Hasil untuk "Handicrafts. Arts and crafts"

Marco Verità, Sandro Zecchin

The term rosette (little roses) first appeared in reference to glass beads and cane slices in Venetian documents dated 1482. The term has indicated chevron glass beads and cane slices applied to glass objects (millefiori decoration). These beads were obtained from segments of drawn glass canes presenting in their section consecutive circular and star-pattern polychrome layers. The invention of the rosetta beads is attributed to Maria Barovier, daughter of the famous Muranese glassmaker Angelo. The production of these canes in Murano has continued almost uninterrupted to the present day and not only in Venice. This study reports on quantitative chemical analyses (micro X-ray fluorescence or wavelength dispersive X-ray microanalysis) of the individual colored layers of five genuine Venetian archaeological rosetta beads and fragments of canes dated sixteenth to early seventeenth century. The analyses evidence that the base-glass composition as well as colorants and the opacifier are in the tradition of Renaissance Venetian glass. They correspond to a recipe for rosetta cane reported in a treatise of an unknown Muranese. In contrast, three recipes for rosetta cane of a treatise dated to the second half of the eighteenth century evidence a quite different scenario: new raw materials and a new opacifier.

Christophe Pellecuer, Claude Raynaud, Danièle Foy et al.

The article gathers engraved glasses with figured decoration dated from the fourth or early fifth century discovered in the southern half of France. It extends an earlier article devoted to engraved glasses with figurative decoration dated from the second and third centuries (Journal of Glass Studies 65, 2023). These glasses (about 40 pieces), classified according to their style of engraving, come for the most part from workshops in the region of Rome, and the style with lozenge-shaped eyes dominates. However, the share of glasses from workshops in the Rhine Valley is not negligible (more than a quarter). This distribution modifies the earlier maps and suggests more important commercial relations than one would suspect between the south of Gaul and the Rhine region. It cannot be excluded that these exogenous glasses were brought back by soldiers previously stationed on the Rhine.

Junxiang Yao, Jan Aarts

Superconducting junctions with a ferromagnet as the weak link, where triplet correlations can transport supercurrents over a substantial distance, have been of long-standing interest. In this work, we study the triplet transport in planar La$_{0.7}$Sr$_{0.3}$MnO$_3$ (LSMO) nanowire Josephson junctions with NbTi superconducting contacts. By meticulous ion etching with an artificial Pt hard mask, the NbTi/LSMO bilayer is structured to form an LSMO bridge without damaging its top layer. We observe superconducting (critical) currents of the order of 10$^{9}$ A/m$^2$ in a junction with a length of 1.3 $μ$m, and distinguishing superconducting quantum interference (SQI) patterns when sweeping a magnetic field perpendicular ($B_\perp$) to the plane of the wire or parallel ($B_\parallel$) to the plane and along the wire. The observed Gaussian-shaped SQI pattern is attributed to the diffusive transport of triplet pairs in the LSMO. Our work demonstrates that combinations of oxide magnets with conventional ($s$-wave) alloy superconductors can be a promising new route to realizing superconducting spintronics.

Tamara Marchii-Dmytrash, Galyna Boryn

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.

Gert Aarts, Aleksandr Nikolaev

A discussion on the electrical conductivity of the quark-gluon plasma as determined by lattice QCD is given. After a reminder of basic definitions and expectations, various methods for spectral reconstruction are reviewed, including the use of Ansätze and sum rules, the Maximum Entropy and Backus-Gilbert methods, and Tikhonov regularisation. A comprehensive overview of lattice QCD results obtained so far is given, including a comparison of the different lattice formulations. A noticeable consistency for the conductivities obtained is seen, in spite of the differences in the lattice setups and spectral reconstruction methods. It is found that in the case of quenched QCD little temperature dependence of $σ/T$ is seen in the temperature range investigated, while for QCD with dynamical quarks a reduction of $σ/T$ in the vicinity of the thermal crossover is observed, compared to its value in the QGP. Several open questions are posed at the end.

A. Zim, Erinaldo Sales

Bendezu-Sarmiento Julio, J. Lhuillier

For more than 15 years, two French archaeological expeditions, together with both an Uzbek (MAFOuz-Protohistoire) and a Turkmen (MAFTUR) team, have been leading excavations at two major protohistoric sites of Central Asia: Dzharkutan and Ulug-depe.These two sites are representative of the Oxus Civilisation, or Bactria-Margiana Archaeological Complex (BMAC). They testify to the development of complex cities, surrounded by fortiication walls, that included living quarters, storage and handicrafts areas, as well as more notable buildings – interpreted as palaces and temples – that relect strong social hierarchies. The inest arts and crafts are associated with this urbanism, including mainly metallurgy, the working of ine stones, and very standardised pottery production. All these elements situate these cities within a larger exchange net work that included the neighbouring civilisations of the Indus Valley and the Iranian Plateau. In this paper, we will relect on these various elements by putting into perspective the results of our recent excavations at Dzharkutan and Ulug-depe.

Arshiya Yash Kapoor

India is known for its arts and crafts, handicrafts form the gateway to this ethnic nation. Primary research for this project started with a visit to Odisha to study the craft of Pipli appliqué. The state Odisha has a rich cultural heritage, which is a harmonious blending of art, religion, and philosophy interwoven around “Lord Purusottam Jagannath”—the internationally famous Vaishnavite God at holy city of Puri. Pipli applique textiles originated as temple offerings, chariot decoration, and ceremonial products. The technique itself was practiced by the selected few craftsmen of the village. Through this chapter, the author presents craft cluster study project through a learning together initiative project conducted by an on-site visit, stay at the cluster, at a small village Pipli located in the eastern state of India: Odisha. This chapter also gives an insight about the socio-economic factors that have affected the Pipli craft. An effort that has built a strong community relationship between the Hindus and Muslims of the village, all bound by the Pipli applique craft.

Vargas Galarza, D. Nicolas

Zhou Zhiwen, Sone Simatrang, Eakachat Joneurairatana et al.

: Fahua ceramic which is still in the stage of arts and crafts, is one of the traditional Chinese ceramic handicrafts. While many other ceramic handicrafts, such as blue-and-white porcelain is already going through the initial stage of art and craft to the stage of artistic creations, expecting to conduct the development of theoretical construction from the perspective of discipline. However, without much theoretical research, Fahua ceramic has been stuck in the stage of "art and craft". Lacking the sense of discipline and being short of the basic theory as well as the few description experience have limited the development of Fahua ceramic. Furthermore, the difficulty of the craftsmanship and the special technique of painting also contribute to the lagging development of Fahua ceramic.This research mainly uses the literature survey method to systematically sort out the relevant related literature. From the perspective of history and craftsmanship, it attempts to comment on the traditional handicrafts of Fahua ceramic and summarizes the viewpoints and problem involved, expecting to excavate the long-term lags in the research of Fahua ceramic ， and further recognize and solve these problems to provide historical and scientific rational basis, and promote the inheritance and development of this knowledge.

Suzanne Buchan

In the 1970s, the Animation Department of the National Film Board (NFB) of Canada produced Eskimo Legends, a series of animated short films based on Inuit legends and handicrafts. Concurrently, the NFB’s Wolf Koenig initiated an animation workshop in Cape Dorset that resulted in seventeen films by Inuit youths. The social and political contexts of Indigenous handicraft and art are essential for understanding the origins of the animated materials used in these films. Key historical, political, and cultural events and debates establish a context for exploring a set of linkages between economic and sociopolitical institutions that drove the development of Indigenous crafts and cooperatives. Considered alongside NFB documentaries and CBC news broadcasts from the 1960s and 1970s, this chapter demonstrates the relation between these developments and NFB animation studio filmmaking. The focus on Inuit animators’ films compiled in Animation from Cape Dorset recontextualizes, contemporizes and reclaims their culture’s arts, storytelling, and identity.

Adel Abdel Moneim ABU KHAZIM, F. Metwally

Attention to the quality of handicrafts and developing them is a national duty that we must strive to achieve as Egypt has many crafts that are distinguished by it and it possesses the historical and cultural elements that qualify it to excel in many of them, and this would contribute to treating many economic problems in addition to providing various job opportunities and reducing the unemployment problem and the social and economic damages it entails. From this standpoint, thinking about the topic of the research was where the concern for the quality of handicrafts is an important element that is no less important than the need to preserve the distinctive nature of arts, industries and handicrafts, as the Egyptian handicraft product can compete strongly in the global markets, especially if it is eco-friendly. If international criteria have set requirements to control the quality of products and services, then it is our duty to adapt these requirements to suit the handicrafts in order to ensure that they achieve the desired benefit from them and satisfy the desires and satisfaction of the buyer and thus achieve a better competitive position within the markets. The research is based on designing the quality system within the facility or unit in which the product is manufactured to ensure the quality of raw materials and all the stages that the product goes through, and to verify the quality of the final product.

M. Margana, Rara Sugiarti, Muthmainah Muthmainah

This community service program in the form of developing wooden batik handicrafts in Jarum Village as one of the core potentials of the Klaten Regency was based on several problems including the degradation of traditional crafts, limited motives, less variation of colour, and limited marketing strategy which have resulted in stagnant product selling. Therefore, efforts to revitalize traditional crafts to push local people income and boost regional economy are needed. The objectives of this program were to: (1) diversify the product of wooden batik crafts, (2) improve motives, colour and design of wooden batik crafts, (3) develop marketing strategy and expand the target market, (4) develop business management, and (5) enhance the facilities and equipment to develop product and market. The methods used in this program include knowledge transfer, discussion, training, and advocacy. Results indicate that this community service activity has improved product diversification concerning design, motives, and colour), improved the number of product, expanded the market, improved product selling, support revitalization of local culture, and push local economy. Keyword: batik, core potentials, Klaten, woodcraft.

Redaksi DKB

G. G. Gazimagomedov, Magomedali G. Gazimagomedov, G. G. Gazimagomedov

Abstract. Aim. The aim is to study the rich traditions that have developed in the art crafts of Dagestan in the formation of the product range in modern conditions. Materials and methods . At the first stage of the study, according to the register and publicly available materials, the constantly changing market of products of folk art crafts was studied as well as its growing influence on the artistic quality of products manufactured by the enterprises of folk arts and crafts. Discussion . To identify the causes that gave rise to this phenomenon, we need to turn to the state of folk art in the late 50's - early 60’s of the twentieth century, when almost all the traditional enterprises of the art crafts of the Russian SFSR experienced an acute industrial crisis, which collapsed the unique centers of folk art. As a result of a sharp decline in demand for products of folk handicrafts, the volume of production of enterprises has decreased significantly; skilled hereditary masters with rich experience of making highly artistic works of folk art began to leave the fields. Conclusion. During the research, were revealed the main problems of sustainable development of folk arts and crafts in modern conditions in connection with the changing market conditions.

Chanakarn Ruangnarong

Thailand has a uniquely long-standing tradition of arts and crafts. Thai art folding of banana leaves, probably the best-known such as food wrappers and precious handicrafts has been practiced to make colorful decorations for festivals. As time passed, roles of using parts of banana have been reduced but there has been an attempt to help conserve it only some art and craftsmanship. This research will study and analyze about Thai art folding of banana leaves, the folding technic from art and design, product and fashion for diversity of folding. Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding. Thus, the experiment and practice show the fabric qualification by selected 9 properties included 1. Good stability 2. Good draping 3. Heat resistance 4. Smoothness 5. Balance 6. Wrinkle 7. Stretch 8. Strong 9. Soft with the wearable fabric are 1. Natural Fabric 1.1) Cotton 1.2) Linen 1.3) Muslin 1.4) Jute 1.5) Ramie 2.Man-made fabric 2.1) Polyester 2.2) Nylon 2.3) Organza 2.4) Satin 3. Blended Fabric 3.1) Cotton Spandex 3.2) Linen Viscose. The result is Polyester, Cotton Spandex and Linen Viscose respectively suitable for folding. In conclusion, the purpose of this research compiles the theory, technique, and method of Thai art folding of banana leaves. Moreover, the many types of folding technique from Thai art folding of banana leaves for clothing construction that can be a guideline and modified in the next stage for designers who interested in craftsmanship, culture, and tradition. Then, to create the guideline from the Thai art folding of banana leaves. Finally, the wearable art by using the clothing construction guideline from the Thai art folding of banana leaves.

Lei Yang

Dongxiang is a unique ethnic minority in Gansu Province, their faith is Islamic Sunni and its history and folklore are very long. Dongxiang ethnic characteristics pattern which taking folk arts and crafts as the carrier is also with local characteristics and national charm. However, these patterns exist in the majority of handicrafts, daily necessities, historical objects and other objects, it is difficult to preserve and collect; there are the limitations of means to heritage and promote and this series of issues is affecting the spread and application of Dongxiang traditional characteristic pattern in modern society. How to use simple and effective methods, so that more people use the new media technology to intuitive visual means, through the Dongxiang ethnic characteristics pattern to understand the Dongxiang culture has become the urgent problem to be solved.

Xiumei Wu

The beginning of the 20th century, China's political system and social environment have taken place in the most profound changes ever overthrew the feudal system in one thousand and established the republic of China. The May 4th new culture movement and brought new thought system, and by the potential of refreshes the old ideology and old behaviors. In such a severe social turmoil in, however, traditional arts and crafts on the surface seems to have little change, generally in the tradition of the qing dynasty style and skill, and strong with the weak to continue development. But we can see the change from traditional culture, traditional craftsmanship complete metamorphosis will occur after 50 years of the 20th century, China's economy has great falls, and traditional handicraft instead of ups and downs, this is bound to cause our thinking: such a "different" mean? It means in the industrialized society, traditional handicrafts are bound to happen metamorphosis is objective law. And there are several factors that can contribute to the transformation of.

Agus Ahmadi

Dwi Suheryanto, Tri Haryanto

<p>Zar warna gambir diperoleh dari hasil ekstrak tanaman gambir yang merupakan saah satu tanaman komoditi ekspor unggulan Sumatera Barat yang memberikan devisa cukup besar dengan prospek pengembangan yang cukup baik. Zat warna gambir adalah zat wama alam jenis <em>mordan-dye</em> dan  tidak tahan terhadap garam yang dipakai dalam pencucian. Ketahanan luntur warna terhadap pencucian memegang peranan penting dan sebagai penentu kualitas produk batik. Untuk meningkatkan kualitas hasil celupan zat warna gambir pada kain sutera, maka perlu dilakukan penelitian penggunaan tawas sebagai zat fiksator pada proses pencelupan.</p><p>Penelitian ini bertujuan untuk mengetahui penggunaan tawas terhadap ketuaan dan ketahanan luntur warna pencelupan kain sutera dengan zat warna gambir. Konsentrasi tawas yang digunakan adalah 30 gram/I, 50 gram/I dan 70 gram/I. Hasil penelitian menunjukkan bahwa, ada pengaruh yang nyata pada penggunaan tawas 30 gram/I, 50 gram/I dan 70 gram/I terhadap ketuaan warna kain sutera yang dicelup dengan zat warna gambir menghasilkan ketuaan warna yang berbeda dengan kain sutera yang tidak difiksasi. Tidak ada pengaruh yang nyata pada penggunaan konsentrasi tawas 30 gram/I, 50 gram/I dan 70 gram/l terhadap ketahanan luntur warna ditinjau dari perubahan warna pada kain sutera yang dicelup dengan zat warna gambir. Kain sutera yang difiksasi dengan tawas 70 gram/l menghasilkan warna yang lebih tua bila dibandingkan dengan kain sutera yang difiksasi dengan tawas 30 gram/l dan 50 gram/l.</p><strong>Kata kunci</strong> : fiksator, konsentrasi tawas, ketuaan warna, ketahanan luntur warna, zat warna gambir.