Handicraft

In the Jebala region, NW of Morocco, the making of recipients of dung from cows or/and clay (tonna and tabtoba) was common in the past. These recipients were used for stocking cereals and their dry products, for feeding the livestock, or for transporting the céréals to the rotative mill. The élaboration of these objects, which dissapeared 20 or 30 years ago, represented a general technical knowledge which was carried out by all the women in the région, in order to satisfy their domestic needs.

Публикация представляет собой комплекс документов, зафиксированных в ратуше и характеризующих художественные работы. Для неё выбраны: резьба и золочение иконостасов, золото-сусальное, ювелирное мелочное мастерство, изготовление позолоченых свечей, резное и леп-ное кукольное (игрушечное), токарное, столярное, живописное и иконо-писное ремесла. За пределами публикации остались: сапожное, портное, рукавишное, кузнечное, цирюльное, ленточное, кирпичное и изразешное ремесла. Всего 183 документа, среди которых 102 освещает производственную сторону художественных промыслов, 62 – процесс профессионального обучения, 17 документов касаются организационных вопросов промысла, кроме этого еще 2 контракта вошли в приложение.
Книга рассчитана на специалистов и всех интересующихся историей и культурой России.

İnsan, yaradılışından itibaren hayatını idame ettirmek amacı ile doğada bulduğu hammaddeleri şekillendirerek çeşitli araç gereçler ortaya koymuştur. Önceleri acemice ortaya konan ürünler, artan deneyimler ile birlikte yetenekli ustaların ellerinde daha kullanışlı hale gelmiştir. İlerleyen süreçte neredeyse her bir ürün için farklı teknikler uygulanmaya başlanmış ve bunun sonucunda çeşitli el sanatı kolları doğmuştur. Geleneksel kültürün maddi yansımaları olan el sanatları, herhangi bir şekli olmayan ağaç, maden, deri, toprak, hayvansal ve bitkisel lif gibi malzemelerin çeşitli araçlar yardımı ile elde şekillendirilmesi sonucunda ortaya konan eserlerden meydana gelir. Usta çırak ilişkisine dayalı olarak yapılan bu üretimlerde kullanılan yöntemler ve araç gereçler, nesilden nesle aktarılarak gelenekselleşmiş ve günümüze ulaşmıştır. İnsanların çeşitli ihtiyaçlarına cevap veren ve yaşamlarını kolaylaştıran bu eserler, kişilerin zevk, beğeni ve duygularını yansıtmalarının yanı sıra yapıldıkları dönemin yaşam biçimlerinden de izler taşır. Geleneksel Türk sanatları, asırlardır kullanılan üretim teknikleri ile sınırlı sayıda kültür taşıyıcısı tarafından sürdürülmeye çalışılmaktadır. Kültürel miras kapsamında değerlendirilen el sanatları arasında; demircilik, hallaçlık, hasırcılık, sepetçilik, keçecilik, dokumacılık, saraçlık, çömlekçilik vb. alanlar yer almaktadır. Köklü mazisinde pek çok el sanatını ve ustayı barındıran, hatta az da olsa barındırmaya devam eden Anadolu topraklarındaki önemli yerleşim alanlarından biri olan Sakarya ve yöresinde de bu sanatlarla karşılaşmak mümkündür. Çalışmanın amacı, Sakarya'nın kültürel miras unsurları arasında yer alan el sanatlarını belgelemek ve tanıtmaktır. Bu kapsamda, Sakarya ve çevresinde alan araştırmaları yapılmış, tespit edilen örneklerin fotoğrafları çekilerek kayıt altına alınmıştır. Ustalarla röportajlar yapılarak bilgi fişlerinin doldurulması izlenen yöntemi oluşturmaktadır. Araştırma sonucunda Sakarya'nın kültürel miras değerleri arasında yer alan el sanatlarının, kaybolmaya başladığı görülmüştür.

The Kaziranga National Park is renowned for the diverse flora and fauna present in the region, many of whom are endemic to the region. Kaziranga has been a major tourist attraction since many years for wildlife tourism. Surrounding the National Park, there are villages inhabited by different communities, which are rich in their culture and tradition. Their tradition includes various methods of making handicraft products. These handicrafts are sold near the Kaziranga National Park on the roadside of Indian NH 37, souvenir shops and souvenir outlets of the resorts. The study attempts to identify the potential of handicraft market around Kaziranga National Park and to explore the possibilities of shifting the attention of tourists coming for wildlife tourism to handicrafts so that the local artisans are benefitted.
ISBN 978-93-84869-10-6

... Ali Boubacar, le chef du service « centre éducatif », explique ainsi que le batik était une « tradition malienne et ivoirienne » et qu'à cette date, « des Américains formés en Côte-d'Ivoire, de passage au musée, ont donné une formation à l'ensemble des enseignants ». ...

Plant based motifs have been used extensively in Turkish culture for centuries. One of the most intricate and delicate uses can be seen in traditional handicrafts crocheting, shuttle and needlework. Among these crafts, needlework has a special place. Needlework is interesting in many ways. For instance, only silk is used to make these fine patterns. For hundreds of years, needlework has been attached to the corners and sides of covers. The study aims to record and pass the knowledge of the use of plant based motifs in the needlework of Western Anatolia-Turkey. A total of 29 women, especially chosen by age, over 50 yrs old, from the cities Odemis, Beydag, Kiraz, and Tire in the of Izmir Province in Western Anatolia were interviewed. 24 taxa were identified. Among the identified patterns, the flower was the most common. Fruits and leaves were the other motifs identified. The use of different colours on the same pattern is interesting. Four different colours are used in the pattern of the pepper plant; green for the leaves, white for the petals, orange for the reproductive organs, and red for the fruits. In all identified patterns; orange, yellow and white are used for the reproductive organs with orange being the most preferred colour.

Se investiga el despacho Vilumara, construido en 1915 en el Ensanche de Barcelona. El despacho era la sede comercial y gestora de la fábrica de seda Vilumara del Hospitalet de Llobregat (Barcelona). Alexandre Soler Marye fue el decorador y artesanos importantes de la época realizaron el mobiliario, tarima, vidrio, rótulos, lámparas, etc, de gran calidad artística. Se conserva el mobiliario, la decoración y la documentación de los presupuestos y facturas, propiedad del descendiente. Realizamos un trabajo monográfico e inédito de uno de los pocos ejemplos que se conservan de esta tipología de establecimiento en Barcelona.  

The tourism industry and creative economy in Cirebon can not be separated from the historical aspect of the city's growth and development as silk lines in the spread of Islam, trade, and acculturation is very smooth so that the ethnic diversification becomes a major part in tourist activities. With a qualitative approach that emphasizes the phenomenon of ethnic Cirebon with tourist objects that vary in every corner of this city, then this paper confirms that Cirebon is a tourist destination that is unique in terms of religion, culture, history, to the creative economy, especially religious tourism that will create this city as a friendly city for tourists.

Archaeological studies of 2011–2020 in the central part of Bolgar fortified settlement have allowed to identify the boundaries of urban estates of the second half of the 13th – early 15th centuries. The paper summarizes and presents an analysis of the spatial and stratigraphic distribution of the items characteristic of handicraft industries: raw materials, blanks, scrap, tools and production complexes (kilns). For the first time, statistical data on such categories of objects as glass signet rings and stone molds are presented for this portion of the fortified settlement. It was the excavations of 2011–2020 where the maximum concentration of these categories of items was recorded (glass signet rings – 1674 pcs., mold casings – 67 pcs.). As a result, it was possible to localize handicraft production (copper foundry, jewelry, bone cutting, glass processing and amber processing) within the boundaries of specific estates. It was established that in most cases, craft workshops occupied the inner parts of estate territories.

People with family member becomes a martyr, tries to understand this unexpected incident. With intimation of shahadah, a new period starts in life of the family. Whilst the family is asking “why it happened to my child/spouse/father/brother?” to themselves, also they try to cope with the incident in the guidance of their pre-knowledge about spiritual dimension of martyrdom. Perception of God in this process also plays an important role for mourning process. It is envisaged that a structured practice will be important to meet the spiritual and psycho-social needs of the mothers of martyrs who had a close relationship with their child’s from the birth.

The aim of this study is to investigate the effect of Structured Spiritual Care Application with Turkish Ṣūfī Music and Handicrafts on the level of perception of God and grief in the martyr mothers.

In this study the number of martyr mothers participated is n=7. An experimental research was designed with 6 sessions, pre-test, post-test. According to the results, there was a significant difference in the love-oriented perception of God and cognitive sub-dimension of mourning. While there was an increase in the perception of God before and after the practice, there was also a decrease in the perception of fear-oriented God. However, no significant difference was observed. There was no significant difference between the total mourning score and the physical, emotional, and behavioral dimensions of mourning before and after the application. The scale of grief and God perception are effective in the sub-dimensions of the scale.

Folk craft is one of the significant areas in the study of material culture. It is social rather than individual. The traditional craftsmen serve the purpose of fulfilling some of the socio-cultural needs of the society and they are generally identified by their traditional occupation. The paper gives attention on three traditional folk crafts, i.e. earthenware by Kullalar, grass mat weaving by muslim Labbai and basketry by Malai Kuravar community. It documents the traditional techniques of crafting and analyses the role of crafts and craftsmen in socio-cultural context and the changing scenario of folk craft in contemporary context.

Indian art and craft industries are as old as its civilization; it embodies its intellectual and aesthetic range. It has the full artistic, aesthetic, and attractive appearance, though, with time, the demand, philosophy, relevance, and nature of this industry have changed a lot. Through this paper, we have tried to understand the fundamental issues faced by the rural artisans, and we have also dwelled upon how to make their livelihood sustainable in the long run. Artisans are the backbone of the Indian economy, but the only aspect is that they fall under an informal work setting. They are understood as custodians of Indian civilization, but on the contrary, they are deprived of all benefits, financial help, and all government-aided schemes. This industry helps in employment generation majorly for rural people, allows them to improve their livelihood, making their purchasing power better day by day. Despite all these contributions, it is propelled by many issues, such as no government intervention, lack of skills, low marketing strategies, lack of up-gradation in technology, no financial help, and loss of market share. This industry is gradually losing its relevance and patronage in international and local markets due to fast-paced industrialization. Crafting the way forward calls for re-thinking, re-investment, and reorientation of the artisan industry to preserve the interest of Indian artisans and safeguard the civilization, heritage, culture, and history of India. Investing in the art and craft industry attracts ample benefits. It offers a tremendous opportunity to rural communities by improving their social, economic, and environmental conditions way better and empowers rural households

Charar is a fairly large village of about 2000 households spread over 11,000 acres of land (40% cultivated) in the south-east of Lahore city, Pakistan. Most people are landless and unemployed or engaged in non-agricultural occupations, live in mud houses without electricity, have unpaved streets, lack a drainage system and cleanliness, do not have a dispensary, post office, bank, adult education center, or transportation.  An overriding problem is the insecurity of the villagers due to the takeover of village lands by the army for construction of a Defence Society.  People were generally dissatisfied with the quality of education in the three village schools, and the majority of children were out of school.

Because of high rates of illiteracy, lack of health facilities and livelihood opportunities, there is a strong desire to attend adult literacy classes, learn handicrafts, and support the running of a literacy centre, handicraft centre and dispensary in the village. A large number of people were identified for training as adult literacy teachers, health workers and handicraft teachers. These people should be contacted and involved in the project.

There is a local village panchayat which settles village affairs. The villagers had constructed and got approved the girls school, re-started the boys school, and constructed a brick road to the village on their own initiative.  Thus the villagers seem to have a fair amount of organizational capacity. Their leaders as well as other influential members should be contacted and involved in the present project.

... Ali Boubacar, le chef du service « centre éducatif », explique ainsi que le batik était une « tradition malienne et ivoirienne » et qu'à cette date, « des Américains formés en Côte-d'Ivoire, de passage au musée, ont donné une formation à l'ensemble des enseignants ». ...

Handicrafts are popular items purchased by tourists as souvenirs or gifts. Although studies concerning tourists as souvenir consumer are plentiful, however studies focusing on tourists’ perceptions about an appealing handicraft during their travels are limited. This paper seeks to explore tourists’ perceptions about an appealing handicraft and whether differences in perceptions between local and foreign tourists’ exist. A survey questionnaire was designed and conducted with tourists visiting the state of Sabah, Malaysia. Tourists considered handicrafts that can be displayed at home or office, that makes a good gift, and are handmade as the most appealing attributes for handicrafts. Independent-samples t-test reveals 11 attributes recorded a significant difference in the mean scores between local and foreign tourist. However, further investigation pertaining to the degree to which the attributes are associated indicated that the association strength between the attributes was small, ...