Hasil untuk "Handicrafts. Arts and crafts"

Anastassios C. Antonaras

The note presents an unpublished glass bottle that was yielded from the Byzantine shipwreck of Pelagonnesos and four similar fragmented bottles from Chalkidiki, two from Veria and two from Simantra, from contexts dated to the late twelfth century CE.

Alberto Lorrio Alvarado, Cinzia Bettineschi, Gabriel García Atiénzar et al.

This research constitutes a systematic archaeological and archaeometric study on ornamental vitreous material from Spain dated to the Late and Final Bronze Age (LBA–FBA, about 1650–900 cal BCE). Our multi-analytical approach combines morphometric, textural, and chemico-mineralogical analyses with typo-chronological and spatial investigations to diachronically quantify the distribution of the beads and highlight how their recipes vary over time. The analyses were performed on a set of 17 beads coming from four archaeological sites in the Alicante (Cabezo Redondo, Cueva de las Delicias, and Peña Negra) and Albacete (El Amarejo) provinces. We were able to document the first mixed-alkali glassy faience ever recorded in Spain and the oldest Egyptian blue bead discovered in western Europe. Additionally, we discovered that plant-ash glasses seem to predominate in this area during the LBA and up to the early FBA. It is only during the FBA (tenth to ninth century BCE) that the earliest natron glasses start to appear, and they show the iron-rich and the aluminum-cobalt variants already observed in numerous beads from European and Mediterranean contexts dated from the tenth to the eighth century BCE.

Simon Cottle

The distinctive opaque white-enameled glass tumbler inscribed "Success to R. Brown 1768" is key to our understanding of the work of William Beilby and his family of English enamelers in Newcastle upon Tyne. William Beilby is famously known for decorating glass between 1762 and 1765 in colored enamels with heraldic coats of arms. The R. Brown tumbler demonstrates convincing evidence that his style of enameled glass in opaque white enamel was the joint production of William and his younger brother Thomas, generally after 1765. This corpus of material depicts country pursuits, architectural motifs, foliage, fruiting vines, and flowers amongst other subjects. Based on the survival of this tumbler, new research now considers that the Beilbys worked specifically between 1762 and 1769 and not beyond 1770. Drawing comparison with other examples of dated and inscribed Beilby glass it is argued that with its simple legend and delicate portrayal of a wildfowler, this tumbler reveals not only its Northumbrian origins, but also a connection with the aristocracy of northern England and significant British political figures of the period. A wider range of Beilby glass with similar white-enameled decoration, especially tumblers, wine glasses, and goblets, is examined in detail.

Lina Nageb Fewella

Applied art and handicrafts are the expression of society spirit, starting from its geographical nature and local raw materials, to its traditional costumes and others... With the trend of the general taste in society to acquire contemporary pieces of furniture with modern and attractive materials such as stainless steel, traditional and handicrafts began to disappear with the stability of their traditional forms of output. The uses of these pieces have receded into specific and classic forms of limited use and limited audience as well.The research aims to develop crafts inspired from the heritage of Egypt, and presents an overview of the most important traditional Egyptian crafts in the south. As such an overview is presented of the most important features of traditional Egyptian furniture, the most important traditional Egyptian crafts, and the materials incorporated into the manufacture of furniture and its accessories through the ages. The shadow casts on a type of folk art that can be incorporated into the furniture design concept, which is the (Shadow Imagination) style as a type of Egyptian expressive folk art, where folk art is considered a source of sustainability for the Egyptian heritage. By presenting models for integrating non-wood materials into the furniture industry through the ages with traditional wooden furniture, a historical overview of the Egyptian methods of integrating wood and other materials is formed. The research moved to present an attempt to sustain heritage by merging some folk crafts with their traditional materials and folk arts associated with them with contemporary furniture and modern materials to present a model for trying to revive these crafts and materials and to integrate them recently.In the end, the research presents some examples of contemporary pieces of furniture spread in the Egyptian market in addition to modern and heritage materials. Which it is proposed to integrate into contemporary Egyptian furniture designs to keep pace with the general taste in the Egyptian market. With the aim of presenting samples of contemporary furniture designs proposed by the researcher inspired by the Egyptian character by merging traditional materials and techniques with modern materials. In addition to presenting design models as applications of integrating modern technology in manufacturing with the heritage style in furniture design.

Li Gang, Hu Jianyao

Wuhu iron painting is a unique arts and crafts of Wuhu. As one of the traditional Chinese handicrafts, it has extremely high artistic value. Under the influence of new media, the development of Wuhu iron paintings has been hindered, and has fallen into problems such as insufficient talents, lack of funds, and broken inheritance. In order to propose a more valuable inheritance and development path, we now use literature analysis and case study methods, combined with policy documents and excellent cases, to explore the development direction of the cultural industry on the basis of existing research, and propose form innovation and improvement of media Economic system, establishing a sound education inheritance model, opening up industrial barriers, and integrating multiculturalism are four measures in order to promote the inheritance and development of Wuhu iron painting, stimulate the internal driving force for the development of Wuhu iron painting, and form a sustainable development chain.

R. Amangeldikyzy, D. Amandykova, A. Tokajuk

At present, there is a great interest in Kazakhstan from different generations of people to folk art crafts. Folk arts and crafts are the basis of the country's cultural identification in the global space. The spatial environment or elements created on the basis of ethno-cultural motifs are a global trend. This article discusses the issues of preserving and reviving the artistic traditions of folk arts and crafts at a new level. The concept of the spatial organization of the environment for the production of folk art products is proposed, taking into account their specifics of technological production. The main goal is to create an appropriate spatial environment for high-quality production of elements of folk art, while maintaining the historical and aesthetic categories of products that ensure their recognition as works of art. The concept of integration of education, science and production, spatial organization of buildings of handicraft production is proposed.

Journal of Environmental and Public Health

[This retracts the article DOI: 10.1155/2022/9201892.].

Bahadır İnanç Özkan

Bu çalışmanın amacı, Van’ın geleneksel el sanatlarından birisi olan Savat işçiliğinin Birleşmiş Milletler Eğitim, Bilim ve Kültür Kurumu (United Nations Educational, Scientific and Cultural Organisation [UNESCO]) Yaratıcı Şehirler Ağı Programı’na Zanaat ve Halk Sanatları teması altında katılma durumunu tespit etmektir. Ayrıca, Savat işçiliğinin mevcut durumunu, yaşanılan problemleri, kamu ve özel sektöre ne gibi sorumluluklar düştüğünü belirleyerek birtakım öneriler getirebilmek amaçlanmaktadır. Nitel araştırma yöntemlerinden fenomenoloji (olgubilim) kullanıldığı bu araştırmada, amaçlı örnekleme yöntemlerinden maksimum çeşitlilik örneklemesi tercih edilmiştir. Bu kapsamda araştırmanın evreni Van İl Kültür ve Turizm Müdürlüğü, Van’da yaşayan profesyonel turist rehberleri, Van’da faaliyet gösteren seyahat acenteleri ve Van’da yaşayan Savat ustaları ile Van’da görev yapan akademisyenlerden oluşmaktadır. Araştırma soruları ilgili literatürün taranmasıyla oluşturulmuş ve veriler yarı yapılandırılmış mülakat formuyla elde edilmiştir. Verilerin analizi süresi boyunca, alınan cevaplar ayıklanmış, ardından betimsel analize tabi tutulmuştur. Araştırmada elde edilen bulgulara göre hammaddenin pahalı olması, ilgisizlik, tanıtım faaliyetlerinin yapılamaması, sivil toplum kuruluşlarına ihtiyaç duyulması, eğitim yönünden yetersizlikler, ürünlerin tek düze olarak yapılması, yurtiçi pazarlar olarak Türkiye’nin Batı bölgeleri, yurtdışı hedef Pazar olarka ise Rusya, Kafkasya, Avrupa ülkeleri olduğu ve UNESCO Yaratıcı Şehirler Ağına Van’ın girmesi durumunda, şehirde geceleme sayısının artacağı, Van’ın daha bilinir hale geleceğini ve yerel halkın yabancı dil öğrenmeye başlayacağı sonucuna ulaşılmıştır.

F. Khan

The demand and market for indigenous art, craft and handloom products in India have witnessed a massive decline in recent years. The growing popularity of machine-made products through online retail and a lack of monitoring for product quality led to genericide in the arts and crafts sector, which is detrimental to the indigenous and traditional handicraft businesses. India’s sub-optimal performance in competitiveness factors such as basic infrastructure, intellectual property rights, education and broadband adoption not only bring down revenues for indigenous artists and crafts people but also lower consumer demand due to a lack of trust in the product as well. Drawing on constructivist grounded theory, this paper identifies challenges facing indigenous art and craft sellers and proposes measures to ensure the sustainability of this sector. The paper also finds that Genericide is not only having an adverse economic impact on the sector but also affecting the brand image of Indian Indigenous Arts and Crafts. Geographical Indication is proposed as a possible way to create a differentiation between indigenous products and generic products to counter Genericide and check the growing hyper-competition. A system for quality management is suggested to ensure Geographical Indication products stand out and win consumer trust.

Chunyan Song

Weifang is a famous handicraft city in history. It not only has profound cultural deposits, but also has unique regional characteristics, and its folk arts and crafts symbols are diversified. Weifang is the largest kite, woodcut New Year picture origin and distribution center in the history of our country. With the economic development of Weifang, Shandong province, folk arts and crafts have also received more attention. Especially driven by big data, folk arts and crafts are facing both opportunities and challenges. The integration of new media and information technology with folk arts and crafts symbols will bring new thinking and new opportunities to the development of folk arts and crafts symbols in Weifang, Shandong.

Grant Alford

In discussions of craft since the digital revolution in architecture of the past twenty years it is common for an author to situate their position relative to the Arts and Crafts movement of the late 19th and early 20th centuries. Scholars have repeatedly and rightly noticed striking parallels between reactions in design thinking to the industrial revolution and reactions to the digital revolution in architecture. Proponents of various digital schools invoke the likes of William Morris and John Ruskin as historical theoretical foils to visions of craft in the digital age. There is, however, a tendency to overlook or dismiss as naïve the socio-political ambitions that underwrite the better-known aesthetic styles of various craft movements. Revisiting the political economy of movements like the Arts and Crafts and its allies prompts questions about various contemporary formulations of digital craft. Reinterpreting, for example, Ruskin’s prescient critiques of the technological revolution of his time still suggest social, political, and economic implications for handicraft in our own digital age. To define these questions and potentials, this paper will review the historical moral imperative of craft; survey representative attitudes towards craft in several prominent digital schools of thought; and suggest alternative ways of engaging the socio-political possibilities of digital handicraft through architectural drawing with digital tablet computers, such as the iPad.

LaimayumJogeeta Devi, Anita Rani Manisha Gahlot and Vandana Bhandari

Sustainability is the key to responsible production and conservation of environment, which is the need of the hour. Indian motifs based on traditional textile arts and crafts have always been a source of inspiration not only to Indian designers but also have intrigued global designers. These motifs can be adapted into lifestyle products through modern techniques of surface enrichment. Lifestyle products hold a lucrative market in the textile sector. Apron is one such lifestyle product which falls under the category of accessories. This study explores how traditional knowledge of Indian arts and crafts can open up avenues for responsible designing of lifestyle products. In the present study, fifty motifs/designs from textile and architectural sources of Manipur were collected from secondary sources, adapted and simplified for application in kitchen apron using CorelDraw X3 software. Ten adapted designs were selected through visual inspection by a panel of thirty judges. The design arrangements were developed for kitchen apron by preparing line patterns, motifs/designs layout and colourways, respectively. The outcome of every step was visually evaluated by the same panel of thirty judges, except for the line patterns, on five point scale. The prototype scoring highest weighted mean score i.e., rank I was selected for further developing the following consequent steps. The finalized designs were printed on the paper using disperse dyes. The printed papers were then used to transfer designs on the constructed and finished apron made of polyester/cotton blended fabric. The cost of apron was estimated Rs. 244/- which can be reduced if produced in bulk. Consumer assessment was carried out for the printed apron on various aesthetic parameters. Consumers’ acceptance for the printed apron was found high which reflected its marketability owing to uniqueness of the motifs, traditional values associated with the traditional motifs of Manipur, sharpness of design lines, the clarity of prints and the reasonable price. Thus, study outcome revealed that the designs inspired from traditional textile arts and crafts of Manipur can be successfully rejuvenated into lifestyle products through heat transfer printing which is environmentally feasible, socially acceptable and economically viable.

A. Alshehri, A. Nayer

Al-Ula is renowned for its unique environment, its cultural and historical value. Al-Ula's individuals are described by their interest in art, craft, and culture. There is a powerful demand from the local community, as well as betting on the town to live in art and culture, but in comparison, there is a lack of places to promote the practice. This resulted to the beginning of the demise of these traditional crafts. Thus, this work present a proposal on developing an interactive house for arts and crafts at Al-Ula, Saudi Arabia. For this work, three case studies related to the architecture of arts and crafts building were analysed. Based on the case studies, for the proposed interactive house for arts and crafts, the estimated net area is 18720 m2 and the gross floor area is 22390 m2. The interactive house for arts and crafts is comprised of few zones such as cultural zone, business zone, commercial zone, administration and services. In this work, two sites were proposed for the construction of the interactive house. Site evaluation analysis was done to select the most suitable site. Based on the site evaluation analysis, site 2 was selected as it attained the highest score of 141, compared to site 1 with score of 131. This interactive house is expected to contribute to the local community and Saudi Arabia in terms of economic, cultural, and educational sectors. Keywords-culture, arts, heritage, complex, architecture, Saudi Arabia © 2020 by Advance Scientific Research. This is an open-access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/) DOI: http://dx.doi.org/10.31838/jcr.07.08.126 INTRODUCTION Attention to any society's cultural and art centers is essential for its progress and development at the local environment level [1]. Accommodating spaces to express the creators ' energy will be the real gateway to enhance their community service productivity. Traditional crafts are those created by craftsmen, either entirely by hand or with the help of hand tools or perhaps machinery, as long as the craftsman's direct manual contribution remains the main substantial part of the finished product [2]. These are created without any restriction on the quantity and mistreatment of raw materials from sustainable resources. Saudi Arabia has a long-standing national heritage of ancient Arab civilization [3]. There are a number of industries and crafts in the Kingdom that are inherited from generation to generation that still offer independent art and are used in tourist activities that are highly visited by locals [4]. The most famous crafts and handicrafts found in Saudi Arabia are pottery industry, wood industry, wicker industry, local jewellery industry, and textile industry [5]. Al-Ula is one of Saudi Arabia's most important tourist destinations due to its archeological, heritage and natural resources with important and attractive tourist characteristics [6]. All this will be an easy to market tourism product and will benefit the Al-Ula local community in achieving economic and development returns [7]. However, at the present moment, the Al-Ula community do not have a designated place to market their products and their artistic culture. Thus, this work proposes the development of an interactive house for arts and crafts at Al-Ula, Saudi Arabia. CASE STUDIES Three case studies related to the architecture of the arts centre were evaluated for this work. The details of each case study are stated as follows. a. King Abdul-Aziz Historical Center b. University of Wyoming Visual Arts Facility c. Museum of Islamic Art, Doha King Abdul-Aziz Historical Center King Abdul-Aziz Historical Center is located at Riyadh, Saudi Arabia (Figure 1). This building was designed by several architects such as Albert Speer & Partners, Omrania & Associates, Rasem Badran and Ali Shuaibi. This building has a gross area of 32700 m2. The King Abdul-Aziz Historical Center is an urban project that incorporates green cultural and urban infrastructure. The primary element is the museum, intended to create visitors interactive with informative exhibits through multimedia technology. The divisions of the site are the national museum, conference, library, paperwork and study center. In addition, there is a conservation site for a group of mud houses as prototypes of the region's vernacular architecture. The main project concept is to create and develop the social interaction and cultural awareness of people through the public spaces and parks beside the urban context of the project. The project is integration between the landscape and the building area which includes public park, national museum, antiquities and museums agency, Al-Murabba Palace, tradiotional buildings, Darat AlMalik AbdulAziz, King Abdul-Aziz public library, King AbdulAziz mosque, and King Abdul-Aziz auditorium. Figure 1. King Abdul-Aziz Historical Center AL-ULA INTERACTIVE HOUSE FOR ARTS AND CRAFTS Journal of critical reviews 571 University of Wyoming Visual Arts Facility University of Wyoming Visual Arts Facility is located at Laramie Wyoming, USA (Figure 2). This building was designed by Hacker and Malone Belton Able PC. This building has a gross area of 7198 m2. This project consolidates the fine arts program of the University from its scattered region all around the campus, tending to restrict the prior equipment while at the same moment providing recourse to professors and students with encouraging their research in the fine arts. The building is intended to be state-of the-art, competitive, affordable and flexible enough to acknowledge program and technological evolution. The building is intended to be state-of the-art, competitive, affordable and sufficiently adaptable to further acknowledge technological development of the program. The Visual Arts facility is a key component of the campus’s new arts boundaries. The building is intended to be equally engaging, permitting occupants to experience the outdoor environment from within while the same time duration in creating quality interior experiences. The main building components are educational facilities which include art studios, classrooms, offices, public spaces and services. Figure 2. University of Wyoming Visual Arts Facility Museum of Islamic Art Museum of Islamic Art is located at Doha, Qatar (Figure 3). This building was designed by architect I. M. Pei. This building has a gross area of 30600 m2. The Islamic Art Museum is intended to represent Islamic architecture and preserve Qatar's traditional architecture that has lost its identity through the contemporary revolution. It has a collection of Islamic antiques and works of art, library, places of research, restaurants, and auditorium. The form inspiration came from ' Sabil ' the Ibn Tulun Mosque ablution fountain in Cairo, Egypt in the 9th century. The architect discovered simplicity in the daytime, with the shade and shadow produced from the cubist geometric, the ablution fountain of Ibn Tulun comes to life. The museum has two main zones which are exhibition zone and educational zone that include galleries, offices, library, reading and studying spaces, classrooms and workshops, auditorium, technical and storage facilities, parks, café and restaurant, shops and playgrounds. Figure 3. Museum of Islamic Art PROGRAM SPACE DETAILS For the proposed interactive house for arts and crafts at Al-Ula, Saudi Arabia, the estimated net area is 18720 m2 and the gross floor area is 22390 m2. The interactive house for arts and crafts has several zones, such as cultural zone, business zone, commercial zone, administration and services. Table 1 shows the details for each zone. Table 1. Space details Zone Net Area (m2) Gross Floor Area (m2) Cultural zone 1260

Maureen Meister

The Arts and Crafts movement emerged in 19th-century England in response to the hardships imposed on workers under a growing factory system. Critics denounced the degrading conditions that labor endured as well as the shoddy quality of goods flooding the market. Calling for a revival of handicraft, the movement’s leaders argued that handcrafted wares were morally superior because of the way they were created and also more beautiful. Inspired by the Middle Ages, Arts and Crafts architects embraced the Gothic revival, joining craftsmen, often in guilds, to ornament and furnish churches, houses, and other buildings. Over time, leaders in the movement encouraged revivals of national and regional traditions, the use of local materials, and simple designs. Preservation of historic buildings also was championed. The Arts and Crafts movement has spawned hundreds of books, some academic and many directed to the popular market. To confuse matters for the serious researcher, more than a few coffee table books have been written by experts and should be consulted. Another challenge is the fact that many publications on the Arts and Crafts movement integrate studies of architecture, interior design, and the decorative arts. These studies are worth exploring as many Arts and Crafts architects were engaged in many manifestations of design, ranging from tile and stained glass to pottery and printing. Yet another challenge is the lack of clarity about what is considered Arts and Crafts architecture. The views promulgated by England’s William Morris and his circle form an accepted basis for the movement. Its flowering in Great Britain is central to the literature, while the transmission of Arts and Crafts ideas to the United States has long been recognized. The influence of Arts and Crafts concepts to movements on the Continent, such as the Viennese Secession and Art Nouveau, is examined in some studies; however, architectural historians usually treat these developments as distinctive and do not position them directly under the Arts and Crafts umbrella. Most authors on American Arts and Crafts architecture have examined particular regions and specific architects. Others have written about various Arts and Crafts styles that took hold at the turn of the 20th century. A few writers have documented the craftsmen who collaborated with the Arts and Crafts architects while others have explored Arts and Crafts themes in garden design.

K. Popuri, Srishti Srivastava

Hu Jianbiao

A. Mata

Irfa ina Rohana Salma, Dana Kurnia Syabana, Yudi Satria et al.

<p><strong>ABSTRAK </strong></p><p>Indonesia memiliki kekayaan berbagai jenis kain tradisional indah dan unik, salah satunya adalah kain tenun ikat. Tenun ikat memiliki pola-pola tertentu yang menghasilkan motif-motif khas untuk keperluan tradisional. Seiring dinamika perkembangan zaman dan selera fasyen yang berubah, maka perlu dilakukan pengembangan desain motif baru sesuai dengan tuntutan zaman. Penelitian dan penciptaan seni ini bertujuan melakukan diversifikasi produk baru dengan cara mengombinasikan teknik tenun ikat dan teknik batik dalam selembar kain. Metode yang digunakan adalah pengumpulan data, perancangan desain tenun ikat kombinasi batik, pengikatan dan pencelupan warna, penenunan, dan pembatikan. Tematik motif  yang diangkat yaitu seni budaya Nusa Tenggara Timur. Produk baru paduan tenun + batik ini disingkat nuntik. Tenun + batik = nuntik.  Kegiatan ini menghasilkan tujuh motif  nuntik yaitu Motif Jago, Motif Gading, Motif Gajah, Motif Kapas, Motif Lontar, Motif Tumpal, dan Motif Perhiasan.</p><p><strong>Kata kunci:</strong> diversifikasi, desain, tenun ikat, batik, nuntik, Nusa Tenggara Timur</p><p> </p><p><strong> </strong></p><p><strong><em>ABSTRACT </em></strong></p><p><em>Indonesia has a wealth of different types of beautifully decorated traditional fabrics admired by the world, one of which is ikat cloth. Traditional ikat motifs have certain patterns that produce distinctive motifs to meet various traditional activities or ceremonies. Along with the dynamics of the times and changing fashion tastes, it is necessary to develop a new motif design in accordance with the demands of the times. This art research and creation aims to improve aesthetic values or discover new aesthetics as a result of combining ikat weaving techniques and batik techniques in a piece of cloth. The method used is data collection, design design weaving bundle of batik combination, binding and dyeing, weaving, and batik. Thematic traditional motifs adopted are the arts of East Nusa Tenggara, because it is hoped that the technology and design of the motifs produced can be a diversification of new weaving products typical of East Nusa Tenggara. This new product of batik weaving / batik is shortened nuntik, tenun + batik = nuntik. This activity produced seven motive motions, namely Motif Jago, Motif Gading, Motif Gajah, Motif Kapas, Motif Lontar, Motif Tumpal, dan Motif Perhiasan.</em></p><p><strong><em>Keywords: </em></strong><em>Value increase, design, batik alloy weaving, nuntic, East Nusa Tenggara</em></p>

Redaksi DKB

I Made Arya Utamaningrat, Istihanah Nurul Eskani

<p>Proses elektroplating untuk pembuatan barang-barang kerajinan biasa dilakukan pada produk berbahan logam. Penelitian ini melakukan studi proses elektroplating logam tembaga pada material non-logam sebagai alternatif metode finishing produk kerajinan. Metode pelapisan ini dikenal dengan istilah electroforming. Electroforming dapat diaplikasikan pada berbagai hiasan-hiasan natural yang membutuhkan tampilan logam pada proses akhir. Material non-logam yang digunakan adalah kulit kerang dan lilin berbentuk cincin. Proses electroforming dilakukan dengan terlebih dahulu melapisi kulit kerang dan cincin lilin dengan cat grafit konduktif untuk selanjutnya dilakukan pelapisan logam tembaga menggunakan metode electroforming. Parameter yang digunakan pada penelitian ini adalah tegangan dan durasi pelapisan. Tegangan yang digunakan adalah 1 volt dan 2,5 Volt, sementara durasi proses dilakukan selama 1200, 1500, dan 1800 detik. Tingkat efisiensi parameter proses diukur dengan membandingkan massa lapisan aktual dengan massa lapisan teoritis (Faraday). Pengamatan visual juga dilakukan untuk membandingkan kualitas pelapisan. Hasil penelitian menunjukkan bahwa pelapisan paling baik didapatkan pada proses dengan tegangan 2,5 volt dan durasi pelapisan selama 1200 detik dengan nilai efisiensi sebesar 16,16 % untuk sampel kulit kerang dan 38,63 % untuk sampel cincin lilin.</p>