Craft Production Research Articles

Children at play: The role of novices in the production of Europe's earliest Upper Paleolithic ceramics.

Although archaeologists are learning more about the lives of Upper Paleolithic children, the significant contributions they made to the welfare of their communities, including their role in craft production, remain understudied. In the present study, we use high resolution photographs of 489 ceramic artifacts from Dolní Věstonice I and II, Pavlov I and VI, and Předmostí, five archaeological sites in Czechia (ca. 30,000 BP) to address two questions: 1. Can the ceramic products of novices be distinguished from those made by experts? 2. If so, can we tell if these novices were children? To address these questions, we documented variables known ethnographically and archaeologically to be associated with learners in a sample from these five sites. The sample is composed of fired ("ceramic") and unfired ("sedimentary") anthropomorphic and zoomorphic figurines, non-diagnostic figurine fragments and a sample of the so-called "pellets" from one site, Pavlov I. Our results support the hypothesis that ceramic objects are the products of novices, and in many cases, these novices are children. Our findings have implications for inter-generational knowledge transmission, the role of children in craft production and the importance of learning through play.

The Creation of Value-added on Wood Carving Handicraft in Luang Prabang city, Luang Prabang Province

The study aims to investigate: the purchasing behavior of customers in Luang Prabang district and province, the perspectives of entrepreneurs and consumers who purchase goods to enhance the value of wood carving craft products in Luang Prabang district and province and Adding value to wood carving craft items that influences customers' decisions to buy in Luang Prabang district and province. employing interviews as a method to gather information from 3 merchants of wood carving craft products and 385 respondents' questionnaires. The frequency, percentage, average, standard deviation, and multiple regression equation. The study's findings revealed: Customer behavior in choosing to buy wood carving craft products as a gift or souvenir, ordering them from the store, and recognizing that information from online advertising media influences his decision to buy. Products that the customer may choose from include wood carving handicrafts for other people's daily lives, low-image elephant products, fish and gold fish products, high-image elephant products, and horse products. The product has the same features as before, but price is a deciding factor when making a purchase, so there's no need to mark the product with a purchase value of between 500,001 and 1,000,000 kip and require a cash payment. Entrepreneurs' thoughts on adding value to handcrafted wood-carving goods. Three Entrepreneurs believe that adding value to wood carving craft goods is important in six areas: designing the product, using wood as a raw material, branding, design, service, and production. Customers' perceptions of the entrepreneur's ability to create added value across six dimensions are influenced in part by the following factors: product quality; service quality; design and production; and modeling. Three factors creating additional value in terms of products, design, and production were involved in the manufacture of wood carving craft products that influence customers' purchase decisions.

Reviving Tradition Through Design: Exploring Telepuk Craft Woodblock Design

The traditional textile craft in Malaysia has yielded a plethora of remarkable fabrics. Among the most exquisite Malay textiles is Telepuk Textile. However, the Telepuk craft has dwindled in popularity and demand over time. The laborious production process reliant on Telepuk woodblocks has impeded the development and revival of this craft. No woodcarvers currently produce Telepuk woodblocks as part of their repertoire. Artisans also grapple with the challenge of producing Telepuk cloth in substantial quantities and introducing innovative designs without new Telepuk woodblocks. This study delves into the design strategy to rejuvenate the declining Telepuk craft. Employing a mixed-method research approach, we collected primary data through semi-structured interviews with experts. We conducted a quantitative survey to evaluate proposed designs and analyse pertinent secondary data. In summary, this research yields three critical findings for revitalising the Telepuk craft: (i) Harnessing the intrinsic value of traditional crafts like Telepuk can heighten awareness among the younger generation. (ii) Collaboration between designers and artisans emerges as the linchpin of the craft's revitalisation strategy. (iii) Transforming the production process and introducing innovative designs for Telepuk woodblocks can expedite the development of Telepuk craft production using current technology. The forces of globalisation and escalating demand for mass-produced, homogeneous items have fuelled a yearning for more meaningful products, particularly those imbued with cultural significance. The revival of lost crafts, such as Telepuk textiles, aligns with sustainable design principles. This study contends that the resurrection of traditional crafts like Telepuk necessitates incorporating appropriate technology and pragmatic design to uphold cultural heritage, enhance production processes, and cater to contemporary demands. The new Telepuk woodblock designs have been rigorously tested and developed based on survey results. The resulting designs must strike a practical balance between contemporary technology and artisanal craftsmanship. The suggested revitalisation strategies can be adapted incrementally and selectively, contingent upon the capabilities of the artisans.

Deriving Priorities: Analytical Hierarchy Process (AHP) Approach (Case Study Of Traditional Gedogan Weaving Craft Products, Ranggo Village, Dompu, West Nusa Tenggara)

The objective of this study is to use the Analytical Hierarchy Process (AHP) method to prioritize alternative marketing strategies for traditional weaving handicrafts in Ranggo Village, Dompu, West Nusa Tenggara. The data for this study came from the questionnaire that traditional weaving craft business owners received. AHP ranks five criteria according to their weight: product, price, promotion, market segmentation, and market position. The study's findings show that the product has the most weight (1.98), followed by the price (1.49), market segmentation (0.99), promotion (0.71), and market position (0.41). In general, the research indicates that the marketing strategy of Gedogan's traditional weaving craft products is characterized by the following priority orders and critical components: product quality, price, market segmentation, promotion, and market position.

ARCHITECTURAL DECORATION ON KHUMS FROM THE MEDIEVAL KAVAT-KALA

Abstract. The article is devoted to the study of ceramic production in the Middle Ages. However, at this stage, attention is focused on the architectural decoration of individual finds from Estate № 2 at Kavat-kala. Khums, as materials for household purposes, have various decorative elements, but the materials available in our case cannot be classified as widespread in terms of ornament and decoration. Some similarities in decoration are found among ceramic (the kashin) products of the Golden Horde period, and are only characteristic of glazed ceramics of the 13th-14th centuries. However, the available information from archaeological excavations at Kavat- kala allows us to judge the most developed forms of pottery production in the 9th-12th centuries. The article also examines the common features of cultural ties in agriculture of the ancient and medieval periods, identifies the cultures of the peoples inhabiting this settlement, and craft production on the basis of unique collected materials from research carried out on the caravan routes of the south of the Right Bank of Khorezm, including the southern and western foothills. Among them, it was established that in one of the medieval estates of Kavat-Kala, near the ancient Russian canal Gavkhor, vessels with richly decorated images of animals of hand-made ceramics have been preserved, dating from the era of the Khorezmshahs (11th-12th centuries) to the era of the Golden Horde (13th - 16th centuries). Today, no less interesting is the arched ornament located along the rims of the hums, which is almost traditional for the Kashin ceramics of the Golden Horde period, on the outside of the vessels.

Empowerment Of Bamboo Weaving Crafts Business In The “Aishwarya Asih” Business Group In Sulahan Village, Bangli Regency

Bangli Regency is rich in bamboo plants, namely plants belonging to the graminae family (grasses) and has a very flexible texture and is easy to create into various kinds of craft products. The business group that is a partner in the 2024 community service program is called the "Aishwarya Asih" Business Group, chaired by Ni Wayan Sukaini. The problems faced by partners are 1) product marketing which is still carried out conventionally, 2) other problems are in the process of recording product sales transactions, 3) problems in the production sector, namely related to the availability of facilities and infrastructure. The solutions provided are, 1) provision of a website and online marketing training and assistance, 2) training and assistance in recording digital financial transactions, 3) provision of supporting facilities and infrastructure for production.

The Industrial Design Model in Italy at the Stage of Formation. The Aemilia Ars Group

The article considers the formation of the industrial design model in Italy in the peculiarity of socio-political conditions at the turn of the 20th century. Orientated towards the prospects of the design industrial culture, the progress of new art tended towards two vectors of development: a strong influence of traditional heritage of the great classical past and passion for modern examples of European design schools. The design, formed within the boundaries of the Italian regional version of the Art Nouveau style, stile Liberty, became a product of a specifically Italian design and artistic culture with a strong designer’s original creative beginning. It allowed freedom of experimentation in the search for its own unique means of expression. The industrial model of design was determined by the experience of the great craft heritage in addition to the influence of the artistic traditions of the new style. The new “revival” of the artistic industry of Italy took place in symbiosis of the activities of an artist-designer and artistic craft and industrial production. The Aemilia Ars group, as a regional design and production association, became an exemplary model of industrial design in Italy. The multidisciplinary structure of the association, which included a collaboration of architects, designers, and artisans specialising in various areas of the art industry, allowed the implementation of interdisciplinary tasks: from architectural restoration to interior design solutions. The group was an example of a unique design culture focused on a scientifically based approach, regional craft artistic traditions and an original style of a creative experiment. The great design-artistic and technological heritage as well as design potential of the Aemilia Ars craft traditions can still be found in the practice of a number of local associations of embroiderers of modern Bologna.

Integrating GRA with intuitionistic fuzzy VIKOR model to explore attractive design solution of wickerwork cultural and creative products

ABSTRACT With the popularisation of the concept of sustainable traditional wickerwork, wickerwork cultural and creative products have become the most popular craft production. Kansei consensus on the design of wickerwork lamps has become a key factor influencing the communication between manufacturers and customers. Therefore, the purpose of this paper is to develop a product evaluation model for wickerwork cultural and creative products that meet the emotional satisfaction of users. Firstly, this paper could build a three-level evaluation grid diagram driven by user attractiveness through EGM, and extracts key dimensions in the perceptual vocabulary using FA. Secondly, evaluation indicators are constructed and grey relation analysis (GRA) is used to synthetically assess the priority order of evaluation indicators based on the obtained weight values. Finally, in order to effectively deal with uncertain product evaluation information, the intuitionistic fuzzy VIKOR method was used to evaluate representative product design solutions, and the most perceptually attractive product design solution was preferentially selected. This study selected wickerwork lamps as the design case of cultural and creative products, the results of the study enable designers to accurately grasp customers’ emotional perceptions of wickerwork products and obtain the best wickerwork production design solution.

Obsidian Tool Function and Maya Lithic Economy at Terminal Classic Pook's Hill, Belize: Subsistence, Domestic Activities, and Craft Production

Obsidian Tool Function and Maya Lithic Economy at Terminal Classic Pook's Hill, Belize: Subsistence, Domestic Activities, and Craft Production

Analysis of Consumer Behavior in Interest in Purchasing Rajapolah Handicraft MSME Products

Increased competition in the craft industry and reduced activity in the surrounding community have caused a significant decline in the number of MSMEs, which is indicated by internal and external factors. Rajapolah crafts are increasingly popular with consumers because they prefer modern products compared to crafts made in Rajapolah. Wicker is considered old-fashioned and out of date, especially by the millennial generation. This research aims to analyze how price and product quality influence consumer buying interest in Rajapolah craft products. This research can be expanded as quantitative research with a sample size of 100 respondents. Based on the results that have been carried out, price and product quality have a significant effect on buying interest in Rajapolah handicraft MSME products. It can be concluded that producers, in increasing purchasing interest, need to look at the price and quality aspects of their products.

Market participation as livelihood and safeguarding intangible cultural heritage: A case of Chăm ethnic minority pottery households in Vietnam

This study examines the extent of market participation among Chăm pottery producers in Vietnam and the factors that influence this extent. The research utilized the total market participation index to assess the level of market participation and Tobit regression to examine the factors influencing market participation. Primary data were collected from a sample of 150 pottery households. The study demonstrates that pottery households are involved in the market to varying degrees. Factors such as family size, hired labourers, production space, self-owned transportation, average distance to customers, amount of advertising, and credit accessibility positively affect their participation in the market. Shipping damage, government assistance, non-pottery income, and education level of household head have a negative effect. The findings indicate that government assistance should consider the requirements of pottery households to develop efficient support measures. The research serves as a useful reference for policymakers and managers in devising strategies to promote both the growth of traditional craft production and the sustained well-being of ethnic groups. This, in turn, would contribute to the overall economic advancement of the country.

Emergence of fibrecraft specialization 8000 years ago in early Neolithic North China

Fiber technology, crucial to human societies for millennia, encompasses cordage and textiles. The development of fiber crops and the production of fiber-based clothing are significant components of the Neolithic Revolution. Despite China being an independent center for agriculture, the role of fiber technology in this context remains largely unexplored. In this project, we employed a comprehensive approach that combines microfossil analysis and use-wear examinations to study tools from the Peiligang site in North China. This site uniquely spans the Upper Paleolithic and early Neolithic periods, offering an ideal setting for investigating the evolution of fiber production. Our results reveal that some Paleolithic blades and scrapers were associated with fiber production, which coincided with ostrich eggshell beads and hematite during the cold and dry Last Glacial Maximum period. Responding to climatic fluctuations, fiber production played a significant role in subsistence and ritual activities. In the early Neolithic, advanced fiber production is evident. Two adjacent burials yield tools and microfossil remains representing a toolkit for fiber and possible textile production, including harvesting, retting, pounding, scraping, and sewing. Fibers recovered from human bones provide potential evidence of textile production and use. Dyeing with blue, black, and red colorants was common for textiles, cordages, and strings. These grave goods suggest the involvement of the deceased in craft production with bast fibers, possibly embodying the earliest specialization in fiber craft 8000 years ago in Neolithic China.

Carnelian Beads from the Early Bronze Age Fifa Cemetery, Jordan: Aspects of Technology, Use, and Exchange

Between 1989 and 1990 the Expedition to the Dead Sea Plain excavated a group of 15 tombs at the Early Bronze Age IA (c.3700–3400) cist-tomb cemetery at Fifa, Jordan. These tombs contained a variety of grave goods including beads made from carnelian. The present study employs morphometric data and microscopic indicators of manufacture and use to explore the relationship between carnelian beads, burial practices, manufacturing processes, and exchange. Manufacturing traces suggest that the beads from Fifa were created through a process of knapping and progressive stages of abrasion. Beads were perforated through pecking on one or two sides. Polish from use was observed on beads throughout the assemblage, suggesting that the beads were worn prior to their deposition, albeit for an unknown period of time. The amount of this use polish was highly variable suggesting that different beads were in use for greater or lesser periods of time. Morphometric and manufacturing data were utilized in tandem in order to suggest where the beads were produced. While a great deal of prior scholarship has suggested that carnelian beads found in the Early Bronze Age Levant originated in Egypt, we argue that some or all of these beads may alternatively have been produced in Northwestern Arabia or Eastern Jordan. This study demonstrates the value of systematic approaches to the study of beads in order to better understand processes of ritual behavior, craft production, and exchange.

STRUGGLING METAL CRAFTS PRACTICE IN DARJEELING AND KALIMPONG DISTRICT OF WEST BENGAL

In the scenario of emerging Indian economy, Crafts-this unorganized sector become very important owing to its large number of employment generation potentiality and significant contribution towards export business. In the scenario of Darjeeling and Kalimpong district, this Sub Himalayan region is the home of many metal crafts artisans who are struggling because of gradual increasing pressure of modern machine-made products which decoy and changing metal crafts ecology are made this exquisite master pieces vulnerable. Metal crafts artisans were the main source to fulfill the demand of rural economy in these two districts but now the product is rarely present in the market. Changing consumer interest, low cost machine made and foreign products, lack of innovation towards new design trends, lack of awareness of market and support this heritage practice standing at its critical end. This study delves into metal crafts artisans called themselves Vishwakarma in Darjeeling and Kalimpong district, their present condition, crafts products, production procedure, scope of survival and farther development through the qualitative study using survey questioner and interview of artisans and other stakeholders. Findings from the data of 114 respondents from artist/producer, Retailers, Important Officials persons are exhibited, the identified issues and development areas toward future growth and survival of this crafts such as, upgradation of tools and technology, intervention initiatives and supports, welfare and marketing support, entrepreneurship and branding have been discussed. Data were collected from Darjeeling Palbazar Block, Jorbanglo Sukhia Block, Kurseong Block, Kalingpong 1.

Bamboo Crafts Business Development Model Reviewed From The Perspective Of Maslahah

Bamboo is a versatile plant with superior ecological properties, offering great potential for the development of craft businesses that are sustainable and beneficial to society. This research aims to formulate a bamboo craft business development model based on the concept of maslahah, namely realizing benefits and benefits for all parties involved. Bamboo craft art is a local product produced by skilled hands so that it produces unique products and has economic value. Bamboo craft products are no longer foreign to us, especially to people from Sidodadi Village, Beringin. The business model of innovation in the bamboo craft business aims to develop products to create products that are efficient and competitive. The method used in this research is a qualitative method with an observation and interview approach. The aim of this research is to find out and examine how the bamboo craft business development model is viewed from a maslahah perspective. The results of this research show that this research does not provide benefits because there is still a lack of employee welfare, there is no development of product models, and distribution is not wide enough and the quality of raw materials is not good

The Role of Craftsmen Group in Increasing Potential Tourism of Paksebali Village

By exploiting the potential of art and culture that exists in Paksebali Village, this can be a prominent and sustainable tourist destination. The synergy between the craftsmen group and the tourism sector will not only boost the local economy, but also ensure that this rich cultural heritage is preserved and appreciated by future generations. Innovation in craft products that combines local cultural elements with modern trends. While previous research mostly deals with Although previous research mostly discussed the tourism potential in Paksebali Village, this article focuses on craftsmen who can create various types of products that are attractive to tourists, such as Endek Cloth Weaving Craft, Tedung, Prada Bludru Craft, Lontek Craft, Gambelan Bali Craft, Topeng Bali Craft. This diversification helps attract tourists who have a variety of preferences. This qualitative research was conducted in Paksebali village, Dawan Subdistrict, Klungkung Regency, Bali. Data was collected using the combination between in-depth interview and observations. The informants who participated in this research are craftsmen in Paksebali village, as my case studies. The findings show that through synergies between the craftsmen group and the tourism sector, there is a mutually beneficial exchange of value. Tourists gain experience and quality products, while the craftsmen gain the opportunity to increase their income and expand their market. In addition to economic benefits, these collaborations also have an impact on the preservation of local culture. Craftsmen products often reflect the history, tradition, and identity of a region. With increasing tourist interest in these products, the group of craftsmen is encouraged to continue to preserve and develop their expertise. Craftsmen in Paksebali Village can help increase the village's attractiveness as a tourist destination, while maintaining and preserving local cultural heritage. It is recommended that Craftsmen in Paksebali Village is expected to improve quality and innovation in craft products, setting up a craft centre or gallery, working with tourism agencies, conducting digital marketing and promotion, improving the packaging of craft products to make them more attractive, actively participating in exhibitions and festivals as well as cultural preservation and education.

The Influence Of Product Innovation, Process Innovation And Service Innovation On The Marketing Performance Of Culinary Msmes In Oku District

The industrial sector is one of the important sectors in helping the economy progress, therefore the existence of industry as one of the pillars of the economy in OKU Regency has had an influence on the regional economy, even though demographically the livelihood of the majority of the population is as farmers. The policies implemented by the OKU Regency government in handling industry are directed at increasing industrial and craft growth, production and competitiveness, absorbing labor as well as creating a conducive business climate and increasing market share. The programs implemented to advance industry in OKU Regency are small and medium industry development programs and assistance (grants). Through small and medium industry development programs, we strive to improve the skills of entrepreneurs and craftsmen. Meanwhile, the development policy for the industrial, trade and SME cooperative sectors in OKU Regency is directed at growing, fostering and developing small and medium trade industries and cooperatives. The research method used in this research is a survey method conducted on 100 MSME research in OKU Regency. Analysis of the data processed in the research is primary and secondary data. Primary data is used for linear regression. Secondary data is used to look at MSME data in OKU Regency, while to answer problems, assessment criteria using a Likert scale are used, and to look at the influence of product innovation, process innovation and service innovation using linear regression analysis. Based on the analysis of the results of the research that has been carried out, it can be concluded that the research results show that product innovation, process innovation and service innovation have an influence on marketing performance in OKU Regency.

Penyusunan Material Produk Hand Craft Di Home Industri

Goods storage is very important in every business. Having proper, good storage will make it easier for a business to run its business. However, storage of goods will not be effective if the arrangement of goods is not arranged properly. Hand craft products are businesses engaged in the field of handicrafts that produce several products such as: plaques, house numbers, key chains, acrylic boxes which are produced on a large scale, for this reason product classification is needed to make it easier for workers in this business. The ABC classification method is the most effective method, dividing items into classes and assigning to each class a set of areas in which the product belongs. From the research results, group A was obtained, namely plaques, name plates and key chains, while group B was acrylic house numbers, anchors, character wall clocks, and acrylic motorbike plates and group C was acrylic boxes, where group A was preferred.

PENINGKATAN POTENSI DESA KREATIF MELALUI SOSIALISASI INOVASI PRODUK USAHA KECIL DI DESA NANIA, KOTA AMBON

Creative village is an area located in a village/subdistrict administrative area where the community develops superior products in one or more of 17 creative economic sectors that provide additional value and benefits for village economic growth. In Ambon City, there are many countries/villages that have the potential to develop creative economic products, including Nania Village. Nania Village, especially Nania Gunung Village, has the potential to become a creative village, there are 19 families who own furniture businesses and are the center of furniture production in Ambon City. To increase the added value of the furniture business in Nania Gunung Village, it is necessary to encourage product innovation in the creative economy sub-sector, for example fine arts or high-value crafts. This service activity aims to provide understanding to the village government and business actors about the potential for developing small businesses in Nania Gunung Village through the creative economy sub-sector so that it can encourage the potential of Nania Village as a Creative Village. This community service activity is carried out using the door to door outreach method accompanied by observation, interviews and mentoring. The results of this activity are able to provide understanding to furniture business actors about product innovation so that some furniture business actors have used wood waste to make new craft products and have marketed products through the marketplace.

Building fame through tea: The Wu Family and the Manufacture of zisha teapots during the Ming and Qing dynasties

By examining the Wu family’s connection with the origin of zisha teapots, this study investigates how Ming literati used material culture to shape family reputation. It unravels the complicated relationship between Ming dynasty literati and the craft products they appreciated. The paper analyzes Ming and Qing dynasty texts discussing the origins of zisha ware as well as material evidence. This study found that the authors of these texts were all connected to the Wu family. This family had success in imperial examinations but wanted to raise their social profile further via their involvement in tea and teaware production and connoisseurship. Their association with the invention of teaware — a story spread via publications by relatives and friends — conveyed the Wu family’s artistic taste. Thus, texts praising tea and tea paraphernalia as well as the exchange of tea gifts became tools for actively creating material culture and establishing influence in literati circles.