Hasil untuk "Handicrafts. Arts and crafts"

Farzaneh Kefayati, Maryam Armandeh

Gopal Meena

This study explores the relationship between innovation and brand equity, focusing on how strategic orientation and digitalization influence brand development, especially in the handicraft industry. The research integrates key theories, including the Technology-Organization-Environment (T-O-E) framework, contingency theory, and resource-based value (RBV), to examine how these dimensions shape innovation typologies and contribute to brand equity. It posits that a firm's ability to assimilate digital innovations—particularly in technology-driven environments—significantly impacts its brand equity. However, it cautions that merely adopting digital strategies without consistent strategic orientation and managerial resolve may not guarantee innovation success.The study also highlights specific challenges within the handicraft sector, using Saharanpur’s wooden craft industry as a case study. Findings suggest that fostering innovation in clustered regions can enhance competitiveness more effectively than in dispersed firms, echoing Porter’s cluster theory. Additionally, the research offers practical insights for managers and policymakers to support sustainable innovation by balancing exploitative and exploratory practices. Overall, the study underscores that strategic orientation, combined with digitalization and managerial commitment, is critical for embedding innovation in organizational culture and enhancing brand equity.

G. S. Makhrachev

Evolution of the lace craft in Tambov Province in post-reform time and the period of the New Economic Policy is considered in the article. The centres of lacemaking in Tambov Province, both during the Tsarist Russia and the New Economic Policy period, were Ishchenskaya, Krasninskaya, Troekurovskaya and Cherepanskaya volosts of Lebedyansky (and after administrative reorganization of the province - Lipetsky) district. The main problem faced by lacemakers was the destructive activity of buyers. During monopolising the market, they were forcing needlewomen to operate at a loss. In pre-revolutionary Russia artisans were supported at different levels. Two allRussian homemade exhibitions were organised at the state level. Tambov zemstvo held a number of exhibitions, established lace schools and opened a craft store. A great contribution to the development of the craft was made by local patrons of the arts. However, despite considerable support, problems of local lacemakers could not be solved.When the Bolsheviks came to power it was observed that the artisanal lace production completely disappeared during the period of war communism, and only revived during the New Economic Policy period. The activities of buyers still had a negative impact on the development of lacemaking. The course taken to cooperate with artisans, which was supposed to solve this problem, ultimately failed, without achieving the desired result. The All-Russia agricultural and trade show, organized in 1923, was not a success either, since the handicrafts industry had not yet been able to recover and there was almost nothing to show. The revival of the craft was adversely affected by the persecution of the Tambov landowners who were engaged in patronage of the arts. In the end, the Bolshevik leadership also failed to solve the problems that were hindering the handicraft industry.

Prakash Upadhyay

Handicraft s form a fundamental part of tourist experience representing local traditions and indigenous population’s talents and skills, income and job opportunities. Th is paper aims at exploring the role of handicraft products in promoting employment as well as preserving the cultural heritage of Pokhara. Th e study result reveals that there is a signifi cant level of correlation and dependency between handicraft products and tourist’s arrival, job creation and the increase in income and social status of artisans and handicraft s shopkeepers. As a unique experience for tourists, handicraft products have enriched national economy, identity and promoted cultural heritage, uniqueness and authenticity, and cultural commercialization. However, handicraft is not just about commercialization of cultural arts or displaying and selling products, it is about allowing tourists to truly understand the skill and the craft at rear and realize handicraft s unique tradition, linking tourists to artisans to facilitate them understand and appreciate the art. Further it is about how culture is recognized through display of a new self-representation or ‘enterprising spirit’, but not with the total loss of primordial ‘pure culture’ albeit an authenticity of hybrid culture. Lack of eff ective advertisement and marketing, inequitable price, scarcity of raw materials, intrusion of 2 Journal of Tourism & Adventure (2020) 3:1, 1-19 foreign goods, ineff ective government policies are the crucial tribulations of handicraft products tourism in Pokhara. State policy improvement, increase in supply of raw materials, creative production and marketing are the ways that can promote handicraft s market. It is necessary recognizing the prominence of handicraft products tourism as a prodigious agent for preservation of traditional craft , methods of production and an eff ective means of sociocultural and economic empowerment, cultural renovation and national identity building.

Esma Burcu Havası

Clay, as a material and ceramics, which is the technique of hardening it by firing, is a form of production as old as human history like other branches of art. However, ceramics started to be perceived as contemporary art in the 20th century, when famous artists such as Pablo Picasso and Joan Miro made ceramics. Before this period, ceramics was being mentioned as; pottery, handicrafts and industry. This process, which started with the production of ceramics by 20th century painters, allowed ceramics to be perceived as a contemporary art branch. In the years following this period in Europe, ceramics departments were opened within the academies, and with the contributions of those artists, who were educated in ceramics, as form and content, the style which is named as contemporary ceramic art today, has emerged. Thus, contemporary ceramic art, which was already born into modernism, has witnessed two periods until today; modernism and postmodernism. The subject of this research is the study of the state reached by ceramics, which has had a unique modernization process and has been exposed to many discussions about its identity, in contemporary arts. Keywords : Ceramic, Art, Craft, Identity, Art of Ceramics, Contemporary Art DOI : 10.7176/JSTR/6-10-10

Mary, Connor

Elin Angelo, Øivind Varkøy, E. Georgii-Hemming

Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.

R. R. Musina, Industry named after S. G. Stroganov

ابوذر پایدار

Yugang Chen

Extremely rich traditional tie-dye process with its unique glamour of art has a long history, manual tie-dye tie way of diversity, design of of primitive simplicity is elegant in style, is another popular element. Regarded in the fashion clothing at home and abroad, and the integration of silk, more provides designers with unique artistic style. The introduction Tie-dye is derived from a kind of traditional folk handicraft art, recorded in the ancient books to dye "ground" or "the pattern-dye". And tie-dye crafts is also a kind of traditional dyeing techniques, our tie-dye crafts from today already has more than two thousand years of history, is truly a treasure of the Chinese nation. The concept and characteristics of dye Traditional tie-dye crafts can be characterized by two types of tie and dyeing. Through the different tools such as cotton fabrics, cotton, hemp, etc., the will be yarn-dyed fabric, sewing, clamp, different manual techniques, such as comprehensive after dyeing. Effect is made the bundle cannot be dyed fabric, the fabric were part of it with grey fabric, not tied appears the dyeing effect of fabrics part of living. Through after tie-dye color shading on fabric immediately, rich variety of color gradients, and fold the effect of printing and dyeing. Tie-dye usually gives priority to tone with blue and white two colors, blue and white two color comparison can show the character of Chinese traditional simple implicative, on colour of blue and white combination is simple quietly elegant coincides with "traditional blue and white porcelain". Tie-dye process of the selected material is given priority to with more soft and light fabric. According to design good design flat sewing with lines, the main seam techniques have folding seaming, full needle sewing method, etc. While another binding through will be part of the dyed yarn or other materials around, make some failed to dyeing, strapping method still can use splint, packet content method, line binding method and so on. Tie-dye applied in modern textile design, costume design, fiber art design, was a lot of common used in hanging, silk scarves and costumes. Tie-dye process reflects the typical characteristics of folk art, traditional designs is the epitome of the Chinese nation, enrichment of traditional regional customs and different style, but also with other technology to constitute the unique charm of dyeing culture, modern design combined with tie-dye, reflects the new concept of art and design. Because the traditional dyeing method and technique, a long time to dye the color is plain blue and white color is given priority to, simple line electricity, modelling are the basic building blocks of its design elements. To present a simple elegant artistic style. 60 s to 90 s last century, western new design ideas, let dyeing crafts great changes have taken place. On the color changed the single, showed a different colour is given priority to, and on the design modelling also extremely has the western modern abstract style. And tie-dye art now has developed into the integration of different kinds of style, expression of realism, rustic style, fashion style, etc. And in recent years at home and abroad many large fashion show, tie-dye art often be applied by the designer in the fashion design. Such as han silks cup in 2009, the 2009 Beijing fashion week fur, D&G, 2010 women's wear in the spring and summer clothing design works are find tie-dyed art design. Through successful clothing design work, can reflect the tie-dyed art unique craft technique now has formed new fashion clothing, clothing style unique show. 3rd International Conference on Management, Education Technology and Sports Science (METSS 2016) © 2016. The authors Published by Atlantis Press 32 The process features of dye on silk fabric Removal of soft cotton and linen fabrics, quality noble silk fabrics are tie-dye process in the choice of important materials, silk fabrics usually includes silk, tussah silk, castor silk, cassava, silk, etc. Silk fabrics mainly divides into the kinds of crepe DE chine, heavy crepe georgette burnt-out, georgette, double Joe, Joe, {sang pu} satin, crepe, satin elastic crepe satin, several kinds of warp knitting, etc. And most of the natural silk is the white, also have special varieties, mulberry silk is the most precious species in wild silkworm silk, show jade. However, these color for dress design or insufficient performance greatly. To the design of the color mainly embodied in dyeing and printing two kinds big. The innovation of the design elements designed for fabric again, the new fabric design formed in silk fabric dyeing design performance of two kinds of extremely prominent fashion design language, and the effect of dyeing silk design better conform to the general trend of the culture of popular features. Using various clothing materials, different materials are perfect combination collocation gives a rich and unique artistic effect. At the same time, using silk dyed fabric appearance, texture difference, diversity, combined with a variety of design methods and style at the same time, using the principle of color harmony or contrast color contrast, to show the full colorful or harmonious and unified. Typically we miss manners garment design in the 08 Beijing Olympic Games can reflect to dye the silk "dignified elegance", the designers use quite a lot of Chinese elements in the design, fabric selection is silk, each design reflects the antique flavor, exquisite traditional embroidery technics, knot button, color also is stylist clever application, the performance of the Oriental female elegant protruding to pour from the cause. Tie-dye process characteristic performance design application in silk garments Today's clothing market booming, tie-dye pattern has not stopped on the traditional pattern, pattern is more and more diverse. In our today's life such as tie-dye in a high-grade process performance, are widely used in the design of fashion, after the designer of clever conception, use float soft texture of natural silk fabrics, color and pattern of clothing creation, make people feel stretch, fluent, with unique national characteristics. Tie-dye performance is now not only appear in the traditional pure cotton cloth, tie-dye pattern has appeared in the all kinds of natural and synthetic materials, silk, linen, leather, knitting, denim made of tie-dye effects of all kinds. The performance of clothing on the local. On local we can show the design of the main means in some parts of the clothing seat through the tie-dye process technique performance design effect, thereby can, to a lot of different pattern texture shape and a variety of colours. It is often placed at the edge of the garment and the center position. Like in the evening the shoulder and waist decoration tie-dyed patterns, will have a dazzling visual effects. Different parts, when using tie-dye process should be different, edge, should choose some graphics simple process, simple color, of course, a single is better, to get strong effect of eye-catching appearance. Near the center of color change, scale is larger, the decorative pattern is often in the form below. Choose more design concrete or abstract. Process can choose to sew, impregnation process, such as color can choose a variety of free collocation. Garments' integral design of the application. Traditional tie-dye crafts in most of the integral design of the clothing is a alone or in combination with a variety of craft method to create a design. Such as simple a strapping of dyeing technique applied in the overall clothing design, the effect is very good highlights the visual effect of clothing. By combining different methods of several kinds of arts and crafts design method, is more artistic expression, can present rich color, more visible in the haute couture. Background of clothing design. Background of clothing design is the application of the method of dyeing crafts to the local and the overall design of the clothing. The designed pattern directly show the clothing in the background, also can be combined with some spelling process method, combination is unique characteristics, stylized visual appearance. Tie-dye process as the background of clothing decorated with difficulty usually choose when is low, single technology is

А Г Мусаева, П М Азизова

Anders Hermund, L. Klint, Nicolai Rostrup

A. Kyriakidou

Liang-Di Xie

Vedika, Ekta Grover, S. Paul

Paolo Quintili

The natural philosophy of Diderot is built from the experience of the fundamental Description des Arts in the Encyclopedia, or from the «great and beautiful collection of machines» which the work provides a very rich representation. Models and metaphors that Diderot constructs to describe the world of organic beings, from the Pensées sur l'Interpretation de la nature (1753), are inspired by the world of the mechanical arts and crafts. The manouvriers d’expériences, the experimental philosophers, are the great inventors and discoverers of the secrets of nature and living being: to them Diderot inspire itself and his work as a philosopher of nature and arts. From the loom to weave socks, to the fire pump, the description of the machine proceeds through a complex network of metaphors that combine the operation of the instrument to that of organic life. The machine energises itself and the organism, in turn, is mechanized in a maze of functional architectures, according to new models and artistic metaphors of living beings, other than cartesian one. Diderot does not cease to be mechanistic still in his last vitalistic works, from Le Rêve de D’Alembert, to the Éléments de Physiologie. The new world of handicraft and artisans remains the key reference point in the philosophical work of the encyclopaedist-naturalist: weaving loom socks and sensible harpsichord are the two tools / metaphors that describe the man and his rational and specific nature.

Гасанов Эльнур Лятиф Оглы

J. Lupton