Showing 3 results for Handicrafts
Dr Abdul Hamid Haji Pour Shoushtari,
Volume 3, Issue 6 (9-2007)
Abstract
Productivity aims at improvement of the quality. Quality improvement in turn contributes to productivity. There are several means to improve the handicrafts and allow people to improve the quality of their products. Meanwhile handicrafts are being considered important from social, cultural, art and economical point of view. It contributes to local economies and eradication of poverty. By providing new market opportunities, the seal program aims at enabling handicraft producers to establish sustainable livelihoods. This will be achieved through developing networks of handicraft producers and customers, including the higher - end of the market, and through exhibitions and trade fairs. The UNESCO Seal of Excellence for handicrafts is based on the criteria such as: Excellence, Authenticity, Innovativeness, Social responsibility (Fair, labor law, Eco - Friendly) and marketability. They encourage artisans to produce handicrafts using traditional skills, patterns and themes in an innovative way in order to ensure the continuity and sustainability of these traditions and the skills. On the other hand, creativity is man’s most widely and evenly distributed resource. All people seek outlets for self - expression and have the capacity to create objects to uplift the spirit and enhance peoples’ lives. The United Nations Educational, Scientific and Cultural Organization (UNESCO) promotes a wide range of activities to preserve and develop both traditional and contemporary crafts. This has included a Ten - Year plan of Action for the Development of crafts in the world 1990 - 2000 the annual UNESCO crafts prize to recognize the creative talents of craft producers, as well as programs to identify and bestow on the worlds most out standing artisans the title of “ Human Living Treasure.” The seal of Excellence for Handicrafts program was established in 2001 by UNESCO (UNESCO Office Bangkok) in collaboration with the ASEAN Handicraft Promotion and Development Association (AHPADA) for piloting in Asia. Referred to as the “SEAL”, this program aims at ensuring the continuation of traditional knowledge and craft skills which help to preserve cultural diversity in the region. Since 2006 the SEAL program has been launched globally with the SEAL being introduced in Africa, Europe and America. The Asia program has expanded over the last few years to south Asia (2004), central Asia (2004) and was launched in East Asia in 2006. It should be mentioned that 30 countries in Asia are now taking part in this initiative. This growth has been accompanied by a new region - wide branding and increased promotion and distribution channels.
For the first time Iran took part in the 2007 seal program session, held in Dushanbeh, Tajikistan from 24 - 27 September, received 6 seal certificates for the Iranian handicrafts articles. Due to the importance of the program (Seal), this paper is an attempt to take a step for further introduction of the SEAL in order to prepare grounds for better participation of the relevant capable products in the future sessions.
Chakameh Zamiri, Abolghasem Nemat Shahrbabaki,
Volume 15, Issue 36 (3-2020)
Abstract
The original handmade carpet of Sistan has always played an important role in the livelihoods and the economy of the people. However, the position of this valuable art-craft has been impressed by some problems in Iran handmade carpet and especially to the particular native dilemma of the area. As the production of Sistan's carpets has been greatly reduced today, continuing this process can in the long run lead to the deterioration of Sistan's carpet and cause irreparable damage to the employment and livelihoods of the people of this area. Therefore, it is necessary to recognize and analyze the indexes affecting the stagnation of Sistan carpet and planning to eliminate them in order to improve the final product and job creation in the region. This issue is considered as the main goal of the current research.
The research methodology is combined and Extractive. First, using semi-structured interviews, the causes of the recession of handmade rug in Sistan were analyzed from the viewpoint of experts in this field and nineteen key factors were identified. Then, a new questionnaire was designed using these factors within the Likert scale framework. The views of the local people in this area regarding the causes of the stagnation of Sistan's handmade carpet were examined. In this step, a "T test" was used for analyzing questionnaire data. The results show that the drought and destruction of livestock, lifestyle changes and livelihoods, as well as the low profitability of the final product, The most important causes of the stagnation of Sistan's original handmade carpet are the most important.
Zahra Cheraghi, Habib Shahbazi, Seyed Mehdi Hosseyni Nia, Mohammad Eskandari,
Volume 17, Issue 39 (8-2021)
Abstract
Abstract
Kilim handicrafts are common women's craftworks in some nomadic and rural areas of Iran. These handicrafts have various textures and patterns in different parts of the country, which in some parts are representative of the culture of that region. One of the common arts in Lorestan province is kilim weaving, using traditional patterns that have undergone various changes over time. Some of the prominent features of this art in this region ar symmetry, variety, abstraction, and graphicity of the designs. The designs of Lorestan kilims have been indicants of the people's beliefs, convictions and traditions which have been passed down from generation to generation, for many years. The main purpose of this study is to investigate the patterns of Lorestan kilim and the effective factors of their emergence. The main purpose of this study is to study the most important designs used on the carpets of Kuhdasht city with the influence of the culture of the people of the region and also the effective factors in their emergence. The main questions of this research are posed as follows; How many types of hand-woven kilims are in this region? And which factor has been effective in the emergence of Lorestan kilim's patterns and designs? The research method of this study is descriptive-analytical. Data collection method of the study is library and field. This study deals with qualitative analysis of the studied samples. The results of this study indicate that the patterns woven in Lorestan kilims are as following: Ritual and mythological motifs (cypress, the tree of life (pine) along with chamois, the Mother Goddess, mountain), animal and bird motifs (chamois, horse, rooster, duck), motifs of banquets and mourning ceremonies (dance), plant motifs and motifs derived from religious beliefs (patterns of the Howz). It can also be said that most of the designs used in these handicrafts have been continually inspired by the designs of Lorestan bronze up to this day.
