Hasil untuk "Handicrafts. Arts and crafts"

Sung Moon Cho

I began my research on twentieth-century Murano Glassware in 2022 at the Centro Studi del Vetro of the Fondazione Giorgio Cini in Venice. In 2023, thanks to the Rakow Grant, I was able to broaden my scope beyond Murano to glassware producers throughout Italy, which, in the shadow of the fame of Venetian glass, have rarely been studied. This brief report is the result of my research conducted on “The Italian Glassware Industry during the Fascist Regime.” It offers, from both a technical and aesthetic perspective, a glimpse of sources and discourse regarding the production of everyday use glass in Italy during the studied period, as well as a selective list of the major factories. The material I collected is enormously greater than shown here.

Yifan Zhang

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.

Thamilarasi P

This article emphasizes the concern about the endangered trend of rural arts in today's commercialised world. Modern products also face an endangered trend, like some rural crafts. Our comfort is that the international powers have not yet seized the patent for rural products such as soil products. It is conceivable that artifacts are the mirror of culture and how people's feelings, values, ideologies, aesthetics, etc. are expressed in the objects of artisans who have converted through artifacts. The persistence of traditional rural handicrafts and the social identity issues of the artisan castes who make them must be known in conjunction with the context of today's social change. Have Tamils lived with ecological thinking and classification of the materials into the art tradition, the purpose of this article is to examine.

D. Pandeya, P. Adhigurub, T. Rîbac

The tribals lead the life with natural simplicity relying on primal truths reinforced by eternal values. The strength of the tribes is that they are able to successfully cling to the primal skills and natural simplicity. Their creations speak of evolutions over time, and the arts and crafts created by them have timeless appeal. The primal instinct in all of us is evoked whenever we come across the crudest tribal handicrafts. The present case study was conducted during August and September 2019 and the study included combination of methods such as research viz., household survey of 44 Adi families, followed by a focused group discussion was adopted and also documented the artifacts of Adi tribe in East Siang district of Arunachal Pradesh, India. Further, the study also aimed at unearthing the kinds of possible threats that arise due to globalization which may affect traditional craftsmanship. Multitudinal sets of traditional artifacts created out of indigenous wisdom have been documented which affirm that the life of the Adi is intertwined with the forest products especially bamboo, canes and their products. However, the prevailing trend of globalization, with characteristics of immense, unexpected emphasis on capital, labour and information, is having growing influence on material culture and in this scenario, especially new generation prefers more of plastic products in their day to day lifestyle. On the contrary, traditional artifacts of Adi could offer innovative and sustainable solutions which can act as alternatives to plastic products.

Sweta R R, Banumathy Sundararaman

The Indian Handicrafts are exclusively known for their cultural heritage and exquisitely skilled craftsmanship. In the present market, there are lots of brands that come into existence with the synergy of artisans and have sustainable business growth. In this study, the focus is on understanding sustainable business in the Indian arts and crafts industry through a qualitative case study method. The data collected are through semistructured phone call interviews and Google survey forms. The collected data are categorized and analyzed through Observe, Think, Test, and Revise (OTTR) method. From this research, the various opportunities to enhance the synergy of artisans and entrepreneurs, analyzing market potential, production techniques of the artisans, design interventions in the craft, the 4P’s of marketing strategies, the importance of government policies and schemes, and the effect of competition are explored. The unsustainable business in handicrafts was the key problem that paved way for the rise of this research. This paper explores the unsustainable practices in the handicraft sector through literature review and also provides sustainable business opportunities that could help in the growth of the handicraft business.

Suyatmi Suyatmi, Diffa Maysca

Indonesia has a variety of cultural diversity and handicrafts from generation to generation. Preserving the art of woven crafts which is one of the arts that must be preserved, one of which is plastic woven bags. As times change to modern times, not many people use plastic woven bags because they are considered old-fashioned and less varied. Local products are also widely abandoned because the value is not of quality and also does not vary. The lack of interest in plastic woven bags has resulted in many craftsmen losing their jobs. So Taesthic.co is here to help craftsmen in marketing their products and introducing local products. Taesthic.co was formed in February 2020 located in the Special Region of Yogyakarta which aims to collaborate with empowering craftsmen and also to develop local products of woven plastic bags in order to increase sales. The sales target of taesthic.co is women aged 25-45 years. In developing and increasing sales, Taesthic.co uses a canvas business model because it works together with plastic woven craftsmen from the Ponorogo area, emphasizing the quality and uniqueness of woven products, promotions are carried out using websites, social media and also e-commerce.

Кэтрин З. Лунг

The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.

S. Ko

Yan Zhang, Huiding Xie

Tourism handicraft is a new derivative product with the development of tourism industry. As an important carrier of national culture, its essential connotation is the commercialization of national culture. Culture, technology and business environment constitute the inner relationship between tourism handicraft development and the commercialization of national culture. Excellent tourism handicraft comes from the perfect combination of art and culture, art and craft, art and material. Tourism handicrafts have rich regional characteristics and can reflect the culture of a certain region or country. To do a good job in the development of tourism arts and crafts projects, it is necessary to understand the tourists' consumption demand motivation firstly. Secondly, since tourists are people living in the society, when they buy tourism products, they will naturally be affected by different social factors, including social factors, cultural factors, personal factors and information factors. Therefore, it is necessary to follow the marketing operation rules of tourism handicraft, and constantly build a more high-quality and professional promotion and sales platform for tourism handicraft, and constantly innovate the marketing mode. Only in this way, can the development of domestic tourism handicraft industrialization be fundamentally promoted.

Netty Juliana

D. K. Pandey, P. Adhiguru

Muhammad Ikhsan, Hamdil Khaliesh, Irwin Irwin

Pontianak City has the potential for training and development of Malay cultural arts. The arts in West Kalimantan generally include dance, music, theater (folklore) and handicrafts. Special events in West Kalimantan will be the culmination of these arts and cultural performances, namely through festivals. This art can be used as a mainstay to face the ASEAN Economic Community. The final project of the Malay Art and Culture Hermitage of West Kalimantan aims to produce a special building design for Malay art and culture with the scope of cultural arts education, recreation, and tourism that can attract public interest. Design boundaries include the arts of music, dance, theater, crafts and cooking in West Kalimantan. The design method of the Malay Art and Culture Hermitage of West Kalimantan was carried out in several stages, namely ideas, data collection, identification, analysis, synthesis, and design development. The concept used in the design is based on the Facilities and Infrastructure Course and Training Institute Standards in 2017. Design analysis produces three functions, namely primary (education), secondary (administration, exhibition, performance) and tertiary (maintenance) functions. The result is that these three functions are combined in one into nine main buildings with a centralized organizational pattern of space, circular circulation, facades, and forms with Malay characteristics.

Syafril Syafar

In the era of development, industrial competition will be increasingly fierce, competition of the cosmetic market will provide opportunities and threats for local companies, carving art is one of Indonesia's traditional arts that holds various values. This research was conducted at Radha wood carving located at Gmp3 Mustamindo. The method used is a SWOT analysis, SWOT analysis is one method for describing conditions and evaluating a project problem or business concept based on internal factors (inside) and external factors (outside) Namely strengths, weaknesses, opportunities and threats, Analysis used to compile the factors of the company's strategy, as a result of handicrafts, radha wood carving art is very influential on the supporting community both in interacting and communicating, because this craft takes the form of a variety of letters, names and so forth. wood crafts are also often viewed as home decorations and key chains that are unique and attract attention for teenagers and children. product excellence and good service to customers, so the opportunity creates customer loyalty to the product. Radha wood carvings also always try to make new design innovations so that customers remain interested and provide comfort to their customers. The obstacles facing the Radha wood carving are capital problems, scarcity of raw materials and competition from within the country.

A. Elbarbary

N. Deyshappriya, A. Nawarathna

O. Ostonov

This article is devoted to the analysis of the development of national traditional handicraft in Uzbekistan over the years of independence. During this period, the demand and interest in the scientific study of national handicrafts, as well as various areas and branches of arts and crafts as an integral part, increased significantly. All the necessary legal and material conditions created by the Government of the Republic are a powerful incentive for the development of this industry in an evolutionary way, and such provides for the topicality of its scientific research. The article deals with measures taken to restore handicrafts, develop national handicrafts in the region, create mentoring schools about some problems and ways to resolve them in the national handicraft industry, the impact of global progressive processes on this area, as well as the prospects for handicrafts

A. Zim, Erinaldo Sales

Maede Finastiian, Neda Torabi Farsani, M. Mortazavi

ABSTRACT Nowadays, due to the development of urbanization and the change in people’s lifestyle, many traditional arts and crafts have vanished or been forgotten. In this regard, museums can play an important role in introducing and preserving them. Museums which display declining indigenous handicrafts are destinations for last-chance tourism. The Traditional Weaving House in Isfahan is the place where looms for weaving, including cotton, and some other traditional textiles are displayed and presented; hence it is known as the Textile Museum. The major objective of this study is to introduce the Traditional Weaving House as a last-chance tourism destination. In addition, the SWOT method was used to identify the strengths, weaknesses, opportunities, and threats of the museum. The data were gathered through questionnaires (an open questionnaire and a closed questionnaire for professionals and experts in the field of museums and tourism). Data were analysed using a coding method and the SWOT method. A SWOT analysis was used to identify the required management strategies to improve the museum’s conditions. The research findings illustrated that the museum should strive to apply a conservative strategy to turn the weaknesses into opportunities. Hence, the museum may consider the following conduct: taking over competitors, reduction of costs, improvement of the product, development of new products and searching for new markets.