Local Art Research Articles

Exploring the feminine-masculine dichotomy in Job 1:15-19: A text-art collaboration

This article addresses the problematic nature of the traditional approach to interpreting and translating Job 1:15–19 and the conventional artistic depictions of the four calamities experienced by Job. The traditional view is grounded in an objectivistic perspective on language, which assumes that meaning is founded on historical truth and can only be established through direct correspondence between a sentence and an objective state in the world. However, this approach is problematic when viewed through the lens of experientialist language theory, and its emphasis on representational formats. This article argues that the representational format in the narrative of Job 1:15–19 is characterised by a fixed conceptual element; specifically, the dichotomy between feminine and masculine, which operates as a contested point within the narrative. To establish the boundaries and refine the theoretical principles necessary for elucidating unconscious conceptual image schemas such as feminine-masculine, this article proposes a blended text-art approach as a means of representing the perceptual system that underlies this contested concept. Collaborating with a local artist, Hennie Kruger, the aim of this article is to identify meaningful patterns in the image schema and provide a redescription of experience, by means of a process of perceptual meaning analysis within the context of art, as an ‘essentially contested concept’. This article personifies Sheba as a metonymy for the voiceless sufferer – the widow and orphan – as well as fire from God out of heaven, mantic wisdom, and wind-all in the feminine gender. By rendering abstract concepts more immediate and accessible, the image schema of feminine-masculine is made more tangible. While the image schema of feminine-masculine is inherently schematic, and therefore, more abstract in nature, the combination and flow of the four paintings embody the concordant nature of an image schema, with individual mental images elucidating the details of the schema. Ultimately, the paradox evident in each scene serves to illustrate the disruption of the divine order within the feminine-masculine image schema.Contribution: This article contributes to the understanding and translation of the calamities described in Job 1 in the Hebrew Bible.

Comparative Analysis between the Architecture of Bimaristans in Egyptian and Syrian during Mamluk’s Era

Bimaristans are a building type which emerged in the Islamic world equivalent to nowadays hospitals. Most of the Islamic architecture studies focus on mosques, then mausoleums. This makes the research field open for more studies on building types like baths, wekalat, etc. Bimaristans remain within the scope of structures that need more studies through comparatives and analytical analyses. This paper introduces comparative analysis between bimaristans in Cairo and Aleppo, with particular focus on those constructed during the Mamluk’s era. This comparison highlights the points of similarity between the concepts that influenced the designers by that time with respect to their different locations, surrounding context and historical background. Such factors caused to make distinguished differences that gave each location its unique identity. This research depends on inductive-deductive methodology; inductive by reading and explaining the architectural drawings of both case-studies, and deductive from the theories and researches that justifies the reasons lied behind the end architectural product. Consequently, analyses the comparative results. The study provides architects and scholars with a clear image about the unique private identity of each zone, although they stand on the same believes using analytical analyses of bimaristans. Hence, contemporary architects in the Arab world can recognize the spiritual concepts behind the architectural and planning dimensions of bimaristans’ discrete design, that they may use or re-use to regenerate new forms that reflect their local identity and satisfy local cultural needs. Also, the study clarifies the role of local artists in articulating such concepts using carved geometrical reliefs, in addition to the documentation role of decorating relieved texts on those structures.

Artists at the Museum

ABSTRACT Artistic and educational possibilities abound when institutions open their doors to local artists and allow them to work within their confines. The following case study articulates how the often unrecorded and unseen discourse between cultural workers leads to a deeper understanding and application of strategies that encourage effective collaboration. Made possible through my year-long appointment as an artist-in-residence at a contemporary art museum in Salt Lake City, UT, each example demonstrates how the relational exchange of knowledge between museum practitioners, artists, and the public results in new possibilities for community-engaged art education.

The intervention effect of Suzhou folk art on patients with mood disorders in vocational art education

BackgroundMood disorder is a common mental health problem, which has a negative impact on the quality of life and work of patients. The intervention methods of educational psychology have been widely used in the treatment of patients with mood disorders. Suzhou folk art is a unique cultural tradition with rich artistic expression and emotional expression, which may play a positive role in the psychological function of patients with mood disorders.Subjects and MethodsSixty patients diagnosed with mood disorders were randomly divided into an experimental group and a control group. The experimental group received a 12-week Suzhou folk art intervention to improve their mental health through learning and participating in Suzhou folk art forms, and the control group received regular treatment and nursing. Both groups were evaluated using the Stanford Acute Stress Response Questionnaire (SASRQ) and the Three-Minute Delirium Diagnostic Scale (3D-CAM) before and after the intervention.ResultsThe results showed that there was a statistical difference compared with the control group (significance level less than 0.05). In the experimental group, the degree of mood disorder was significantly reduced, and the mental health status was also significantly improved. At the same time, the experimental group showed more positive emotional expression and participation in artistic creation activities during the intervention period.ConclusionsSuzhou folk art can promote the emotional release of patients with mood disorders and enhance their mental toughness. The introduction of Suzhou folk art into local higher vocational art education is helpful in improving the mental health level and quality of life of patients with mood disorders.AcknowledgementResearch achievements of key projects in the 13th Five-Year Plan of Jiangsu Education Science in 2016 (No. T-a/2016/03); Suzhou Higher Vocational Education Teachers’ Innovation Team; Chongqing Humanities and Social Sciences Research Project (No. 19SKGH225).

Associations of artists of the beginning of the XXI century in the context of the development of the artistic life of St. Petersburg

The activity of modern art associations, creative unions and art groups of professional artists of St. Petersburg is currently a little-studied and debatable issue. The specifics of St. Petersburg communities of this kind are closely connected with the traditions of the local art school and at the same time innovative, and sometimes are radical creative searches of their representatives. Such a combination leads to the formation of a diverse, but heterogeneous and mobile cultural space of the city on St. Petersburg. To understand its specifics, it is necessary to analyze the structure, composition and content of the work of the artistic associations of St. Petersburg, relevant for the beginning of the XXI century. In modern St. Petersburg, the process of forming art associations of various formations continues, which contributes to the development of fine art and the approval of its main forms, themes and genres. The main contribution of this research is to identify the main reasons for the creation of "young" creative associations whose activities are not related to the work of the Union of Artists of Russia, as well as to highlight the processes of their involvement in the cultural life of the city. It has been established that the "young" creative associations are characterized by unity of ideological and stylistic views and concepts, as well as a very flexible nature that allows them to be actively involved in the artistic life of St. Petersburg and the whole of Russia, to participate in the most diverse projects.

Musical messages – Creating a bespoke climate story for the Outer Hebrides

Exposed to westerly and south-westerly Atlantic weather systems, the Outer Hebrides (off the west coast of Scotland) are a series of islands where the inhabitants are already well versed in coping with severe weather. Headed by the Outer Hebrides Community Planning Partnership (OHCCP) Climate Change Working Group (CCWG), a range of adaptation planning documents are in production. Driven by a desire to engage with local communities, the CCWG alongside the Làn Thìde Climate Beacon, Adaptation Scotland and the Met Office created a project to explore the development of a storyline to communicate climate change information to the Outer Hebrides community. Collaborating with a local artist, Tuil is Geil (Gaelic for “Flood and Wind”) was created through a combination of sonified climate data, local voices and field recordings of local weather. Three themed pieces were created and these pieces (alongside a science presentation on projections of climate change for the Outer Hebrides) formed the centre of public engagement sessions when members of the public were able to share their thoughts about vulnerabilities and adaptation needs on the islands. As a project team we learned a number of important lessons around the process for creating a bespoke storyline for a community which included: i) The need to set appropriate boundaries and manage expectations, ii) The importance of local partner organisations and networks, iii) The need to bridge between science and art, and iv) The need to collaborate with the local community. We strongly believe that this approach has major community impact and it is the intention to support similar storyline projects in other regions of Scotland.

The Community Museum of Sierra Hermosa (Zacatecas): Rethinking the Museology, Landscapes, and Archives from the Desert

This article presents the methodology and collective work strategies that constitute the Club de Lectura y Museo Comunitario de Sierra Hermosa (Sierra Hermosa Community Museum and Reading Club) in Zacatecas, Mexico, a space founded by visual artist Juan Manuel de la Rosa, a native of this place. The museum emerged as a small library in 2000; and a short time after its founding, the museological program incorporated textile workshops and an exhibition gallery for a collection organized with local and external donations. It also operates with a system of rotation within the town. This article reviews the historical, theoretical, and critical implications around the conception and action of the museum, with a focus on the colonial and the migration status that sustains the reality and history of this rural locality, situated on the Tropic of Cancer in the north of Mexico. In the context of extreme violence, extractive politics, and migratory crisis in Zacatecas, this article analyzes two artistic productions by the local painter Luis Lara and artist Cristóbal Gracia, developed in the context of this experimental and rural museum curatorial program. Moreover, this article redefines concepts such as the border, mobility, and cultural contact in an artistic, museological, and pedagogical context, and proposes alternatives to study Sierra Hermosa’s memory, history, and landscape.

Gending Architectural Design of the Javanese Arts Performance Center in Wonogiri City, Central Java

The aim of this study is to provide facilities for fans and performers of the arts, in the form of a building that is able to accommodate a number of local cultural arts activities that represent Wonogiri's local wisdom while at the same time being able to reflect technological advances so that they can embrace young people's interest in loving traditional culture. The approach used in the design is research-based design, and the study of architectural history, namely design that is supported by research results, regarding the wishes and expectations of residents for activities and facilities, which takes into account the history of the city, traditional buildings, patterns of life and culture of the community, to support the design. The results showed that the design consists of several zones of public, semi-public, semi-private, private, service, with 4 main room divisions including the main lobby room, main performance room, semi out door show room, and education and training room. The layout of the building, site, and external performance of the building are designed with a mix of cultures and illustrate the meaning of the name Wonogiri which means forest and mountain, which is combined with modern architecture.

Fostering posterity and socio-economic transformation through the prism of indigenous languages in youth training: A participatory approach

This paper reviews thee mediating role of indigenous languages in vocational skills and national development in the Zimbabwean context. In the wake of the current outcry for jobs, employment creation and entrepreneurship the need for new strategies to revive industry by focusing on community resources has become imperative. Youths need to turn to themselves as repositories of skills required for operationalising dormant and fledgling industries. In pursuit of this new strategy they need the expertise of local artisans. The initiative, adopted in the spirit of national consciousness, should yield an indigenous brand of technology. It is from this perspective that the paper argues for a fresh, broader approach to youth training, through the identification of a national programme that encourages skilled artisans to use indigenous languages as vehicles for imparting industrial skills to out of school youths. The envisaged formal programme can be implemented through the identification of industrial bases that would tap the industrial skills of out of school youths, under the tutorship of local skilled artisans. For more effective implementation the proposed blueprint argues for the liberalization of instructional media. Trainers and trainees would switch on to their preferred language in skills’ acquisition. Such a flexible project, sustained through collaborative engagement, between skilled artisans and youths, would go a long way towards enhancing the latter’s creative potential, by fostering familiarity with the terminology required by a particular industry. Further, the article envisages learners’ progressive training programmes that motivate vocational training graduates to apply modern technology to productive processes demanded by the respective communities. The study concludes by emphasizing that the achievement of national goals for entrepreneurship and youth empowerment/employment requires the adoption of new strategies encapsulated in the Education 5.0.blueprint.

Theoretical Musicology in Bukovyna (on the Example of S. Vorobkevych’s Harmony Textbook)

The purpose of the work is to characterise the state of theoretical musicology in Bukovyna in the late nineteenth and early twentieth centuries on the basis of Sydir Vorobkevych’s work “Musical Harmony”. Research methodology. The article is based on the following research methods: historical, biographical, cultural, and theoretical generalisation. The systematic approach of scientific research helped to analyse the work, which became one of the attempts to adapt the theoretical foundations of musical harmony to the needs of the multinational environment of the Bukovyna region. Scientific novelty is that for the first time, the article thoroughly analyses the music-theoretical work that became the basis for theoretical training of music specialists in Bukovyna, and draws conclusions about the peculiarities of musicology in the region. Conclusions. One of the first theoretical works in Bukovyna to appear during the period of Austro-Hungarian rule in the region was a textbook on harmony by Sydir Vorobkevych. Despite the fact that the vast majority of imported books and works of local artists were written in German, S. Vorobkevych’s “Musical Harmony” was written in Romanian, as the majority of the region’s population was Romanian. The need for such a textbook was extremely relevant among the musicians of Bukovyna and Chernivtsi. S. Vorobkevych created one of the first works of theoretical musicology in Bukovyna, which became the basis of musical education in the region. Sydir Vorobkevych’s work is fully in line with the traditions of the second half of the nineteenth century and confirms the idea that the terminology and methodological explanation of the foundations of music theory, in particular musical harmony, were at the stage of development at that time and underwent changes already in the next century. S. Vorobkevych’s “Musical harmony” is a source of information about the basic postulates of theoretical musicology, related to the principles of harmonic thinking, which, according to the author of the textbook, is an indispensable basis for successful composing.
 Key words: art of Bukovyna, musicology, musical education of Bukovyna, musical harmony, music theory.

The Influence of Cultural Congress on the Preferences of the Permanent Collection of the National Art Gallery of Malaysia

Since Malaysia's independence, the government convened the National Cultural Congress in 1971, which discussed building national identity in Malaysia through the culture of various races. The National Art Gallery, as an official institution with policy overtones, maintains a permanent collection of artworks for the nation, showcases the work of local and international artists, and encourages the development of art in the community. Therefore, this study uses a quantitative approach to secondary research, using the Cultural Congress as a dividing line, and to statistically classify works from each of the five years before and after by comparing changes in the nationality of the artists, the medium of the works, and the subject matter of the works to verify whether the emergence of the Cultural Congress had a significant impact on the National Art Gallery's collecting preferences. The results of this study show that the National Art Gallery's collection of works by national artists has also been on the rise since 1971, particularly in terms of the number of works by Malay artists and indigenous subjects. This research helps to examine the influence of the Cultural Congress from different perspectives and to understand the role of social factors on the views and approaches of artists. In addition, the collection of the art gallery will be collated and summarised to understand the preferences of the collection in each period and thus provide insight into the prevailing genres and approaches to art.

The cutting edge in Ghanaian contemporary ceramics

This article discusses Ghanaian ceramic art and the critical interventions that are driving an emerging contemporary ceramic practice. Over the last decade (2011–22), Ghanaian ceramic art appears to have had a stagnant traditional practice and has struggled to be seen, heard and valued within local and global contemporary art discourse. Reviews and reforms of art education in college and tertiary curriculum have provided critical interventions to address this situation. Discussing the works of Japheth Asiedu-Kwarteng, Eugene Ofori Agyei, Frederick Ebenezer Okai, Alex Awuku and other artists, this article reveals how young Ghanaian contemporary ceramic artists are navigating a path to creating new artistic identities and pushing the boundaries of conventional Ghanaian ceramics. These developments also point to the meaningful expansion of ceramics in contemporary art education more generally.

Kelangsungan Galeri Seni Komersil di Malaysia: 1960-1990

Commercial art galleries are essential in developing national art through various organized activities. Information and data related to commercial art galleries could be more extensive, especially in the form of scientific writing. The objective of this study is to trace and document chronologically the establishment of commercial art galleries and the activities organized from the 1960s and 1990s. It is a contributing factor to the development process of local art. Information was collected through various publications such as newspaper clippings, books, magazines and catalogues. Starting with four galleries in the 1960s, it is growing. Several galleries are run by artists and individuals who see this industry as having the potential to progress. The age of business also influenced the local painting landscape. Some commercial galleries have less than five years of operation. Kuala Lumpur is still the location of choice for entrepreneurs, and several commercial galleries are operating around the Kelang Valley, Malacca and Penang. Over the past four years, 38 commercial art galleries have been working in the country.

The Structural Illustration Reog Ponorogo Art Museum with Joglo Building as Javanese Vernacular Architecture

Vernacular architecture refers to the cultural context of buildings, with the main purpose of preserving local art, historical education, and stimulating local economy. The purpose of this study is to put forward a theoretical proposition concerning the adaptation of vernacular architectural features into cultural preserve development projects. Our approach will be from the vantage point of architecture education, using vernacular architecture in Java (Indonesia) as an illustration. With specific objects the development of design concepts for the Reog Ponorogo Art Museum of Joglo model. This paper discusses the layout configuration and the function/aesthetics properties that are important from an architectural perspective. The study contributes to link between architecture and local wisdom society, which presents a major challenge to enable the design of culturally appropriate buildings with environmental advantages. In addition, the study also highlights structural sustainability benefits ideas that are important for development construction with inherited socio-cultural norms

지역 예술지원사업 개선 방향 연구

The purpose of this study is to consider the improvement direction of the arts support project reflecting the actual conditions and characteristics of the region, focusing on the case of Gwangju Metropolitan City. For this consideration, this study examined the current status of art support projects conducted by the Gwangju Cultural Foundation in 2022, identified the actual conditions and characteristics of the region, and based on this, determined the improvement direction of the local arts support project. As a result, it was found that supports for space for practice and events, for securing audiences, for diversification of publicity strategies, for securing new artists, induction of innovative planning, and fine adjustment of support projects were necessary. As a way to solve these problems, this study proposed connection supports between art groups (artists) and public culture and arts infrastructure with low usage rates, providing information on domestic and foreign arts trends, holding planning related workshops, guidance of word-of-mouth publicity through friends, establishment of a recommendation system, inducing diversification of publicity by age group, abolishing the break year system in young artist support projects, and providing a venue for exchanges among artists.

PERAN EKSTRAKURIKULER BELA DIRI SILAMBAWIQRI DALAM MENERAPKAN NILAI KARAKTER KEBANGSAAN

Abstract
 This study aims to find out 1) How to foster national character values ​​in students through the Silambawiqri extracurricular 2) What is the role of the Silambawiqri extracurricular in preventing delinquency adolescents and the negative influence of foreign culture on students at Madrasah Aliyah Negeri 1 Serang City 3) What obstacles and challenges are faced in the Silambawiqri extracurricular activities at Madrasah Aliyah Negeri 1 Serang City. The method used in this research is descriptive method with a qualitative approach. The results of the study show that the way to cultivate national character values ​​in students through the Silambawiqri extracurricular is the application of seven national character values, namely: religious values, discipline, responsibility, respect for achievement, national spirit, hard work and creativity. It can be concluded that the role of the Silambawiqri extracurricular in minimizing juvenile delinquency at Madrasah Aliyah Negeri 1 Serang City can be concluded that it has enough roles by paying attention to several aspects, namely the good adaptability of students, the Lalubawiqri extracurricular has also become a place for students who have an interest in local arts and culture and self-defense. In addition, students are also considered to have a high social sense. The challenges and obstacles that occur in Silambawiqri extracurricular activities at Madrasah Aliyah Negeri 1 City of Serang are time management and availability of training equipment needs.

Rainforest IV at 50

Rainforest by David Tudor was a commissioned piece in 1968 for Merce Cunningham’s dance RainForest, in which Tudor experimented with using found objects (with transducers) as loudspeakers (Rogalsky 2006, 93). In 1973, Tudor “gave the piece away” and led a workshop of emerging artists in New Hampshire (Rogalsky 2006, 183-184), expanding the work to the immersive experience known as Rainforest IV. Fifty years later, our goal was to capture the creativity and community of the 1973 workshop, while incorporating new approaches.
 From exploring scrapyards to borrowing vintage geography equipment from Queen’s University, we collected items that contributed unique acoustics to the sounds we wanted to match with them. Our collection was narrowed down to 30 items chosen by participants during our workshop at the H’Art Centre, a local art centre, after two weeks of testing objects and sounds. Although many types of sounds were used, there was discussion around the use and practice of field recordings. At the end of our workshop, we took our objects to the Baby Grand Theatre, where they were suspended, lit, transducers attached, and fed sounds that suited them best. A significant difference from 1973 was the use of impulse responses, in place of contact microphones, to enhance the sounds. During a 5-hour live performance, our session was recorded and then played back through our objects as a stand-alone installation over the following ten days. 
 I discovered through this process that community is the heart of Rainforest IV. Tudor’s kindness influenced both the participants, through shared meals and encouraging advice (Adams, et al. 2023) and the piece itself. In 2023, shared skills, ideas, and meals helped create both an “electronic ecology” (Rogalsky 2006, 205), and a community. Despite our changes, Tudor’s vision of community was ever present- as if it came from the piece itself.
 
 Bibliography 
 Adams, John DS, John Driscoll, Phil Edelstein, Linda Fisher, Ralph Jones, Ron Kuivila, Petr Kotik, and Susan Stenger, interview by Matthew R Rogalsky and Laura J Cameron. 2023. David Tudor's Rainforest IV at 50: A Conversation (July 15).
 Rogalsky, Matthew R. 2006. "Idea and Community: The Growth of David Tudor's Rainforest, 1965-2006." London: none, April. Accessed 2023.

PROBLEMS OF LIVE MUSIC CONCERTS: A STUDY OF NORTH EAST INDIA

The findings reveal several key challenges encountered in organizing and executing live music concerts in North-East India. Limited sponsorship opportunities’ and ‘disappointing government funding’ emerge as significant hurdles for concert organizers. The study also uncovers a preference for artists from mainland India over local talent, attributed to their consistent preparation and higher performance standards. Moreover, the study highlights the lack of equipped auditoriums and the need to import amplification equipment, leading to increased costs for organizers. This study employs a qualitative approach to explore the problems faced by live music concerts in North East India. The research had qualitative interviews with concert organizers, performers, and attendees. The research further underscores the impact of weather conditions on outdoor concerts, as the region experiences frequent rain. It emphasizes the importance of having contingency plans and backup venues to ensure uninterrupted performances. Additionally, the study reveals the limited culture of purchasing concert tickets among the local population, requiring tailored ticket distribution strategies. These findings shed light on the complexities of organizing successful live music concerts in North East India and provide insights for concert organizers, policymakers, and local artists. The research calls for enhanced support, improved infrastructure, and a stronger platform for local talent to thrive in the vibrant music scene of the region.

Wooden Manor Houses In Estonia 1700–1850: From Archaic Traditions to Modern Ideas

Estonian manorial architecture has been a topic of interest toarchitectural and art historians for the last hundred years, buthundreds of wooden manor houses, of which many still exist day,have largely remained unnoticed. The reason for this lack of researchinto wooden architecture are manifold but can most easily beassociated with socially complex relationships and previous researchmethods, resulting in the only monograph to date, Gustav Ränk’s Dieälteren baltischen Herrenhöfe in Estland (1971), which analysed woodenarchitecture in the 17th century, known in Estonia as the Swedishperiod. Since it is generally accepted that previous classificationsof wooden architecture do not allow for great conclusions, the aimof this article is to give an overview of the architectural genesis ofwooden manor houses during the manorial ‘golden era’, asking howmodern ideas made their way into local architecture. In this regard,this paper also deals with architectural treatises and handbooks fromthe 18th and early decades of the 19th centuries and the question ofthe adaptation of architectural theorists’ ideas to local architecture.The genesis of Estonian wooden manorial architecture can bedivided into three distinguished periods that are similar to the overalldevelopment of manorial architecture in the Baltics. Although thevery first wooden noble residences built at the beginning of the 18thcentury were small urbaltisch buildings with a central chimney thatresembled those built in the Swedish era, newer architectural formsmore in touch with the architectural trends of the time appearedon lands that had either escaped the negative consequences of theGreat Northern War and plague or had been donated by the Russianrulers. In other places, manorial architecture continued with thetraditions, which began to change more strongly in the second half ofthe century, reflecting the landlords’ greater need for representativepurposes. This not only brought changes to construction techniquesbut also to the buildings’ overall appearance: most wooden dwellingsdoubled in size and were decorated according to late Baroque orearly Neoclassical elements. More major changes took place in thefirst decades of the 19th century, which gave contemporaries a chanceto describe wooden dwellings as ‘light and summery’, testifying tochanges in building traditions.Since at this stage of research only a handful of building masters,masons and construction carpenters are known to have worked inthe building of wooden manor houses, this article suggests that thelandlords may also have drawn the ground plans themselves, with thehelp of architectural treatises and handbooks of the time. Althoughthe architectural ideas of Nikolaus Goldmann, Friedrich ChristianSchmidt and David Gilly are tangible, it is possible that in manycases the influence was more indirect and depended on the generalstylistic and technical changes of the period. This architecturalconservativism can partly be explained by the fact that Baltic manorslargely depended on local craftsmen and peasants from nearbyvillages, but also by the nobility’s general aversion to all things new.A much more accessible treatise for many noblemen at the time mayhave been the economic handbook written by local pastor AugustWilhelm Hupel, which included some thoughts on the buildingprocess; however, since he did not introduce any new architecturalideas, but rather carried on with the local traditions, it is possiblethat his ideas were put to practice elsewhere, where landlords didnot actively live. The same conclusion can be drawn about thestandardised model façade projects, which made certain façadescompulsory for cities in the Russian Empire in the early decadesof the 19th century, but had very little effect on Estonian woodenmanor houses.Although this article brings clarity to many aspects of woodenmanorial architecture, the most important contribution to the historyof Baltic manorial architecture is bringing attention to the fact thatwood as a building material was not only widespread but held adominant role in building practice. This not only emphasises Balticmanorial architecture’s peripheral role on the map of European art,but also creates new perspectives to delve deeper into the connectionswith Scandinavia and other countries, where the material played apart in the building practices of the higher and lower strata of society.

DEVELOPMENT OF CRAFT EDUCATION IN KASHMIR VALLEY DURING THE RULE OF SULATAN ZAINUL AABIDEEN BUDSHAH

Abstract
 The paper explores the role of Sultan Zainul Aabideen in the development of craft education in the region of Kashmir. The study examines the Sultan's contribution towards preserving the traditional crafts of Kashmir and creating an environment that fostered innovation and creativity in the local craftsmen. The paper analyzes the initiatives taken by the Sultan to establish craft schools and workshops, provide training and support to craftsmen, and promote the products of the local artisans. The study also examines the impact of these efforts on the socioeconomic development of the region and the preservation of the cultural heritage of Kashmir. The findings of this research indicate that the Sultan's vision and commitment to craft education have played a crucial role in the development and promotion of traditional crafts in Kashmir, which has led to the growth of the local economy and the empowerment of the local artisans.