The focus of this article is a roemer decorated with gilt coats of arms of the Holy Roman Emperor and seven Electors, once in the collection of Baron Nathaniel von Rothschild (1836–1905) and now in the collection of the Corning Museum of Glass (2023.3.11). Below the arms is an inscription stating that the roemer is a Wilkum (Wilkomm or “glass of welcome”) and the date, 1662. The technique of gilding is unusual: the gold is on the exterior surface of a pebbly red underlayer, which XRF reveals to be consistent with red bole or minium. This made the unfired gilt decoration more stable and less likely to wear with handling and gave it a perceptible thickness. Two other roemers, dated 1661 and 1662, in the collections of the Museum für Angewandte Kunst, Cologne, and the Hessisches Landesmuseum, Kassel, having gilt decoration produced using the same technique, are attributed to the same single, unidentified artisan. These roemers are, at present, the earliest known examples of the technique for gilding on glass.
Rural environmental governance serves as the foundational pillar of national governance, intricately linked to the modernization of agriculture and rural areas, as well as the cultivation of rural culture. Furthermore, it plays a pivotal role in fostering industrial prosperity, ensuring effective governance, and elevating living standards. This study employs a range of sophisticated software tools, including VOSviewer, Bibliometrix, and ArcGIS, among others, to analyze and construct a comprehensive knowledge map encompassing 3370 research articles focused on rural environmental governance, sourced from the CNKI (China National Knowledge Infrastructure) and WOS (Web of Science) databases. This analytical endeavor delves into research themes, key areas of interest, developmental milestones, and emerging trends within the realm of rural environmental governance, thereby shedding light on the overarching trajectory of research endeavors in this domain within China. The findings reveal distinct phases in the evolution of research trends in the Chinese rural environmental governance literature, encompassing four distinct epochs: a period of sluggish growth (2002–2009), a phase of accelerated expansion (2009–2014), a span marked by stable and rapid advancement (2014–2021), and a recent period characterized by fluctuating decline (2021–2022). Moreover, the analysis highlights a burgeoning diversity in the distribution of relevant research disciplines. However, it is noteworthy that there exists a scarcity of highly prolific authors, and the formation of cohesive research teams has encountered challenges, underscoring significant deficiencies in research collaboration and academic discourse. As a prospective direction, future research should be tailored to the unique natural resources and socio-human characteristics intrinsic to different regions. It should also emphasize interdisciplinary and multidisciplinary investigations, with a focal point on economically disadvantaged regions situated in the central and western parts of the nation. Such an approach aims to bolster the overall caliber of domestic research endeavors in the field of rural environmental governance.
Abstract Prison labour was an integral part of the penal order in colonial India in the nineteenth and early twentieth centuries. Especially in Bengal, such coerced labour, overwhelmingly male, was increasingly deployed in handicrafts production rather than in extramural construction projects, a regimen that led to the development of a prison-handicraft complex. Colonial efforts to refine this system focused largely on increasing the severity of the conditions of incarceration and indoor work, but also on the conflicting goal of maximizing the profits of its handiwork. Prisons thus emerged as effective sites of handicrafts production, with the products of their forced labour facilitating the revival of the crafts industry whose growth is generally attributed to the rise of an international arts and crafts movement in Britain and India.
PLAnetary Transits and Oscillations of stars (PLATO) is the ESA M3 space mission dedicated to detect and characterise transiting exoplanets including information from the asteroseismic properties of their stellar hosts. The uninterrupted and high-precision photometry provided by space-borne instruments such as PLATO require long preparatory phases. An exhaustive list of tests are paramount to design a mission that meets the performance requirements, and as such, simulations are an indispensable tool in the mission preparation. To accommodate PLATO's need of versatile simulations prior to mission launch - that at the same time describe accurately the innovative but complex multi-telescope design - we here present the end-to-end PLATO simulator specifically developed for the purpose, namely PlatoSim. We show step-by-step the algorithms embedded into the software architecture of PlatoSim that allow the user to simulate photometric time series of CCD images and light curves in accordance to the expected observations of PLATO. In the context of the PLATO payload, a general formalism of modelling, end-to-end, incoming photons from the sky to the final measurement in digital units is discussed. We show the strong predictive power of PlatoSim through its diverse applicability and contribution to numerous working groups within the PLATO Mission Consortium. This involves the on-going mechanical integration and alignment, performance studies of the payload, the pipeline development and assessments of the scientific goals. PlatoSim is a state-of-the-art simulator that is able to produce the expected photometric observations of PLATO to a high level of accuracy. We demonstrate that PlatoSim is a key software tool for the PLATO mission in the preparatory phases until mission launch and prospectively beyond.
The recognition of the culture, identity, art, and especially handicrafts of every society is of special importance, therefore, the recognition of Iran's modern history and unique culture and Iranian society is also related to the recognition of its art and artistic works, and they are expressed in the best and most beautiful way by Iranian women. The History of Iranian Embroidery shows that Iranian art and culture, including handmade arts and crafts, have undergone many changes for thousands of years, but they have never lost their Iranian identity and roots. In this article, the meanings of symbols and patterns used in Iranian embroidery have been presented and their Iranian origin has been discussed.
Here, Professor Saijo Kiyoshi at Miyagi University of Education, examines bamboo education, discussing its useful advantages and how we need it to avert further environmental crises. Bamboo education in school curricula provides a lot of chances for teachers and students to recognize both the multifaceted uses of bamboo and the ongoing crisis of unattended bamboo forests. As stated, almost half a century has passed since Japanese people became estranged from bamboo. Along with this, bamboo is a very versatile material, with many kinds of handicrafts, toys, and musical instruments that can be made from bamboo. Using bamboo helps teach subjects like arts and crafts, music, life environment studies etc.
The country of Indonesia is known for its ethnic, religious, and cultural diversity which makes Indonesia have various kinds of arts and crafts. Various typical Indonesian products are created, starting from a large scale such as industry to a small scale, namely UMKMs. The majority of people in Blitar City have their businesses, both in terms of food and beverages, and crafts. Bamboo is one of the plants that live in Indonesia which can be used for various crafts. Bamboo Craft "Arunika Art" is the subject of research. The purpose of this research is to empower businesses and implement product marketing strategies through branding activities for UMKMs of bamboo handicrafts in Blitar City. The method used is descriptive and qualitative methods.
The economic growth happened during the reign of King Uroš II Milutin in medieval Serbia based on the development of mining and technology leap, parallel with the processes of conquering new territories and byzantiontion, as the urbanization, affected the economic sector itself. The production of precious metals increases, money is minted and the trade flourishes. The strong financial basis finds its special reflection in the increase and strengthening of the army, but also in construction, which in the literature is characterized as above average for one ruler. In addition, apart from the construction itself and military craft production, there is also a flourishing of arts and handicrafts, as well as the use of certain materials. Moreover, there is a flourishing of artistic crafts, as well as further stratification and differentiation of crafts. At the same time, the influences of Byzantium on the craft, that were in the continuity flowed, strengthened in the time of Milutin, as through the alliance, which was crowned with marriage, or through the newly seized territories, which until then were in the Byzantine economic system. Also the arrival of skilled craftsmen from the territory of Byzantium, whose work is preserved both in written sources and in the form of immovable material remains, was one more step for gaining new knowledge of certain skills. Apart from the further development of the craft production, during Milutin's time there was a new codification of it, as it could be seen from Banjska charter, which is the first significant source on crafts organization and with legal norms about some crafts, that is preserved until today.
Enterprise architecture is a picture of a combination of several business processes, the information needed, along with the technology that supports the business. Dekranasda Pringsewu Regency is the Crafts and Arts Council which sells various kinds of handicrafts from craftsmen in the Pringsewu district area. The purpose of this study was to design a website-based sales application system at Dekranasda Pringsewu Regency, which previously used a conventional system. The methodology used in creating the enterprise architecture model is TOGAF ADM (Architecture Development Method). The research was carried out by observation, interviews and documentation related to the current conditions of business processes, information systems and infrastructure. The implementation of the application is running well and as it should so that it can meet the information and business needs of Dekranasda Pringsewu Regency.
In 1937, at the International Exposition of Art and Technology in Modern Life in Paris, the Soviet pavilion featured a rich variety of arts, including handicrafts. This article explores the endeavors of the Scientific Research Institute of Art Industry to arrange a collection of Soviet crafts for international display. Throughout the article, the preparation work is contextualized in relation to the other cultural and political processes of the mid-1930s. It further highlights the role of the Institute's experts in translating the ideological guidelines of the Fair Committee into the language of artistic practice. Based on analysis of archival documents, the article argues that in addition to the short-term goals of preparing for the exhibition, the Institute used this opportunity to expand its network of contacts and establish closer links with artisans all around the Soviet Union. The co-operation of experts and the artisans during the preparatory phase helped to build a common ground for planning further reforms in the industry. Finally, the articles seeks to determine how the motivations of the collectives and individuals corresponded to the official goals and state narratives of the Soviet participation in the 1937 Paris World's Fair.
The relevance of professional training of future educators of IPE (institution of preschool education) for usage ethnological-aesthetic means in work with children is substantiated in the article. The concept of "means" is concretized and a complex of ethnological-aesthetic means, effective for the forming in preschool age children's ideas about culture, life, traditions, customs, rites of the Ukrainian people and aesthetic taste (folk toys, crafts and handicrafts, state and folk symbols, everyday life, arts and crafts) is proposed. Importance of involving senior preschool age children in folk crafts and handicrafts, arts, making folk toys is actualized, which promotes patriotism, development of personal qualities such as kindness, compassion, courage. The role of aesthetics of everyday life, state and national symbols in awareness of the beauty of the surrounding reality by child is determined. The paper suggests theoretical and methodological aspects of professional training of students for decorative drawing and decorative application classes (drawing and application of Easter eggs on planar forms, Yavoriv toys, exercises in elements of Hutsul and Petrykivka painting), making a folk toys from various materials (threads, fabric, hay, straw), modeling visits to a virtual museum in work with senior preschool age children; the importance of such classes for mental, speech development, preparation for schooling of senior preschool age children is substantiated. The pedagogical conditions for the effectiveness of the usage of ethnological-aesthetic means in the practice of institutions of preschool education are proposed. The authors emphasize the importance of training future educators to create an appropriate educational environment, develop skills to select tools and methods for work with children that would promote their creative attitude to the aesthetic development of reality, reflecting it in their own creative activities.
Packaging Village, Kediri City District is one of the areas in Kediri City, which is famous for its cultural arts village, especially Jaranan. So many people know it as the "Kampung Pecut." The branding of the "Kampung Pecut" has been carried out, primarily through various performances held to introduce "Pecut" arts and "Pecut" crafts. However, the Covid-19 pandemic has limited promotional activities due to a ban on holding shows. It causes an economic downturn for the arts and "Pecut" craftsmen. So as an effort to overcome this problem, the community service team conducts training and assistance to optimize the sale of "Pecut" handicrafts and the completeness of the art of “Jaranan” through digital media. Based on the results of the joint evaluation, information obtained that this mentoring activity was constructive for art actors to increase their ability to promote"Pecut” arts and "Pecut" crafts to the broader community. So that is expected to improve the economy of the art performers. After the mentoring process is deemed sufficient by paying attention to the evaluation results and seeing the use of media directly, the direct mentoring process stops. However, indirect assistance (monitoring and communication) continued to develop and implement to obtain maximum results and maintain the sustainability of the technology used
The handicrafts, textiles and arts of Kashmir are famous all over the world. The shawls ad carpets are probably the most recognisable of all Indian textiles and have a high prestige value associated with them. The crafts of Kashmir have naturalistic motifs on them, which are further developed in their designs and aesthetics. The Chinar leaf motif is one such and possibly the most recognisable of all. It is native to the Kashmir valley and is not found on any other art form from other parts of the country. It is one of the traditional motifs and is profusely used on all handicrafts and textiles of this region. In fact, the presence of the chinar motif is one of the identification markof Kashmiri products. Today it is popular amongst the tourists and has a high souvenir value. This paper documents the usage, depiction and popularity of the Chinar leaf motif. It also seeks to examine its historical background, changes and development. To understand the deep importance this motif has, interviews were conducted with local artisans, craftsmen, merchants and dealers of various crafts. Visits were also made to the local cottage industries and studios of the workmen to study its reproduction and development. This work will help to throw light on this motif, as there are very few studies which focus on the Chinar leaf design. It is important that we document and study this motif, as it is indigenous to this area and also as the Chinar tree itself has a significant cultural and religious value.
This article takes the revitalization of traditional skills as the starting point, and explores the value and significance of traditional crafts in contemporary fiber art by sorting out and analyzing the works of fiber artists, deconstructing their symbols, the causes of style, and the integration of new technologies. The continuous holding of the International Fiber Art Biennale not only enhances the international influence of Chinese fiber art, but also plays an essential role in protecting the inheritance of traditional weaving and embroidery, and drives the comprehensive development of the arts and crafts industry and the promotion of cultural value, in order to provide reference for the inheritance and innovation of handicrafts of all ethnic groups. ABSTRACT ARTICLE DATA This article takes the revitalization of traditional skills as the starting point, and explores the value and significance of traditional crafts in contemporary fiber art by sorting out and analyzing the works of fiber artists, deconstructing their symbols, the causes of style, and the integration of new technologies. The continuous holding of the International Fiber Art Biennale not only enhances the international influence of Chinese fiber art, but also plays an essential role in protecting the inheritance of traditional weaving and embroidery, and drives the comprehensive development of the arts and crafts industry and the promotion of cultural value, in order to provide reference for the inheritance and innovation of handicrafts of all ethnic groups.
Euis Laela, Isnaini Isnaini, Evi Yuliati Rufaida
et al.
<em>This research was conducted to determine the effectiveness of natural soap on the color of batik. Natural soap used is lerak fruit, liquid soap from lerak and liquid soap from mangroves. The method used is comparing the test results using standard soap (AATTC WOB) required in the SNI ISO 105-C06: 2010 method with natural soap. The results showed that the color change values using standard soap, lerak fruit, liquid soap from lerak and liquid soap from mangrove plants were the same on a 4-5 scale. The color desecration value of cotton fiber for standard soap, lerak fruit, liquid soap from lerak on scale 4. The desecration value of cotton fiber for liquid soap from mangroves on a 4-5 scale is better than the standard AATCC soap. The value of the color change between natural soap and standard soap is not significantly different. Then natural soap can be used as a batik washing solution.</em>
<p>Reog merupakan kesenian khas wilayah Ponorogo. Untuk meningkatkan usaha kerajinan batik di Kabupaten Ponorogo, Provinsi Jawa Timur maka diperlukan pengembangan desain motif batik yang mengambil unsur-unsur kesenian reog. Tujuan riset ini adalah peningkatan keragaman dan kualitas desain motif batik bercorak ikon reog Ponorogo yang mudah dikerjakan oleh pengrajin. Kegiatan riset dilakukan di usaha kerajinan batik Lesoeng Ponorogo. Metode yang digunakan untuk mencapai tujuan tersebut meliputi metode kaji tindak partisipatif dan pengembangan kreativitas karyawan, yaitu objek reog dikaji untuk dibuat motif dengan melibatkan pengrajin secara aktif dan mengembangkan kreativitas pengrajin. Sasaran kegiatan yaitu pengusaha batik, pendesain motif batik, pembatik, dan tukang pewarna batik. Hasil riset ini sebanyak empat desain motif batik, yaitu motif bulu merak, motif kendang-ketipung-kuda kepang, motif cemeti-kendang, dan motif reog. Keempat motif yang dikembangkan tersebut mengambil dari tujuh unsur kesenian reog, yaitu bulu merak, dadung, kendang-ketipung, kenong, cemeti, kuda kepang, dan dadap merak. Aplikasi pengembangan motif pada proses batik tulis yaitu motif dibuat di atas kertas kemudian dipindahkan di kain untuk kemudian dibatik dan diwarna. Sedangkan untuk pengembangan motif pada proses tekstil motif batik, motif dibuat di kertas kemudian dipindah di atas screen untuk kemudian dicetakkan pada kain dan diberi warna. Proses pewarnaan dilakukan dengan warna tunggal dan perpaduan beberapa warna.</p>
Masiswo Masiswo, Joni Setiawan, Vivin Atika
et al.
<p>Metode untuk membedakan produk batik atau tiruan batik dapat dilakukan secara visual, fisika, dan kimia. Metode secara visual dapat dilakukan dengan melihat karakteristik visual seperti penampakan kain depan dan belakang, bekas goresan malam, warna, dan lain sebagainya. Untuk membuat parameter standar ciri produk batik dan tiruan batik tidak hanya mengandalkan secara visual, namun perlu diperkuat dengan parameter fisika dan kimia. Penelitian ini bertujuan untuk mengetahui karakteristik fisik kain sebelum dan setelah perlakuan proses membatik dan proses tiruan batik. Pengujian fisik kain meliputi uji parameter permeabilitas udara, kekuatan tarik dan mulur, dan penampakan dengan SEM. Hasil pengujian menunjukkan, kain dengan proses batik maupun malam dingin terlihat memiliki permukaan yang kasar serta serat yang lebih pipih dibanding kain dengan proses sablon warna dan cabut warna yang memiliki permukaan lebih halus dan serat lebih membulat.</p>
<p>Penerapan teknik batik untuk dekorasi pada gerabah, mempunyai kendala yaitu hasil pewarnaan kurang cerah dan daya rekat warna pada permukaan gerabah kurang kuat. Tujuan penelitian ini adalah melakukan optimasi bahan dan proses pembuatan gerabah batik untuk meningkatkan kecerahan dan daya rekat warnanya. Metode yang digunakan yaitu: (1) Pemilihan gerabah, (2) Pembuatan desain motif, (3) Penyantingan/pembatikan, (4) Pewarnaan (5) Pelorodan/pembersihan lilin, (6) Finishing, dan (7) Pengujian ketahanan luntur. Hasil penelitian menunjukkan bahwa penggunaan pewarna rapid dan naphthol menghasilkan warna yang lebih cerah. Peningkatan kecerahan warna ini dilakukan dengan langkah awal berupa pemilihan gerabah yang berwarna terang serta dilakukan pelapisan cat transparan. Pengujian dilakukan terhadap ketahanan luntur warna terhadap gosok dan cahaya tengah hari, dengan skor penilaian angka 1 – 5. Hasil pengujian ketahanan luntur warna terhadap gosokan kering dan basah memperoleh nilai 3-4 (cukup baik). Ketahanan luntur warna terhadap cahaya terang hari memperoleh angka 4-5 (baik). Kecerahan dan ketahanan luntur (daya rekat kuat) terhadap warna yang dilapisi cat transparan memperoleh nilai 5 (sangat baik). </p>