Dashkevich

This article explores the history of the establishment of the first Russian-Bashkir agricultural school in the Urals. Its initiator was Nikolai Aleksandrovich Sokovnin (1841–1893), a prominent figure in professional education. The article analyses reports of the Krasnoufimsk Russian-Bashkir lower agricultural school to the trustee of the Orenburg educational district written by Sokovnin. They testify to the fact that the establishment of this educational institution was the result of many years of thinking by the teacher about how it could be possible to improve the economic situation of peasants with the help of education. Sokovnin was convinced that agricultural schools could not be limited to teaching the theory and practice of farming and cattle breeding, they had to give peasants the skills to process agricultural products. He looked for new sources of national wealth in the development of small trades such as handicrafts, as well as in the dissemination of technical knowledge among the population. Sokovnin saw the missionary function of the school in the fact that it could change the established traditions of raising Bashkir children and make them sensible and thrifty heads of households. Sokovnin sent the first teachers of the agricultural school to the best processing enterprises in Central Russia to improve their technical knowledge and skills. The Krasnoufimsk Russian-Bashkir lower agricultural school was opened in 1887. It worked in accordance with the Charter, which demanded that the school have full-time teachers who received state salaries and people who worked for hire. The former included a school manager, a preparatory class teacher, three main class teachers and a teacher of law, the latter — a mullah teacher, craft teachers, foremen, a watchman and other attendants. Education at the school lasted for five years: two years in the preparatory class and three years in the basic. About 60 people studied at the school every year, a third of them being Bashkirs and representatives of other peoples who professed Islam.

Jiarong Han

ARTICLE DATA "Of the nation, of the world." Traditional costume handicraft represents the cultural authenticity of a nation, and colleges and universities have the function and responsibility to inherit and protect the national culture. It is an important responsibility of the state to cultivate new people who take up the responsibility of national rejuvenation, and it is the eternal theme of teaching research of the fashion design major of colleges and universities. There is a necessity to establish a teaching studio integrating traditional costume crafts with regional characteristics, build a platform of "inheritance + innovation", tap traditional skills, and protect the inheritance of intangible cultural heritage. Finally, it is necessary to carry forward its social value through inheritors. The idea of teaching and research of clothing design specialty in colleges and universities is to integrate the cultural connotation of "living" with regional characteristics into the inheritors' practical ability of "inheritance + innovation" and promote the regeneration of traditional costume handicrafts. ABSTRACT "Of the nation, of the world." Traditional costume handicraft represents the cultural authenticity of a nation, and colleges and universities have the function and responsibility to inherit and protect the national culture. It is an important responsibility of the state to cultivate new people who take up the responsibility of national rejuvenation, and it is the eternal theme of teaching research of the fashion design major of colleges and universities. There is a necessity to establish a teaching studio integrating traditional costume crafts with regional characteristics, build a platform of "inheritance + innovation", tap traditional skills, and protect the inheritance of intangible cultural heritage. Finally, it is necessary to carry forward its social value through inheritors. The idea of teaching and research of clothing design specialty in colleges and universities is to integrate the cultural connotation of "living" with regional characteristics into the inheritors' practical ability of "inheritance + innovation" and promote the regeneration of traditional costume handicrafts.

Makhmatmurod Khuramovich Shomirzayev, Kakhraman Kamulovich Yuldashov

The article discusses the importance of studying the history of folk crafts and educating them in the spirit of national values and traditions. It is known that the main idea of the national model of training is to bring up a harmoniously developed person. At the heart of the national model is the individual and his positive qualities. Therefore, one of the urgent tasks today is to improve the selection and application of teaching methods to the individual. In this regard, labor education classes, including those taught in general secondary schools, are of great importance in preparing young people for life and careers. In this case, some of the works of folk crafts can be widely used, especially in technology education classes. Because the teaching of folk handicrafts to schoolchildren is of great importance in educating them spiritually, in the spirit of universal national values, introducing them to the crafts, traditions, centuries-old national values of their people and directing them to the profession. In this regard, the curriculum of labor education in general secondary schools provides students with information about folk crafts, teaching them about folk crafts. lib, which has great potential for performing the above tasks directly. With this in mind, in recent years in our country are developing several dozen types of folk arts.

Di Ying, Zhilai Song

The Han Dynasty was a glorious era in China’s history and a golden age in the history of Chinese arts and crafts. It was a stage of comprehensive social, economic and cultural development. In the handicraft industry, there was a great improvement in the craftsmanship of textiles, ceramics, lacquerware and bronzes, among which the bronze ware developed from the vessels for food in the Spring and Autumn Period to the daily-use vessels. This paper focuses on the analysis of Boshan censers among the bronze vessels in the Han Dynasty. Behind this work lies the pursuit and reverence of the Chinese ancients for Taoist aesthetics. And this paper combines the analysis of Taoist aesthetics and the appreciation of Boshan censers of the Han Dynasty to explore the inner connection between them and between Boshan censers and the intelligent environment.

Dr.B. Baskaran, K. Manikandan

India is one of the leading suppliers of handicrafts in the world market. Among Indian states, Tamil Nadu is a place for its rich history of culture &tradition in the Handicrafts Industry and occupies an important place in this sector. Tourisms play a vital role in promoting goodwill among the people and social economic development of the country. Tourism as an industry earns large foreign exchange reserves and creates direct and indirect employment opportunities to very large sections of society. Besides promoting handicrafts and fine arts of a nation, it helps in preserving the nature’s beauty, cultural heritage of the land, and strengthens the process of national integration and universal brotherhood. This study is to highlights development of craft tourism services in Thanjavur district Tamil Nadu.

Yaşayan İnsan, Hazineleri Bağlamında, Çini Sanatçısı et al.

Asyifa Lu’lu Qur’aeni, S. Fuada, Heni Herlinawati

Cintalaksana 1 Elementary School Karawang, West Java applies a limited online and offline learning model during the Covid-19 pandemic. Some students feel bored because the hybrid learning is still monotonous. Arts, Culture and Crafts (SBdP) subjects can be optimized to overcome student boredom, because in addition to very entertaining/fun learning, they can also explore, hone, and develop the potential of students. As an implication, students' enthusiasm for learning can increase. SBdP learning with interesting materials can increase students' creativity during a pandemic and can even generate economic value. Based on the problems found, a craft training from kokoru paper was held which aims to increase students' creativity while at the same time making SBdP subjects more varied. The methods of implementing the training include: 1) planning; 2) training held offline by implementing strict health protocols; and 3) evaluation. The results show that students are skilled at making kokoru according to the shape or object they want by only looking at examples of existing products and knowing the manufacturing techniques which tend to be very easy, namely folding, rolling, cutting, pasting, and decorating with knick-knacks. Participants gave a positive response after participating in the activity, they could fill their boredom while studying during the pandemic with a new hobby. Kokoru can be applied to increase student creativity through SBdP subjects, especially paper-based handicrafts.

José I Martínez

This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress. We will highlight the Miguel Fargas and Vilaseca Factory, which will manage to industrialize this handricraft, becoming one of the few internationally known manufacturers. We will try to illustrate the history of this office by analyzing this case study, since it reveals an interesting part of the panorama of decorative arts in Modernista Barcelona.

Kakhraman Kamulovich Yuldashov

Zhexin Liu

Starting from the historical background of Chaozhou embroidery, this article introduces the characteristics and categories, crafts and patterns, application and development of embroidery culture. It can be concluded that the cultural inheritors of the tide embroidery are old, the embroidery workers are aging, and there is a lack of successors; the innovation ability is insufficient and it failed to keep pace with the times; the general public lacks effective ways to understand the Chaozhou embroidery in daily life; the current situation of the current market of Chaozhou embroidery is narrow and so on. Combined with the booming social dynamics of cultural and creative products, this paper explores the design of Chaozhou embroidery cultural and creative products. Through research and practice, the innovative path of how to protect and inherit the Chaozhou Embroidery skills in the development of the modern market is given. It can be concluded that the protection of Chaozhou embroidery must be carried out at the same time from the two aspects of preservation protection and productive protection, in order to make the traditional handicraft of Chaozhou embroidery shine and better promote the development of Chaozhou embroidery culture. It is hoped to make a little contribution to the development, inheritance and protection of Chaozhou embroidery skills.

M. Boichenko, A. Nykyforov, O. Hulei

The article aims to determine the main stages of teaching fine, decorative, and applied arts in the context of art education development in Ukraine, which in the second half of the 19th – early 20th centuries was part of the Russian Empire. The methodology of the study consists of a set of methods of analysis, synthesis, comparison, generalization, interdisciplinary synthesis of historical-cultural, historical-artistic, and historical-pedagogical approaches. The scientific novelty lies in generalizing comprehension of art education progressive development in Ukraine in the 19th – early 20th centuries, expanding theoretical ideas about peculiarities of the stages of teaching fine, decorative, and applied arts in the territory that was part of the Russian Empire. The study of the main trends – changes in social conditionality, requests of society for skilled handicraft and pedagogical staff of artistic and crafts profile, processes of art education formation and development of cultural-artistic trends in the field of fine, decorative, and applied arts, using a number of socio-economic, educational, cultural-artistic criteria, allowed to distinguish the stages of the process of organizing the teaching of art disciplines in the specified region of the second half of the 19th – early 20th century. At the same time, the forms of connections and mutual influences formed in the course of a general historical-pedagogical process between vocational and art-crafts education and in the unity of cultural-educational and educational-artistic processes reflected in the normative-legal base of national art education development were taken into account. Analysis of research results gives an opportunity to understand the trends in national art education development in Ukraine as part of the Russian Empire in connection with the current social processes.

Hanna Chuchvaha

In the patriarchal culture of imperial Russia, the collecting, preserving, and exhibiting of art works was an activity reserved predominantly for men; in the second half of the nineteenth century, however, a new type of female collector emerged. In both the capitals and provinces, women began collecting, exhibiting, and promoting folk arts and crafts and needlework. This article examines the focus on the part of specific female collectors and patrons on objects associated with women, their pastimes, domesticity, and femininity, all understood as an expression of both self and group identity. It examines this unfolding feminist project through five stages: (1) collecting artifacts associated with women; (2) displaying them at home or at private museums; (3) organizing and supporting the handicraft workshops and practical schools for peasant women; (4) popularizing those artifacts via printed editions; and (5) publishing ethnographic commentaries which reflected female pastimes, material culture, and crafts in the context of traditional culture and the arts and crafts revival.

A. Mørch, K. Litherland, R. Andersen

Garry Barker

R. López

W. Atwell