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1
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FENOMÉN DROTÁRSTVA V REFLEXII UMENIA

100%
Krausová P., Pecníková J.
ESPES
|
2014
|
vol. 3
|
issue 1
19 – 25
EN
The figure of tramping tinker is presented in the artistic production, influenced by the surroundings and conditions of craftsman ́s live. The Golden age of the tinkers was during the 19th century, however the specific phenomenon started in the end of the 17th century. Accent of the article is given on the motive of tinker in literature, illustrations and other artistic forms. During the 20th century, when tinkers started to disappear in its active form, their motive infiltrates into illustrations.
2

THE ROLE OF CRAFT IN THE SOCIAL DEVELOPMENT OF WROCLAW IN THE YEARS 1945-1989 (Rola rzemiosla w rozwoju spolecznym Wroclawia w latach 1945-1989)

100%
Konopska-Strus E.
Nauki Społeczne
|
2011
|
issue 1(3)
221-236
EN
Craft activities for the social development of Wroclaw after the war and the period of Polish People's Republic are closely related with craft's economic functions. Directly after the war craftsmen took part in the reconstruction of the city from war damages. Moreover, delivering goods and services to the market which the state sector could not deliver, the craft had the influence on the improvement of life conditions. Education and upbringing activities were the most essential craft's achievements for the social development of Wroclaw. The paper also presents social and public activities of craftsmen.
3
Content available remote

YANAGI, CERAMICS AND THE CRAFT VALUES OF KOREAN AESTHETICS

100%
Fernandez-Gomez R.
ESPES
|
2022
|
vol. 11
|
issue 1
18 - 26
EN
The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony (chanoyu), has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings might have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft.
4
Content available remote

CRAFTS IN GREAT POLAND AND ECONOMIC REGIONALISM (Wielkopolskie rzemioslo a regionalizm ekonomiczny)

88%
Bondyra K.
Przegląd Zachodni
|
2010
|
issue 3(336)
19-33
EN
The main thesis of the article is that in Wielkopolska (Great Poland) craft is the key element of regional identity. This thesis is warranted not only by the fact that proportionally, Wielkopolska has the greatest number of craft workshops in Poland, but also by the ethos of the region, which was historically shaped by craft virtues. The latter include the cult of 'good workmanship', thriftiness and last but not least, orientation toward having 'a trade in hand'. Thus, 'craft virtues' have become an inalienable element of regional identity and we are justified in characterizing Wielkopolska as a case of economic regionalism.
5

ĽUDOVÁ UMELECKÁ VÝROBA AKO SÚČASŤ KULTÚRNEHO DEDIČSTVA

75%
Jaďuďová L.
Muzeológia a kultúrne dedičstvo
|
2019
|
vol. 7
|
issue 1
177 – 191
EN
Folk art production is a valuable part of cultural heritage and a significant form of expression of the creative arts of previous and present generations. The article is a reflection on the development of folk production in Slovakia from the end of the 19th century, when folk production was organized by cooperation and association. The activities of these institutions gradually created favourable conditions to capture and ensure the development of folk art production. In 1945, it was possible to make the first attempt to underpin the development of folk art production in its entire scale.
6

Z DEJÍN REMESIEL A CECHOV V LEVOČI

75%
Lengová M.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
|
2010
|
vol. 13
|
issue 1
-
EN
From the early middle Ages until the 18th century the town of Leutschau (Levoca) was one of the five most important centres of commerce, crafts and guilds in Slovakia, its fame extending as far as Hungary. 42 guilds are known to have been active in the town. The first known guild (1470) in Leutschau was that of the blacksmiths. Unfortunately the archives of Leutschau have not been preserved in their entirety. Fire struck twice, destroying part of the documents. It is assumed that the guilds of the town are even older. In the town there were also artisans of special crafts and Leutschau was also the seat of several supra-regional guilds, such as the guilds of the dyers, the tinsmiths or the Lebkuchen bakers. The products of some of the guilds, (e.g. goldsmiths, boot makers, or tanners) were well-known and sought after across the borders of Slovakia and Hungary. The history of the Leutschau guilds has its high points, but also its tragedies. Particularly in times of war - after all, Leutschau was the most prosperous town in Zips = Spis region; because of its favourable strategic position the town was invariably exploited by the warlords. This brief study offers a glimpse into the nature of the numerous guilds in the town of Leutschau. It will not only describe the guild traditions, but also the position of the guilds and master craftsmen in times of war and their relation to the market, and attendant competition.
7

PRVKY TRADIČNÉHO REMESLA AKO INŠPIRÁCIA MODERNÉHO DIZAJNU A PODNET PRE REGIONÁLNY ROZVOJ OPTIKOU ODBORNÍKOV, VÝROBCOV A UŽÍVATEĽOV

75%
Kotradyová V., Borysko W.
Slovenský národopis (Slovak Ethnology)
|
2021
|
vol. 69
|
issue 1
61 - 84
EN
The text seeks answers to the questions of what folk inspirations in design mean and whether local identity embedded in traditions can work as a brand able to interpret traditional products and samples and, subsequently, disseminate them by means of strategies used in design. It is a conscious, innovative process that draws creatively on local sources. Today, traditional forms and patterns are naturally present in real craft products as well as kitsch objects created as an expression of the commercialisation of tourism. Attention is also paid to the terms “craft product” and “regional product”, their significance and understanding by local manufacturers, users, self-governing bodies, and activities at the given location. The analysis of this topic is based on field research and the results of an internet questionnaire.
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