The contemporary designer analyzes and studies the elements of artistic heritage, to identify the intellectual and aesthetic premises that lie in its structure, its elements, its vocabulary, and its encapsulation. With the aim of enriching the design thinking and its sources for the designer and raising the level of creativity and the overall idea of the two- and three-dimensional work, to design artistic models that are original and contemporary, enriching the language of communication between heritage and contemporary.
In this way, the heritage and its elements are inspired by a special stylistic display of heritage and its elements in innovative modernist formulations that deviate from the prevailing through its holistic images. And its presentation of elements or processes connected to each other and not as separate parts, to present it in a comprehensive form that supports the opportunities for selection and innovation that stems from it. In addition to those works in which some artists and designers deliberately elevated nature and its elements, drawing inspiration from its elements (human, plant, animal).
And simulating them as a basis for artistic formulation, another group of designers sided with drawing inspiration from the elements of Arab heritage, especially in the traditional Arab Gulf artifacts. As a source for enriching the architecture of 2D and 3D designs, And the design of modern models based on the reading comprehension of the philosophical, aesthetic, and structural dimensions of the elements of that heritage.
Increasingly traditional crafts of the gulf region are becoming obsolete because of dwindling numbers of traditional craftsmen and cheap imports from Pakistan and Morocco. There is a need to preserve traditional artefacts in the face of this issue.
This research assesses the viability of preserving the traditional Arab Gulf artifacts Using modern 3D manufacturing techniques added to maintain Traditional attributes of the original artifact. The methodology included consideration of requirements based on functionality, aesthetics and traditional elements, and the viability of techniques of such requirements in addition to practical and cost considerations.
Where the study seeks to provide inputs and examines the intellectual and aesthetic premises of the elements of heritage arts, especially the creative and aesthetic arts. In the artistic artifacts in the heritage Arab Gulf region of an artistic, aesthetic, and structural nature, with richness and diversity in the formal and structural forms of traditional Arab Gulf metal products.
As daily life tools such as jugs, trays, incense burners, candlesticks, bowls, cans, dallahs, irons, mirrors, and other metallic artifacts, which represents a fertile source of inspiration, and fertilizes the imagination of the Arab designer to put forward contemporary Arab visions and proposals to enrich design thinking in traditional Arab and Gulf handicrafts and recycling daily life products.
And the analytical study of the methods of forming technical design products, their forms and design construction, the materials through which they were designed and formulated, the traditional and new molding methods and techniques, the manufacturing materials, and the surface decorations and textures that dealt with the design plane. To raise the level of creativity and idea, to be inspired by heritage through a special style Heritage and its elements are presented in innovative modernist formulations.
T. Lubis, Firmansyah Firmansyah, Ida Masriani
et al.
Traditional arts and crafts play a vital role in enhancing village tourism by attracting visitors, creating immersive cultural experiences, and contributing to economic sustainability. This study examines the impact of traditional performances and high-quality handcrafted products on tourist satisfaction and overall tourism success. Using a structured research approach, data were collected and analyzed to evaluate how arts and crafts influence tourism appeal, visitor engagement, and local economic benefits. The findings indicate that traditional arts significantly enhance visitor experiences through cultural performances, while traditional crafts reinforce destination identity by offering unique, high-quality souvenirs. Moreover, tourist satisfaction emerges as a key determinant of village tourism success, emphasizing the importance of well-managed arts and crafts initiatives. However, challenges such as financial limitations, lack of innovation, and inadequate marketing strategies hinder the full potential of these tourism assets. The study highlights the need for collaborative efforts among tourism managers, policymakers, artisans, and local communities to sustain and further develop traditional arts and crafts as integral components of village tourism. Strengthening policies, enhancing promotional strategies, and improving market accessibility are essential to ensuring long-term sustainability and economic growth in rural tourism destinations.
Luvitha Eka Nirmala, Evi Wahyuning Tias, Yus Safik Udin
et al.
Kandangan Village, known for its rich cultural heritage, faces challenges in preserving traditions and fostering youth entrepreneurship. The Student Organization Capacity Strengthening Program (PPK Ormawa) was implemented to increase cultural awareness, develop cultural infrastructure, and empower the younger generation through arts-based businesses. The program includes traditional arts and entrepreneurship training, digital marketing promotion, and the establishment of the Tengger Brang Wetan Cultural Museum. The museum serves as an educational center and tourist attraction, showcasing local arts, crafts, and oral traditions. As a result, community participation in cultural activities increased, leading to the creation of youth-led businesses in handicrafts, culinary arts and cultural tourism. Digital platforms also helped increase public engagement and tourism. The findings highlight the importance of cultural preservation as an economic driver, demonstrating that participatory approaches can sustain local heritage while promoting economic growth in rural communities.
This lesser-known series of six goblets from Bardejov provides specific information about the distribution of Venetian glass to the countries north of the Alps and also about the efforts to imitate it in local glasshouses. Other covered goblets with chalice-shaped cups from the 1480s to early sixteenth century are known from present-day Hungary and Slovakia. SEM/EDS analyses of the glass and enamel compositions reveals the use of brass in the enamel, as has been seen for the same period in Hungary, and one goblet's origins can be traced to Venice.
This paper examines the glass pagodas produced in the Qing imperial palace for Tibetan Buddhist rituals. Drawing from archival and material evidence, it explores the innovative techniques of the Imperial Glass Workshops in creating these intricate, multi-component objects. Combining glassblowing, casting, and cold-working methods, the pagodas showcase exquisite craftsmanship and the symbolic significance of glass in Buddhism. The study situates these artifacts within the broader context of Qing Buddhist culture, revealing the esteem for glass as one of the Seven Treasures in Buddhism and its multifaceted roles. By analyzing their production, decoration, and contexts, the research illuminates the intersections of art, religion, and imperial patronage embodied in these artifacts. It contributes insights into Qing material culture and the esteem for glass in Buddhist practice.
The main problem is lack education of students, especially class IV SDN Petompon 02 regarding the proper and correct disposal and use waste, especially plastic waste. Research was carried out by giving pretest questions to control and experimental classes before giving treatment to experimental class, the end of lesson they were given post-test questions after being given treatment the experimental class, data collection was also taken from questionnaires that had been filled by students. Results this research show the increase in student creativity is high category , meaning use plastic waste as a medium for making handicrafts is effectively used in learning to increase student creativity in craft materials from plastic waste. The novelty of this research is fun learning not only increases students' creativity utilizing plastic waste, but also increases the creativity and artistic spirit of class IV students making crafts from plastic waste student creativity. The results of this research, can help readers find out methods and benefits, as well as the importance reprocessing waste into various forms crafts. This research aims to determine student activities and test effectiveness using plastic waste as medium for making handicrafts to increase activity of class IV students SD Negeri Petompon 02.
. This article provides new insights into art and design methods for protecting styles in deep learning by preprocessing and technical identification of comprehensive datasets of different arts. This article plans a craftsman recognition style for artistic processing. The training set process of feature recognition uses algorithm recognition to accurately recognize the expected style of the model classifier of the source image. It uses a classifier to train a recognition model for precise style transfer based on the framework of handmade works. At the same time, it utilized the transfer algorithm of the target style to perform simple training model style optimization on the classifier. The research results are presented in the table. With the combination of cultural and artistic model image content, the DL model in this paper has a relatively high advantage in image accuracy recognition. This not only enriches the target style conversion of handicrafts but also protects and overlaps the artistic style of the model's image with digital craftsmanship. The foundation has been laid for the recognition of image styles to protect traditional art.
: With the development of the times, people's pursuit of art has also changed, and it is no longer limited to ordinary traditional arts and crafts, so researchers have followed the trend of the times and started to combine traditional arts and crafts with modern creative ideas. Traditional arts and crafts, as an important part of traditional arts and crafts, reflect the material production level and spiritual aesthetic characteristics in a specific era. The short video media, represented by Aauto Quicker and Tik Tok, with its vivid presentation, transforms the oral traditional handicrafts into short videos, spreads the traditional handicraft culture visually, makes the traditional handicrafts "visible" and "tangible", and reverses the social stereotype of traditional handicrafts, so that more people, especially teenagers, can re-recognize and accept traditional handicrafts. Based on this, the author takes Tiktok as the research object, and makes a specific analysis of the spread of traditional technology in Tiktok short video platform. Propose specific optimization path, including craftsmen should start from the production, dissemination and account operation of traditional craft content; The short video platform should take the initiative to activate the traditional process content and industrial vitality.
Abstract Starting from the construction of the perceptual engineering model, this paper gives the research objective of consumer perceived demand for fiber art handicrafts in the Internet era and designs the corresponding perceived SD scale according to consumer perceived demand. Factor analysis, the results show that for embroidery handicrafts, more attention is placed on grad in consumer perceived needs, with a factor loading eigenvalue of 4.647, and the grade variability of embroidery handicrafts is 27.336%. The consumer perception under the cluster 1 category of handmade blankets is mainly the grade, and its percentage is the highest at 26.698%, and the influence factor of style in bamboo and grass woven products is the highest at 23.078%. The design of fiber art handicrafts oriented to perceptual engineering needs to fully explore the consumer’s perception needs in order to promote innovation and development of fiber art handicrafts.
Odisha’s tribal heritage is rich and diverseand among its many communities the Gond people of Keonjhar district stand out for their vibrant cultural traditions. This study focuses on the Gonds' artistic expressionsespecially their paintings, crafts and traditional dancesthat continue to thrive in northern Odisha. The Gond community is particularly known for the intricate artwork they paint on the outer walls of their homes believing it brings good fortune.The research concentrates on Gond art found in the Telkoei and Ghatagaon blocks of Keonjhar examining the unique styles, patterns, motifs, colour choices and materials used. It also highlights the organizations working to preserve and promote this artistic heritage.The Gond people are equally known for their traditional dances including the Sword Dance. While these dances are still performed in Keonjhar and neighbouring Mayurbhanj the Sword Dance is now at risk of disappearing making preservation efforts urgent.The Gond tribe is one of the most significant tribal communities in Odisha and Central India. The name "Gond" is believed to derive from the word “Kond,” referring to the lush green hills described in their Dravidian language. The Gonds of Keonjhar are especially recognized for their folk art and cultural traditions painting, music and dance which offer valuable insights for scholars and cultural historians. This study represents a modest but meaningful effort to document and preserve these important aspects of Gond cultural life.
Kashmir region is known for its handicraft industry all over the world. The purpose of this study is to determine the impact of the quality of Kashmiri handicrafts on satisfaction and repurchasing intention. The present study is descriptive and convenience sampling method was employed. The data was collected at Srinagar the summer capital of Jammu and Kashmir. The structured questionnaire was distributed among 80 tourists. The findings of this study revealed, there is a strong and positive relationship between the quality of Kashmiri handicrafts, satisfaction, and repurchasing intention. The study verified all the hypotheses using the path coefficient method. Impact of quality of Kashmiri handicrafts on satisfaction and repurchasing intention and lastly the impact of satisfaction on repurchasing intention were found to be statistically significant. Furthermore, the study explores the role of satisfaction in mediating the relationship between the quality of Kashmiri handicrafts and repurchasing intention.
While doing research in Islamic art, especially decorative art, we face alphabetic samples that despite the similarity to the overall structure of alphabetic text cannot be read. Although these shapes have been drawn in the frame of alphabet of the text, they do not convey a meaning to be read. These figures, which are similar to the inscriptions, have been represented in the present study as quasi -writing. Faced with these examples, what has convinced the audience to accept – or doubt – them as writing, is déjà vu and similarity between the examples and the structure of letters in the Islamic alphabet. This research has been conducted with the aim of introducing this category of quasi-literature in the Islamic Arts. As a result, quasi-documents are divided into two groups, and each group includes two smaller divisions. The first group includes the inscriptions which are fully covered with Kufic-like quasi-texts. The second group includes inscriptions that resemble handwritings. Of these two groups, the second one is more likely to accompany other decorative designs. In many decorative inscriptions; the formal and structural elements are entangled together to the extent that their distinction and reading is simply not possible. In the third group, it is possible to identify letters of the Islamic alphabet, though they are not legible. In the fourth group, the inscription is partly readable, inscribed along with the quasi-writings that cannot be read. The purpose of this paper is to introduce and classify this type of quasi-writings in the Islamic art. In this regard, the main two questions are as follows: 1- What are the reasons for depicting quasi-writings among the inscriptions? 2- How and within which structure have the quasi-writings been inscribed? To achieve this purpose, methods of visual analysis have been used in terms of the inscription samples of the Islamic period. The statistical population and samples have been chosen from the wide array of inscriptions of Islamic art.The use of writing in the Islamic arts, except to save and record the entries and text-based documents, which are associated to knowledge and information, could have been developed due to a different reason that has been more associated with decorative aspects (that could also be called the motif-centered texts). This type of texts that may fall in the framework of inscriptions is seen in much of the Islamic crafts and was mostly provided as ornamentation. This extensive field may include tombstones to clothing and carpets. Numerous examples of these products in the early Islamic periods testify to the application of texts as ornamentations. Messages on inscriptions should be considered as having an important function, but decorative function of inscriptions should be regarded as a more important one. It is not in vain to say that inscription or writing may well be expected as another category of decorations along with geometric and arabesque decorations in Islamic art.As well as the decorative inscriptions, there are writings – or in a sense quasi-writings – that are not legible. This ineligibility is not because of scrambled handwriting, overflow and compactness of writing elements, etc, in fact these quasi-writing signs have not been drawn to be read, since they have not been formed based on rules of Islamic scripts, but due to their general resemblance to the form of the Islamic alphabet, or a style of writing, they look like writing. This similarity is underlined by compliance with the structure of Islamic alphabet, vicinity to other decorative systems, compliance with a specific base line and of course the topic of déjà vu.Fantasy or orientation on familiar topics like literature, perhaps physical structure and visual perception error may be considered among the main reasons for it. In fact, ambiguity with textual similarities leads to an illusion in the eye. This ambiguity has been a means that for certain purposes – which will be referred to – has helped the artists. Because ambiguity is a tool and phenomenon of comprehension institutionally and essentially, and scientists fight error, while artists welcome ambiguity ... in this perception, a type of unrealistic comprehension replaces the real comprehension. The succeeding view of comprehension is perception of objects which occur to our minds through inference which signs have been entrusted to our memories. Comprehension is something that is focused on due to deviation and digression from the truth.It is necessary to systematically deviate from the norm. In fact, similarity of decorative writings with what which is not in fact writing (and only deemed as writing because of its similarity to Islamic alphabet) has lead to creation of types of decoration, especially in Islamic handicrafts.
Heritage is a documentation of an ancestral inheritance that gives effective economic, social and political dimensions in present societies. Because Al Ahsa is a city characterized by geographical location, heritage, crafts and distinctive industries, UNESCO has recognized it in 2018 as a World Heritage Site. The Arab Ministerial Council for Tourism then decided to select it as the Capital of Arab Tourism 2019. This has drawn attention to Al Ahsa, and heritage specialists have turned to closely learn about its heritage. In line with the Saudi Vision 2030, there is a trend to promote tourism internally and externally, especially to the provinces and areas rich in arts and heritage. The research aimed to use the descriptive analytical approach to collect information and documentary images that are suitable for the designing of a distinctive artistic guide reflecting the civilization of Al Ahsa. The guide will serve as a tourist guide and an ambassador that tells the history and heritage of Al Ahsa and presents it attractively to the reader expressing the identity of the oasis. The illustrated guide was designed to include the location and geographic importance of Al Ahsa Oasis, most important natural and archaeological landmarks, folk art and handicrafts and habits. The study recommended the dissemination of the experiment and production of more specialized promotional guides for each craft itself.
History of scholarship and learning. The humanities, Social Sciences
The article analyzes the merits of the member-clerk of the Caucasian Handicraft Committee A. S. Piralov, his role in the study and organization of traditional trades and crafts of the peoples of Dagestan, the Caucasus as a whole. Artemiy Stepanovich Piralov headed the Caucasian Handicraft Committee from the time of its creation (1899). Under his leadership, the Committee conducted an extensive survey of Caucasian cloth weaving, the traditional dyeing business of Dagestan. The merit of A. S. Piralov was also the holding in 1902 of the Congress of the Caucasian handicraft industry, the preparation and publication of the book «A Brief Sketch of the Handicrafts of the Caucasus». He also distinguished himself by collecting products of folk craftsmen of the Caucasus for the collections of handicraft and ethnographic museums in Russia.
Recent years have seen a precipitous fall in the demand and market for India's traditional handicrafts, arts, and textiles. Genericide in the arts and crafts industry is harmful to indigenous and traditional handicraft enterprises because to the rising popularity of machine-made items via internet shopping and a lack of oversight for product quality. Indian artists and craftspeople face decreasing income and customer demand as a result of the country's poor performance in competitiveness criteria such basic infrastructure, intellectual property rights, education, and broadband adoption. This report analyzes problems encountered by indigenous art and craft vendors and suggests solutions to help the industry thrive. In addition to having a negative effect on the sector's economy, the report concludes that Genericide is also damaging the reputation of Indian Indigenous Arts and Crafts as a whole. As a means of combating "Genericide" and stemming the tide of escalating hyper-competition, the use of Geographical Indications has been recommended.