Dormer presents a series of lively, clearly argued discussions about the relevance of handicraft in a world whose aesthetics and design are largely determined by technology. The question of computer aided design in craft is also addressed.
"Crafts were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and how and from what materials they were made were matters of serious concern among all classes of society. In Craft Culture in Early Modern Japan, Christine M. E. Guth examines the network of forces--both material and immaterial--that supported Japan's rich, diverse, and aesthetically sophisticated artifactual culture between the late sixteenth and mid-nineteenth centuries. Exploring the institutions, modes of thought, and reciprocal relationships among people, materials, and tools, she draws particular attention to the role of women in crafts, embodied knowledge, and the special place of lacquer as a medium. By examining the ways and values of making that transcend specific media and practices, Guth illuminates the 'craft culture' of early modern Japan"--
With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls’ Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
Articles crafted from lacquer, silk, cotton, paper, ceramics, and iron were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and their facture was a matter of serious concern among makers and consumers alike. In this innovative study, Christine M. E. Guth offers a holistic framework for appreciating the crafts produced in the city and countryside, by celebrity and unknown makers, between the late sixteenth and mid-nineteenth centuries. Her study throws into relief the confluence of often overlooked forces that contributed to Japan’s diverse, dynamic, and aesthetically sophisticated artifactual culture. By bringing into dialogue key issues such as natural resources and their management, media representations, gender and workshop organization, embodied knowledge, and innovation, she invites readers to think about Japanese crafts as emerging from cooperative yet competitive expressive environments involving both human and nonhuman forces. A focus on the material, sociological, physiological, and technical aspects of making practices adds to our understanding of early modern crafts by revealing underlying patterns of thought and action within the wider culture of the times.
Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls? Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
From inventors to writers to heroes, African-American history is made up of remarkable people. Step into the world of African-American culture with these fun, easy crafts and connect with people like Harriet Tubman, Ralph Ellison, George Washington Carver, and the Harlem Globetrotters!
The Book “CULTURE AND TRADITION OF WEST BENGAL” by Sahanawaz Hussain highlights the different culture of west Bengal. The state west Bengal has a diverse culture. Author Sahanawaz Hussain highlights all the culture of different district of west Bengal starting from North Bengal to South Bengal. West Bengal boasts a rich literary and cultural heritage with evidenced by authors like Rabindranath Tagore,folk music like baul,Gambhira as well as Najrul Geeti,Rabindra Sangeet. West Bengal is the home of a thriving cinema industry dubbed “Tollywood”.throughout the year many festivals are celebrated in bengal.