Craft Processes and Other Details of 32 Crafts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
HAND SEWING NEEDLES Quality Makes the Difference
No. 14 HAND SEWING NEEDLES Quality makes the difference. Hand sewing needles Hand sewing needles Embroidery needles Embroidery needles Sewing, embroidery and darning needles. • Sharps • Self-threading needles • Chenille • Tapestry Stitch by stitch – perfect and precise. • Betweens • Jersey needles • Crewel • Smyrna • Millinery needles Centuries of experience in metal processing, combined with Hand sewing needles: For fine embroidery we have a special needle known The higher the needle number, the finer and shorter the latest production technology available today, make Prym as a crewel needle. These slender needles with a the needle. Betweens have the same wire diameter somewhat larger eye can take one or more threads sewing, embroidery and darning needles perfect precision as the respective no. in sharps but they are approx. of stranded cotton, e.g. for white linen embroidery. Tapestry needles (with blunt point) are most tools. The needle range from Prym sets international quality 7 mm (1/4”) shorter. Both needle types are available • burr-free and finger friendly head As they correspond in length and gauge with the sharps suitable for counted thread embroidery on coarse- in packs in single sizes as well as in assorted sizes. standards – also in the variety of the assortment. Here, specialists needles, and are also easier to thread, they are often weave or even-weave fabrics. For closely woven will find their special needles. • silver or gold smooth eye facilitates used as a sewing needle. fabrics we recommend the use of sharp-pointed chenille needles. threading and avoids thread damage Sharps are our standard Both needles have large eyes which are suitable sewing needles, used to for thicker thread or wool. -
Visual/Media Arts
A R T I S T D I R E C T O R Y ARTIST DIRECTORY (Updated as of August 2021) md The Guam Council on the Arts and Humanities Agency (GCAHA) has produced this Artist Directory as a resource for students, the community, and our constituents. This Directory contains names, contact numbers, email addresses, and mailing or home address of Artists on island and the various disciplines they represent. If you are interested in being included in the directory, please call our office at 300-1204~8/ 7583/ 7584, or visit our website (www.guamcaha.org) to download the Artist Directory Registration Form. TABLE OF CONTENTS DISCIPLINE PAGE NUMBER FOLK/ TRADITIONAL ARTS 03 - 17 VISUAL/ MEDIA ARTS 18 - 78 PERFORMING ARTS 79 - 89 LITERATURE/ HUMANITIES 90 - 96 ART RELATED ORGANIZATIONS 97 – 100 MASTER’S 101 - 103 2 FOLK/ TRADITIONAL ARTS Folk Arts enriches the lives of the Guam community, gives recognition to the indigenous and ethnic artists and their art forms and to promote a greater understanding of Guam’s native and multi-ethnic community. Ronald Acfalle “ Halu’u” P.O. BOX 9771 Tamuning, Guam 96931 [email protected] 671-689-8277 Builder and apprentice of ancient Chamorro (seafaring) sailing canoes, traditional homes and chanter. James Bamba P.O. BOX 26039 Barrigada, Guam 96921 [email protected] 671-488-5618 Traditional/ Contemporary CHamoru weaver specializing in akgak (pandanus) and laagan niyok (coconut) weaving. I can weave guagua’ che’op, ala, lottot, guaha, tuhong, guafak, higai, kostat tengguang, kustat mama’on, etc. Arisa Terlaje Barcinas P.O.BOX 864 Hagatna, Guam 96932 671-488-2782, 671-472-8896 [email protected] Coconut frond weaving in traditional and contemporary styles. -
Scientific and Technical Study of Bidriware
International Journal of Management, Technology And Engineering ISSN NO : 2249-7455 Scientific and Technical Study of Bidriware Dr. Nalini Avinash Waghmare NISS (Assistant Professor in History) Tilak Maharashtra Vidyapeeth, Pune-37 Mobile No—9975833748 Email: [email protected]. Abstract: Bidar district is the home of the Bidriware industry and the very name Bidri is derived from Bidar. This craft was introduced in Bidar during the rule of Bahmanis. Towards the end of the Baridi dynasty in Bidar this craft reached its zenith and a number of outstanding specimens were produced which today enrich some museums in India and abroad. The basic materials required in Bidri industry are zinc, copper, silver and a particle type of earth. The process of production may be divided into four main stages viz. casting, engraving, inlaying and oxidizing.There are five main types of inlay for ornamenting Bidriware objects. The Bidricraft will be marketed through global media. For improving the life of Bidri artisans and for conservation as well as preservation of Bidriware scientific and technical study of Bidriware is a need of modern time. This paper will be beneficial to artists, historians, researchers, marketing agencies, government and policy makers along with scientist.Through technological help preservation and propaganda about art is also possible . Lastly, it is the work of the researcher to focus on scientific and technical thinking of art for it conservation and preservation of art. Key Words --Bidriware, Bahamani period, metal craft, Bidar, Bidri Artisans 1.Introduction : Bidar is known for its Bidriware. Bidriware brought name and fame to Karnataka. This Bidriware is an art form since Bahamani period to till today. -
Rural Tourism As an Entrepreneurial Opportunity (A Study on Hyderabad Karnataka Region)
Volume : 5 | Issue : 12 | December-2016 ISSN - 2250-1991 | IF : 5.215 | IC Value : 79.96 Original Research Paper Management Rural Tourism as an Entrepreneurial Opportunity (a Study on Hyderabad Karnataka Region) Assistant Professor, Dept of Folk Tourism,Karnataka Folklore Mr. Hanamantaraya University, Gotagodi -581197,Shiggaon TQ Haveri Dist, Karnataka Gouda State, India Assistant Professor, Dept of Folk Tourism,Karnataka Folklore Mr. Venkatesh. R University, Gotagodi -581197,Shiggaon TQ Haveri Dist, Karnataka State, India The Tourism Industry is seen as capable of being an agent of change in the landscape of economic, social and environment of a rural area. Rural Tourism activity has also generated employment and entrepreneurship opportunities to the local community as well as using available resources as tourist attractions. There are numerable sources to lead business in the tourism sector as an entrepreneur; the tourism sector has the potential to be a development of entrepreneurial and small business performance. Which one is undertaking setting up of business by utilizing all kinds sources definitely we can develop the region of that area. This article aims to discuss the extent of entrepreneurial opportunities as the development ABSTRACT of tourism in rural areas. Through active participation among community members, rural entrepreneurship will hopefully move towards prosperity and success of rural tourism entrepreneurship Rural Tourism, Entrepreneurial opportunities of Rural Tourism, and Development of Entrepre- KEYWORDS neurship in Rural area Introduction Objectives of the studies Top tourism destinations, particularly in developing countries, 1. To know the entrepreneurial opportunities in Rural are include national parks, wilderness areas, mountains, lakes, and of HK region cultural sites, most of which are generally rural. -
Scientific and Technical Study of Bidriware
Scientific and Technical Study of Bidriware Dr. Nalini Avinash Waghmare NISS (Assistant Professor in History) Tilak Maharashtra Vidyapeeth, Pune-37 ABSTRACT: Scientific and Technical Study of Bidriware Bidar district is the home of the Bidriware industry and the very name Bidri is derived from Bidar. This craft was introduced in Bidar during the rule of Bahmanis. Towards the end of the Baridi dynasty in Bidar this craft reached its zenith and a number of outstanding specimens were produced which today enrich some museums in India and abroad. The basic materials required in Bidri industry are zinc, copper, silver and a particle type of earth. The process of production may be divided into four main stages viz. casting, engraving, inlaying and oxidizing.There are five main types of inlay for ornamenting Bidriware objects. The Bidricraft will be marketed through global media. For improving the life of Bidri artisans and for conservation as well as preservation of Bidriware scientific and technical study of Bidriware is a need of modern time. This paper will be beneficial to artists, historians, researchers, marketing agencies, government and policy makers along with scientist.Through technological help preservation and propaganda about art is also possible . Lastly, it is the work of the researcher to focus on scientific and technical thinking of art for it conservation and preservation of art. Key Words --Bidriware, Bahamani period, metal craft, Bidar, Bidri Artisans 1.INTRODUCTION Bidar is known for its Bidriware. Bidriware brought name and fame to Karnataka. This Bidriware is an art form since Bahamani period to till today. Many Bidri artisans brought name to Bidar for demonstrating Bidri articles in India and Abroad. -
A Case Study of Batik in Java and Santiniketan
Universiteit Leiden Journey of Textile Designs: A Case Study of Batik in Java and Santiniketan Master Thesis, Asian Studies (60 EC) 2015-16 Name of student: Deboshree Banerjee Student Number: s1684337 Date: 1st September 2016 Supervisors: Prof. dr. N.K. Wickramasinghe-Samarasinghe Prof. dr. P.R. Kanungo Table of Contents Table of Contents ....................................................................................................................... ii List of Figures and Tables......................................................................................................... iv Abstract ...................................................................................................................................... v Chapter 1: Introduction .............................................................................................................. 1 1.1. Textiles: A Medium of Cultural Studies ......................................................................... 1 1.2. Diffusion Theory ............................................................................................................. 3 1.3. Literature Review: Javanese and Santiniketan Batik ...................................................... 4 1.3.1. Javanese Batik .......................................................................................................... 5 1.3.2 Santiniketan Batik ..................................................................................................... 7 1.4. Proposed Hypothesis ...................................................................................................... -
The Dialogue of Craft and Architecture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning. -
Handicrafts-And-Khadi-Industry
LOCATION OF INDUSTRIES-LoGENERAL STUDIES PAPER 1 HANDICRAFTS AND KHADI INDUSTRY The handloom, industry has been one of the oldest industries in India. Although the industry was ruined was ruined during the British colonial rule.it got tremendous boost after India attained independence, especially hen the Five-Year Plan started. The industry today provides employment to about 10 million people and contributes over 23 per cent of the total cloth production in the country . The handloom industry is widely distributed in the country, mostly concentrated in small towns and rural areas. Tamil Nadu, Odisha, Uttar Pradesh, Assam and Andhra Pradesh Account for over 50 per cent of the production capacity. Among other states Manipur, Maharashtra , West Bengal, Nagaland, Kerala, Rajasthan, Haryana, Jammu and Kashmir, Madhya Pradesh and Karnataka are important for handloom industry. Problems of Handloom and Khadi Industries The handloom and khadi industry faces a number of problems. These include the following: 1. The raw materials available for this industry are neither adequate nor of satisfactory quality. 2. The craftsmen employed in this industry belong to poor families and have no technical skills. 3. The technology used in these industries is old and obsolete. 4. The goods produced y these industries are no match to the modern fast changing fashions and designs. 5. These industries have to face competition from mill-made cloth. 6. These industries lack capital as few facilities exist for providing cheap credit. The Kutch embroidery of Gujarat or Zari-Zardozi and Chikankari of Uttar Pradesh, wooden toys of Karnataka or bamboo craft of Assam, puppets of Rajasthan or Sikki, Tikuli and Madhubani arts of Bihar are not only the traditional arts of the respective provinces but also form an important source of alternative income for the artisans. -
Dress and Fabrics of the Mughals
Chapter IV Dress and Fabrics of the Mughals- The great Mughal emperor Akbar was not only a great ruler, an administrator and a lover of art and architecture but also a true admirer and entrepreneur of different patterns and designs of clothing. The changes and development brought by him from Ottoman origin to its Indian orientation based on the land‟s culture, custom and climatic conditions. This is apparent in the use of the fabric, the length of the dresses or their ornamentation. Since very little that is truly contemporary with the period of Babur and Humayun has survived in paintings, it is not easy to determine exactly what the various dresses look like other than what has been observed by the painters themselves. But we catch a glimpse of the foreign style of these dresses even in the paintings from Akbar‟s period which make references, as in illustrations of history or chronicles of the earlier times like the Babar-Namah or the Humayun-Namah.1 With the coming of Mughals in India we find the Iranian and Central Asian fashion in their dresses and a different concept in clothing.2 (Plate no. 1) Dress items of the Mughals: Akbar paid much attention to the establishment and working of the various karkhanas. Though articles were imported from Iran, Europe and Mongolia but effort were also made to produce various stuffs indigenously. Skilful master and workmen were invited and patronised to settle in this country to teach people and improve system of manufacture.2 Imperial workshops Karkhanas) were established in the towns of Lahore, Agra, Fatehpur Sikri and Ahmedabad. -
Working with Bone, Antler and Horn
Working with Bone, Antler and Horn David Constantine © 2014 V1.4 April 2014 Contents List of Figures and Tables ..................................................................................................................................... i Introduction .......................................................................................................................................................... 1 What is Bone Working? ..................................................................................................................................... 1 Recommended reading and additional resources ............................................................................................... 1 Contact Details ................................................................................................................................................... 1 Raw Materials ....................................................................................................................................................... 2 Definitions and basic biology of skeletal materials ........................................................................................... 2 Historical Availability and Use .......................................................................................................................... 4 Period Toolkits .................................................................................................................................................... 10 Basic toolkit .................................................................................................................................................... -
The Relationship of Current Textiles to the Cultural Heritage of India
AN ABSTRACT OF THE THESIS OF STEPHANIE ANN WEGNER for the Master of Science (Name) (Degree) in Clothing and Textiles presented on August 4, 1967 (Major) (Date) Title: THE RELATIONSHIP OF CURRENT TEXTILES TO THE CULTURAL HERITAGE OF INDIA Abstract approved: Redacted for privacy Clara W. Edaburn Textiles are one material aspect of Indian life influenced by the nationalistic movement. They fit into a larger attempt to create a united and singular image of the country. As the creator of a national image, the central government encourages belief in ancient philoso- phies which hold beauty as a creed. Village life is idealized. Direction of the textile industry reflects self -pride and typifies nationalism, as idealistic goals are set and realistic advice of foreigners is disregarded, India, in aiming for new heights, attempts to relate historical achievements to the present. Her interest in the past calls for continuity of its spirit, rather than imitation of its objects. How- ever, as village life has been quite static, ancient forms as well as attitudes from that level of society continue to exist, represented by , the textiles. This makes it easy for the nationalist to encourage relationships to cultural heritage through current goals and products. The dominant place of religion, the caste system, and the arts explain why textiles of India have developed and remained as a craft. The handloom weaver is protected by a cottage industry plan. The Indian says the acceptance of modern methods of dyeing and machine spinning are an example of the ancient tendency for assimilation of outside influences into the tradition. -
The Sari Ebook
THE SARI PDF, EPUB, EBOOK Mukulika Banerjee | 288 pages | 16 Sep 2008 | Bloomsbury Publishing PLC | 9781847883148 | English | London, United Kingdom The Sari PDF Book Anushka Sharma. So shop for yourself or gift a sari to someone, we have something for everyone. The wavy bun completed her look. Face Deal. Long-time weaving families have found themselves out of work , their looms worthless. Sari , also spelled saree , principal outer garment of women of the Indian subcontinent, consisting of a piece of often brightly coloured, frequently embroidered, silk , cotton , or, in recent years, synthetic cloth five to seven yards long. But for some in Asian American communities, the prospect of the nation's first Black and South Asian Vice President wearing a traditional sari at any of the inauguration events -- even if the celebrations are largely virtual -- has offered a glimmer of positivity amid the tumult. Zari Work. As a politician, Dimple Kapadia's sarees were definitely in tune with the sensibilities but she made a point of draping elegant and minimal saree. Batik Sarees. Party Wear. Pandadi Saree. While she draped handloom sarees in the series, she redefined a politician's look with meticulous fashion sensibility. Test your visual vocabulary with our question challenge! Vintage Sarees. Hence there are the tie-dye Bandhani sarees, Chanderi cotton sarees and the numerous silk saree varieties including the Kanchipuram, Banarasi and Mysore sarees. You can even apply the filter as per the need and choose whatever fulfil your requirements in the best way. Yes No. Valam Prints. Green woven cotton silk saree. Though it's just speculation at this stage, and it's uncertain whether the traditional ball will even go ahead, Harris has already demonstrated a willingness to use her platform to make sartorial statements.