Arts and Crafts

https://www.arllfb.be/composition/membres/basch.html

Les arts du Japon ont révolutionné l’esthétique du XIXe siècle. Quand il créa en 1872 le mot « japonisme » qui devait s’imposer dans toutes les langues, l’historien de l’art Philippe Burty n’en proposa qu’une définition négative en récusant le critique qui traita son invention de « caprice de dilettante blasé ». L’identification de son contradicteur, Jules-Antoine Castagnary, permet de mieux situer la naissance du « japonisme » dans son contexte littéraire, artistique, savant et politique.
Une autre découverte figure en annexe de cette article : la description par Ernest Chesneau, en 1868, du « jeu japonais » que Marcel Proust associa à l’épisode de la madeleine dans Du côté de chez Swann.

The arts of Japan revolutionized the aesthetics of the 19th century. When, in 1872, he coined the word « Japonisme » which was to become established in all languages, the art historian Philippe Burty offered only a negative definition, challenging the critic who called his invention « the whim of a blasé dilettante ». The identification of his opponent, Jules-Antoine Castagnary, allows us to better situate the birth of « Japonisme » in its literary, artistic, scholarly and political context.
Another discovery is appended to this article: Ernest Chesneau’s 1868 description of the « Japanese paper game » that Marcel Proust associated with the madeleine episode in Swann’s Way.

Abstract

According to existing literature, art and craft are the essential activity of human mind featured with imagination and innovation and ornamented by variation of shapes, texture and colors.  It laid emphasis on aesthetic excellence and creative collaboration through the design element. Through the ages, design component is considered as the visual dialogue and straightest path for the understanding of divergent culture, religion and tradition. The language of design deals with the external and internal aspect of images that create visual appearance and forms a relationship between art and craft. Over a period of time, elephant form has been applied in various art, craft and architecture with hidden meaning. Concerning to this, Saharanpur the commercial district of Uttar Pradesh rose to prominence during Mughal Period. Situated in the Indo-Gangatic Plains under the shadow of Shiwalik foothills, the district reveals a strong cultural past with aesthetic expression. Under the patronage of different monarchs it developed a unique style of wood carving primarily done on Shisham wood borrowing elements from Mughal art and architecture, a characteristic of Indo-Islamic-Persian style. Saharanpur woodcraft became a part of cultural heritage and protected by Geographical Indications (GI) tag. In Saharanpur woodcraft, elephant as a decorative element has been lavishly implemented with the abundance of floral and geometrical decorations on wood and stone carving as well as wall paintings. These wide varieties of decorations demonstrate the glimpse of Indian art as well as the mystery of Mughal art. Despite knowing the existence of the elephant motif in Hindu mythology, it was adopted in the Mughal art with impressive manner. The aim of writing this paper is to study the factors which were largely responsible for the application of elephant motif in Saharanpur woodcraft. The purpose of depiction of this motif is not only the ornamentation and decoration but also the adoption of it in human life with essential aspects. The conclusive remarks will highlight the significance of elephant motif for woodcraft.

Keywords: Elephant, Decorative Element, Hindu Mythology, Mughal Art.

In The Proceedings of the 2nd Scientific Symposium on Neo-Hellenic Ecclesiastic Art, 26-28 November 2010, National and Kapodistrian University of Athens, Dept. of Theology, School of Theological Studies/ Byzantine and Christian Museum of Greece, Athens, 2012, pp. 315-342.

My bold suggestions in this paper, as an artisan-anthropologist-therapist, are as follows: (a) human manufacturing of objects brings about individual/collective (deep well-being) experiences of beauty and grace and (b)‘making artifacts’ represents an important ancient continuity in (social-cultural-biological) humanization. Combining these two assertions suggests a universal existence of ‘crafting in the world’. The argument was ignited by the termination of both my mother’s and father’s family blacksmithing workshops in the twentieth century. Being a technical engineer/craftsman in my first career, and being one of six sons, I was deeply puzzled about why and how our transgenerational arts and crafting family tradition would die out when my father closed down his metal construction workshop in 1986. My great-uncles from mother’s side had already closed down their smithy decades earlier.

Transcription of an oral history interview with hooked-rug maker Alice Moores of Red Bay, Labrador. Topics covered include: the difference between hooked and poked mats; Grenfell mats; craft production; designs for mats and rugs; use of silk stockings; contemporary designs; process of mat making; tools used; mat frames; and changes to the tradition over time.

After the Industrial Revolution, Industrial Design emerged as a formal entity, driven by the principles of functionality and mass production. During the same period, the proponents of the Arts and Crafts movement concerned themselves with rediscovering the richness and beauty of making high-quality products-attributes they felt were absent in the mass produced ones. This essay will discuss their contrasting design philosophies, production techniques, economic impacts and the legacy of both these schools of thought using the example of German designer Michael Thonet's No. 14 chair, the first known mass manufactured chair and the widely popular Morris chair, produced by William Morris and Co., a prominent manufacturer of arts and crafts products.

Over 30 years, the design of ornaments on karawo textiles in Gorontalo-Indonesia is only done by one self-taught designer, without regeneration. This is allegedly because the design process is considered to be done intuitively, so that cannot be learned by others. This study aims to explore the process of designing the ornaments to be systematically understandable by others. Data were collected through observations, interviews, and review of design results. They were analyzed interactively during and after data collection. The results show that the process of creating the design is complex, but systematically done through five steps: 1) identifying the concept from users; 2) exploring the specific products for appropriate design; 3) selecting objects for appropriate motives; 4) articulating the design; 5) evaluating the overall design. These five steps are considered as method of designing ornaments on karawo textiles, which can be applied by anyone who has good interpretation to cr...

The present article addresses the question of ‘When can we say something is creative?’ and, in answering it, takes a critical stand towards past and present scientific definitions of creativity. It challenges an implicit assumption in much psychological theory and research that creativity exists as an ‘objective’ feature of persons or products, universally recognised and independent of social agreement and cultural systems of norms and beliefs. Focusing on everyday life creative outcomes, the article includes both theoretical accounts and empirical examples from a research exploring creativity evaluations in the context of folk art. In the end, a multi-layered perspective of creativity assessment emerges, integrating dimensions such as newness and originality, value and usefulness, subjective reception and cultural reception of creative products. Implications for how we understand and study creativity are discussed.

Art and craft practitioners have personal experience of the benefits of making: the handling of material can help to regulate our mental states through providing a means to reach flow states. The mirror neuron system helps in skill learning, and the plasticity of the brain ensures that skills may be learned at all stages of life. Arts and crafts play a role in controlling stress and enhancing relaxation. They also enable us to fail safely and handle our emotions. Furthermore, they facilitate social activity for many individuals who are at risk of social isolation. This article aims to integrate knowledge from both the field of neuroscience and the arts by focusing on the implications that flow experience and the mirror neuron system integral to making processes have on our psychophysical well-being.

This research is focused on aspects of the Process and Identification of Lkauer Crafts in Palembang, with the objectives being, 1) to support efforts to preserve the art of laker crafts in Palembang, 2) to find out the development of the design of the laker craft, 3) to find out the local cultural values contained in Palembang laker crafts, 4) to add insight and teaching materials to art and design lectures, especially DKV. The method used is descriptive qualitative method, with the method of collecting field observation data, which is to see firsthand the laker handicraft products in the craft center, and at the Bala Putra Dewa Museum in Palembang, the data collection method is also carried out by interviewing techniques and documenting the object research. The results of the data processing are the authors' analysis through the identification of problems encountered in the field. From these results the conclusions drawn by the author are summarized in the form of a draft strategy for the preservation of the laker craft. In addition to preservation efforts, the laker craft can also provide business opportunities and employment opportunities for the people of Palembang city, of course it cannot be separated from the assistance of the Regional Government in the form of training, workshops, capital assistance as well as providing a place for marketing. Abstrak Penelitian ini difokuskan pada aspek Proses dan Identifikasi Kerajinan lakaer di Palembang, dengan tujuan, 1) untuk mendukung upaya pelestarian seni kerajinan laker di Palembang, 2) untuk mengetahui perkembangan desain laker. kerajinan, 3) untuk mengetahui nilai-nilai budaya lokal yang terkandung dalam kerajinan laker Palembang, 4) untuk menambah wawasan dan bahan ajar untuk kuliah seni dan desain, khususnya DKV. Metode yang digunakan adalah metode deskriptif kualitatif, dengan metode pengumpulan data observasi lapangan, yaitu untuk melihat langsung produk kerajinan tangan di pusat kerajinan, dan di Museum Bala Putra Dewa di Palembang, metode pengumpulan data juga dilakukan oleh teknik wawancara dan mendokumentasikan objek penelitian. Hasil pengolahan data adalah analisis penulis melalui identifikasi masalah yang dihadapi di lapangan. Dari hasil ini, kesimpulan yang ditarik oleh penulis dirangkum dalam bentuk konsep strategi untuk pelestarian kerajinan laker. Selain upaya pelestarian, kerajinan laker juga dapat memberikan peluang bisnis dan peluang kerja bagi masyarakat kota Palembang, tentu saja tidak terlepas dari bantuan Pemerintah Daerah dalam bentuk pelatihan, workshop, bantuan modal serta menyediakan tempat untuk pemasaran.

2017 marks the first time the creative industries have been formally recognized in a British Industrial Strategy. Concurrently, reductions in applied learning, EBacc, Academisation and general disregard for the value of creativity and creative industries currently promoted within education in Britain present an ambiguous blueprint.

This research aims to look through a lens of recasting design as a special branch of the sciences whilst preserving the imperative that the visual and aesthetic “making and doing” of craft does not become obsolete. Methods of intent include empirical evidence, grounded theory, interviewing design education policy stakeholders, and revisiting the recommendations from the RCA’s Department of Design Research to the government (submitted 1978).

Design is an activity driven by science and invention. What is needed is an education system fit for the 21st century. Instead of marginalising creative subjects, young people should be provided with the mix of creative and technical skills required for success. The research will be published in September.

This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pain, Empathy, and Performance within scholarly conversations around pain, performance, medicine, and crafting. We operationalize empathy as an action through which the relations between performance and medicine/ care, subjectivity and witnessing, and pain and embodiment are made manifest under the inadequate U.S. healthcare model. Through a descriptive analysis of our work as co-writers, coperformers, friends, and director and performer, we propose what we call crafting empathy as a methodological and aesthetic performance practice with aspirations toward the tradition of coperformative witnessing.

FR : Prolongement de l'espace domestique ou lieu de monstration extraordinaire, la scène de théâtre convoque des artistes variés travaillant à la matérialisation de l'environnement d'une performance. Véritable ensemble décoratif animé, l'espace scénique devient le mirascope d'un monde fictionnel qui, lors de la seconde moitié du XIX e siècle, se veut le plus réaliste possible. Néanmoins, le lieu théâtral oblige les artistes décorateurs à s'adapter à ses contraintes : il est éphémère, distancié du spectateur, et doit évoquer un univers précis en relation avec la performance. L'ensemble décoratif participe ainsi, dans le lieu scénique, au processus actif d'une mise en représentation de la pièce. Aussi, la scène devient une oeuvre et un lieu en soi, fusionnant les décors, les costumes et les acteurs dans la création d'un ta-bleau visuel, en transformant la matérialité de l'ensemble décoratif en un support en deux dimensions. L'artisanat théâ-tral questionne la relation du spectateur au lieu de la représentation. Quel rapport entretient le public à la réalité des dé-cors dans un lieu où tout est fiction ? La scène montre-t-elle l'objet décoratif ou bien ce qu'il représente ? La communication se concentrera sur le dernier élan du théâtre réaliste et spectaculaire, dans lequel le sens du détail et la profusion décorative sont inhérents à la conception des décors, avec l'exemple de Macbeth (1888) au Lyceum Theatre. de Londres. Cette tendance de « pictorialisation » (BOOTH) dans la création dramatique se poursuit jusqu'au tournant conceptuel qui s'opère avec E.G. Craig. Depuis les avant-gardes, le décor théâtral continue néanmoins à être représenta-tif d'ensembles décoratifs réels. L'espace scénique peut s'observer comme un « topos de notre imaginaire collectif », selon le collectif Encheval qui crée en 2018 une exposition pour la Société d'Histoire du Théâtre, à partir d'une pensée attribuée à Walter Benjamin « Rien ne condense mieux une époque que la mise en scène qu'elle fait d'elle-même. Fan-tasmes comme matérialité n'y font qu'un. »
Abstract EN: Extension of the domestic sphere or an extraordinary exhibition space, the theatrical stage features works from various artists materialising of the performance environment. As an animated decorative ensemble, the sce

Serial production in Studio work. Schlattauer and Jaronek worshop and their approach to the creation of tapeatries
The paper is dedicated to the manufacturing of tapestries in two artisan workshops founded in one region (Moravien Wallachia: Zasová, Valasské Mezirici, Roznov pod Radhostem) over a short period of time. It outlines and compares both the overall approach to the works in the two workshops and the artistic nature of the created tapestries. Within the total production of tapestries, the paper then addresses the question of replicating the individual works and high- lights the works that belonged to the most frequently woven tapestries, and which are repeatedly encountered in public and private collections. The text points out the features which help distinguish the newer replicas of works from the early tapestries from the workshop.

Künstler als Zunftgenossen – Beitrag zu einer Begriffsklärung von „Zunft“ am Beispiel der Goldschmiede. In: Tacke, Andreas (Hrsg.): Material Culture – Präsenz und Sichtbarkeit von Künstlern, Zünften und Bruderschaften in der Vormoderne/ Presence and Visibility of Artists, Guilds, Brotherhoods in the Premodern Era. Petersberg 2017, S. 19-31.

is it a bird or a helicopter? Did you ever wonder what would happen to a helicopter if the engine stopped while it was flying? No, it wouldn't fall out of the sky. The air flowing through the blades would make them spin, creating lift and allowing the aircraft to become an autogyro, descending slowly rather than crashing down. The Robo Chopper is also an autogyro, and should be launched by throwing it straight up into the air. The blades will remain folded down until the top of the climb, at which point they'll open and the aircraft will spin rapidly as it begins to fall. For spectacular flights, drop it from somewhere high, like down a staircase. Your whirly bird helicopter will twirl and soar through the air. Learn more about how to make paper helicopters. The helicopter is a classic design that spins rapidly as it descends. It works great when dropped from a high place. Try different amounts of weight on the bottom tab. Notice that the helicopter spins in different directions depending on which direction the rotors are folded. This video is on how to make a paper helicopter.​ … ​ Continue reading → The post ​ Paper Helicopter​ appeared first on ​ Origami Kids​ .

Extrait de 66 pages de mon second livre :
"Minéraux Pigments Peintures"

Disponible
sur mon site https://pigmentsrecettes.com/#secondlivre

et sur Amazon : http://bit.ly/Minéraux-Pigments-Peintures

TABLE DES MATIÈRES TRÈS DÉTAILLÉE
LA GESTION DES MATIÈRES PULVÉRULENTES ET TOXIQUES
OUTILS, BROSSES, PINCEAUX, SPALTERS ET MATÉRIEL DU PEINTRE
LES PRINCIPAUX CONCEPTS PHYSIQUES DE LA MATIÈRE
QU'EST-CE QUE LA MATIÈRE ET CELLES UTILISABLES PAR LE PEINTRE
LES MINÉRAUX QUI DONNENT DES PIGMENTS ET LEURS PRÉPARATIONS
LES PIGMENTS MODERNES NANOMÉTRIQUES
LA MÉCANOCHIMIE POUR LA RÉALISATION DE LIANTS ET DE VERNIS
LE BROYAGE DES PIGMENTS EN PEINTURE, SUIVANT LEUR NATURE
LES LIANTS, LES MATÉRIAUX, AINSI QUE TOUTES LES CHARGES, EN DÉTAIL
TOUTES LES HUILES DU PEINTRE, EN DÉTAIL
LES BIO-SOLVANTS Vs LE PÉTROLE ET LES SOLVANTS DU PEINTRE
LES SUPPORTS EXPLIQUÉS EN DÉTAIL
NOUVELLES RECETTES DE PEINTURES, PAS-À-PAS DE LEUR PRÉPARATION
RECETTES DE TEXTURES, DE MÉDIUMS, DE VERNIS, ETC. ...
UNE RECETTE NATURELLE DE PEINTURE IMPUTRESCIBLE ET NON TOXIQUE
RÉALISATION DE CARNETS DE PAPIER SUR MESURE
PLUS DE 40 NOUVEAUX FOURNISSEURS DU PEINTRE
DE NOUVEAUX LIVRES POUR LE PEINTRE
BIBLIOGRAPHIE
INDEX

DIMENSION DU LIVRE 29 CM X 24 CM X 3CM
640 PAGES BROCHÉS
POIDS DU LIVRE ~ 2,8 KG
ISBN 979-10-96990-02-3

The article is about the development of the Gyeonggi International Ceramics Biennale until now. How it has changed and how it hopes to change in the future. Additionally as presenting the competition winners for 2015.

"Originally published in February 2016 issue of Ceramics Monthly, pages (insert page #s). http://www.ceramicsmonthly.org . Copyright, The American Ceramic Society. Reprinted with permission."

While art historians discussed the Book of Kells in its relation to the Insular Style that spanned the British Isles, the nationalization of the manuscript throughout the late nineteenth and early twentieth century caused a shift in the collective memory of the Irish public. This paper examines how nationalistic causes turned to the ‘Golden Ages’ of Ireland’s medieval past as proof that the nation deserved the ability to self-govern. Through the work of scholars like Margaret Stokes and the efforts of the Irish Arts and Crafts Movement, the imagery of the Book of Kells became the ancient visual evidence of the nationalistic struggle for Irish independence. Through this process of nationalization, the Insular Style of the Book of Kells became known as a distinctly Irish or Celtic Style and has remained as such in the collective memory of the Irish public. Continuously used as a marker for defining an Irish national style, the Book of Kells remains not only “a must-see on the itinerary of all visitors to Dublin”, but “Ireland’s greatest cultural treasure”.

Книга знакомит с искусством казанской кожаной мозаики и традиционными орнаментами узорной кожи. Уникальный иллюстративный материал содержит большое количество старинных и современных изделий. Впервые описан полный технологический процесс работы. В конце книги приведены подробные аннотации на татарском, немецком и английском языках.

The Patterned Leather of Kazan
Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.

Die Kazaner Ornament-Leder
Ornamentierte Lederstiefel waren bei den Wolga-Tataren im Laufe von
vielen Jahrhunderten die populärste Art des traditionellen Handwerks. Schon
die Vorahnen der Tataren – die Wolga-Bulgaren – beschäftigten sich mit der
Herstellung der farbigen Saffianleder und der weichen Juphtleder, die in
vielen Ländern als Bulgary bekannt war. Die archeologischen Funde bestätigen
die Angaben der mittelalterlichen arabischen Historiker über die hohe
Entwicklung der Lederherstellung in der Hauptstadt der Wolga-Bulgaren.
Im Mittelalter trugen die reichen russischen Bojaren die geschmückten
tatarischen Stiefel sehr gern. Die Russen nannten sie Itschigi.
Seit dem 18. Jahrhundert wurde in Kazan, der Hauptstadt des
Gouvernements im Osten Russlands, das Nähen solcher Schuhen zur
industriellen Herstellung. Im 19. – Anfang des 20. Jahrhunderts importierten
die Kazaner Kaufmänner Hundert Tausende “asiatische Schuhe” nach Europa
und den islamischen Osten.
Einen besonderen Platz im Buch nimmt die unikale Kollektion der
Tatarischen Stiefel Itschigi, die im Deutschen Ledermuseum in Offenbach
am Main aufbewahrt wird, ein.
Im Buch wird über die traditionellen Ornamente der Ledermosaik,
Handnähte und die für die Erfüllung der Naht notwendigen Instrumente und
Stoffe erzählt. Zuerst in der vorhandenen Literatur wird vom Autor die Kasaner
Handnaht beschrieben. Das Buch enthält auch die Empfehlungen zur
praktischen Arbeit.
The Patterned Leather of Kazan
Making of inlaid leather footwear is one of the most ancient traditional
handicrafts of Kazan Tatars. Leather-dressing was highly developed in the
times of Volga Boulgaria already. This is proved by numerous archaeological
finds on the territories of ancient settlements: workshops of leather-dressers,
remains of uppers and instruments.
We don’t know yet when the technique of leather mosaics and the seam
later known as «Kazan», or «Tatar», or «Kazan stitched-in work» became
used while making traditional footwear. The oldest ones that are kept in
museums of Russia are dated end of 18th – beginning of 19th century.
The handicraft of traditional Kazan patterned boots developed in
numerous suburbs of Kazan and villages outside Kazan during 18th-19th
century. The footwear was made not only in Kazan, but also in other
settlements of Tatars: in the cities of Central Asia, West Siberia, in Kasimov
and Orenburg.
While making leather mosaics, pieces of coloured leather are being bound
together by hand using original method that allows to sew the pieces and
make the embroidery over the seam simultaneously. This operation is made
with two threads – the sewing one and the embroidering one –
simultaneously. The embroidery was made with silken, linen, woolen and
even golden thread, winded round the needle in each stitch, so that on the
right side of the boot it produces a colourful decorative contour. The ornament
used for decoration of ichigi changed as time passed, and we can mark out
several groups of them. The most ancient ones are horn-like ornaments,
typical for the art of Turkic peoples. Under the influence of city fashion
style of 19th century the silhouette of the boots changed and new figures
were added to the ancient ornaments. The soft ichigi, that were worn with
galoshes made of thick leather, turned into the boots on heels – the attribute
of fashionable city girls. At the sides of the top of boots there appeared
«hard-contoured» hearts and rosettes. By the beginning of the 20th century
the composition with a stylized image of flowers in a vase («bouquet»)
appeared on the side parts of the top of boots.
The second half of 19th – begining of 20 th century was the period of
flourishing of production of patterned footwear that gained honourable
references and medals at the Exhibitions in Copenhagen and Paris. In Kazan,
up to millions of pairs of footwear was produced per year.

The balance in an artistic creation between opposing forces of originality and reproduction, between the unique work of art of an artist and the foundry produced versions, has long been regarded as a crucial problem. More than a differentiation of the tradition-laden past, creative originality may be conceived as a literal origin, a birth. The artist self as origin is the way an absolute distinction can be made between a present experienced de novo and a past. The purpose of the analysis of the statues of “Aphrodite” and the torso of the “The Walking Man” is to understand the relationship established by Rodin between the original and the copy.

The presentation is about the process of Mapping of Crafts along with the Craftspeople and Craft Enterprise. This Is an approach towards identifying, understanding and developing a detailed inventory of the crafts, craftspeople as well as practices associated with different types of Crafts.

Community Crafts and Culture (CCC) is a collaborative research project working in Costa Rica that, recognising the essential nature of intergenerational transmission of collective knowledge, sets out to create an online community map of local artisan workshops and to document significant sites in the landscape. A website is being created in collaboration with the local community as part of a local development strategic plan to increase sustainable tourism, using the physical eco/community museum as the administrative hub. Working with existing groups, and respected women leaders, the programme also empowers yung people by engaging then with their indigenous heritage. Given the opportunity to assume leadership roles and gain skills, young people's practical experience can contribute towards a more equal and fair community that respects their ancestors' landscape and safeguards their distinctive ecology for future generations.

Our creative arts help to define our societies and our civilisation. Digital developments are democratising enjoyment of the arts and participation in the arts. The creative arts can address social issues, reach excluded groups, open-up creative, financial, entrepreneurial, active involvement, sustainability and other opportunities, break down barriers, widen perspectives, change expectations, bridge urban-rural divides and stimulate creative thinking, imagination and innovation. They can expose people to various physical/tangible expressions of individuals, movements and prevailing views from different ages, arenas and societies and encourage them to think, question and challenge. They can also enable people to produce designs, artefacts and other works that express their responses and views in a richer variety of ways than just the written or spoken word. An education in the creative arts can enhance, enable, enrich and empower. It can help to stimulate the exploration and commitment that can lead to responsible and fulfilling lifestyles and successful invention and entrepreneurship.