Search Results (9)

Intangible cultural heritage faces several challenges, including a fragile transmission system, disconnection from modern life, and poor market adaptability. This study takes the Jingsha tenon-and-mortise woodcarving, an important example of Chinese intangible cultural heritage, as a case study to address the issue of the disconnection between traditional craftsmanship and contemporary demands. Methods: A sustainable development model based on user–AIGC–craftsman collaboration is proposed. The research integrates Kano Model and Analytic Hierarchy Process (AHP) based demand analysis, AIGC-generated design solutions, Technique for Order Preference by Similarity to Ideal Solution (TOPSIS) evaluation, and Cursor and MCP 3D modeling technologies. The results indicate that this approach reduces design confirmation time from three days to one, minimizes material waste through precise size specifications, and achieves high user satisfaction. The study demonstrates that combining user-centered design with AI-assisted craftsmanship creates a balanced pathway for the sustainability of intangible cultural heritage, while addressing issues of cultural preservation, economic feasibility, and resource efficiency. This tripartite model offers a replicable framework for the sustainable development of traditional crafts globally. Full article

For centuries, artisans have resolved intricate engineering conundrums with intuitive ingenuity, bequeathing a legacy of design wisdom that remains largely untapped in contemporary biomimetics. This “anthro-creative” form of biomimicry, deeply embedded within traditional crafts such as Chaozhou woodcarving, is predominantly tacit and qualitative, which has traditionally eluded systematic interpretation. To address this, we propose the Hierarchical Biomimetics-Based Evaluation System (HBBES), a transdisciplinary framework that couples expert-defined hierarchies through the Analytic Hierarchy Process (AHP) with perceptual assessments from one hundred public evaluators via Fuzzy Comprehensive Evaluation (FCE). Applied to canonical works—including the Lobster and Crab Basket (overall score: 4.36/5.00)—the HBBES revealed a striking finding: both expert and public valuations are anchored not in structural hierarchy, but in aesthetic resonance, particularly the craft’s lifelike morphological analogy and nuanced modulation of light. Beyond offering a replicable pathway for translating artisanal intuition into operative design principles, this study proposes a culture-driven paradigm for biomimetics, bridging intangible heritage with technological innovation. Full article

Traditional ethnographic methods have long been employed to study craft practices, yet they often fall short of capturing the full depth of embodied knowledge, material interactions, and procedural workflows inherent in craftsmanship. This paper introduces a digitally enhanced ethnographic framework that integrates Motion Capture, 3D scanning, audiovisual documentation, and semantic knowledge representation to document both the tangible and dynamic aspects of craft processes. By distinguishing between endurant (tools, materials, objects) and perdurant (actions, events, transformations) entities, we propose a structured methodology for analyzing craft gestures, material behaviors, and production workflows. The study applies this proposed framework to eight European craft traditions—including glassblowing, tapestry weaving, woodcarving, porcelain pottery, marble carving, silversmithing, clay pottery, and textile weaving—demonstrating the adaptability of digital ethnographic tools across disciplines. Through a combination of multimodal data acquisition and expert-driven annotation, we present a comprehensive model for craft documentation that enhances the preservation, education, and analysis of artisanal knowledge. This research contributes to the ongoing evolution of ethnographic methods by bridging digital technology with Cultural Heritage studies, offering a robust framework for understanding the mechanics and meanings of craft practices. Full article

Folk art includes objects that are items for everyday use and, at the same time, gracefully reflect the Greek artistic point of view, drawing its inspiration from life itself, the environment and its beauties, and local tradition. An 18th c. wood-carved and painted chest coming from the famous wood-carved centers of Epirus in Greece is presented in this study. As the number of studies and the general bibliographical references are limited for these kinds of items, prior to interventive conservation, a protocol of analysis was followed to identify the damages, the construction materials, and previous alterations. The main goal of this study is to identify the component materials using non-destructive techniques. The methodology followed for the documentation of the artifact includes the following: a. digital microscopy to identify damage from insects, different cracks and losses on the gesso and paint surface, corrosion products, etc.; b. 3D imaging using a polycam, with special attention given to the inside decoration of the cap; c. IR and UV photography to identify any previous alterations or signs of alterations in the varnish layers; d. and XRF analysis to identify the three (3) main colors of the chest, such as the blue used extensively as a background, red, and white. Nevertheless, the Greek folklore painting palette is limited, and for this reason, this study can be a foundation for research on similar artifacts. Full article

This study presents the first scientific characterization of the white preparatory layer and polychrome pigments on painted wooden figurines excavated from the Mawangdui Tomb No. 1, dating to the Han dynasty. A combination of analytical techniques, including XRF mapping, SEM, ATR-FTIR, XRD, and Raman spectroscopy, was used to investigate the composition, structure, and potential additives in the white layer. The results reveal that the preparatory layer is primarily composed of gypsum (CaSO₄·2H₂O) and calcite (CaCO₃), with minor phases such as anhydrite and larnite. SEM observations show a porous microstructure of needle-like crystals, while spectroscopic data suggest possible traces of organic binders. The preparatory layer was likely applied to smooth surface irregularities and support polychrome decoration, such as cinnabar and carbon-based pigments, and may have also functioned as a putty in localized areas. This represents the first confirmed use of gypsum-based plaster in ancient Chinese woodcarving, showing unexpected parallels with surface preparation techniques used in New Kingdom Egypt. However, the presence of organic additives and the internal structure of the figurines remain unresolved due to equipment limitations. These findings provide new insights into ancient material practices and highlight the importance of environmental control and material-specific conservation strategies for fragile gypsum-based heritage objects. Full article

In the interiors of ancient Huizhou buildings in China, a profusion of wood carvings are employed for decoration, with traditional research interpreting their function from decorative and aesthetic perspectives. However, this research suggests that the role of Huizhou wood carvings in interior spaces surpasses mere decoration; they enhance the expression and experience of spatial concepts through narrative imagery. By analyzing the mechanism and intrinsic logic behind the spatial concepts formed in Huizhou residential buildings, this study investigates how wood-carving imagery contributes to shaping spatial concepts through narrative techniques, as well as their creativity and expressiveness in architectural design. Utilizing literature reviews, field surveys for case selection, and case analysis methods combined with observation, interviews, and measurements, this research ultimately employs image analysis to interpret the narrative structures and styles of wood-carving imagery in detail. This study reveals that (1) the spatial concepts of Huizhou residential buildings are influenced by traditional thought, social culture, and other factors, leading to an interweaving of material, cultural, and social spaces that results in a spatial concept characterized by harmony between heaven and humanity, clear hierarchy, and orderliness; (2) Huizhou wood-carvings, through their narrative images, actively engage in the production of spatial concepts, employing thematic juxtaposition narrative modes and utilizing singular-scene narration, composite-scene narration, and cyclical narration to articulate these concepts. These findings significantly deepen our comprehension of the relationship between the spatial concepts of Huizhou’s traditional residential architecture and social culture. By integrating cultural elements with spatial production theory, this research addresses the limitations of existing studies and augments their theoretical interpretative power. Additionally, clarifying the connection between the cultural elements of wood-carving imagery and the formation of spatial concepts offers a novel perspective on the study of Huizhou wood carvings, moving beyond their longstanding categorization as purely decorative elements. Full article

During the Ottoman period, wood had replaced marble in Orthodox churches. Between the 16th and 19th century, common, unknown craftsmen created wonderful wood-carved ecclesiastical works by hand, though many of them have been partially or completely destroyed, usually without any of their images being saved. Advances in technology now make it possible to develop a detailed digital copy of an object of our cultural heritage, creating an unaltered prototype material to be studied by all, while offering in parallel the ease of reproducing precise copies, ensuring even museum quality standards. In the present study, a corresponding attempt to record, scan and then reconstruct a 17th century “Bema Door” (located in the Holy Monastery of Hilandar in Mount Athos) is implemented, presented step-by-step and discussed, in order to highlight the challenges and potential of the applied methods. The process included on-site recording of a 3D digital scan, and then the creation of the Bema door copy, first applying Computerized Numerical Control (CNC) machining and then, with elaborate handwork by experienced wood-carvers who successfully completed the process, imparting the necessary and unique human artistic character. The current work transfers the experience on this reproduction technique applied in a Bema door element, shares significant information and details on tools, materials, process steps, etc., in order to be an inspiration and stimulus for the preservation or reproduction of other cultural heritage monuments of high importance. Full article

A decorated and carved wooden door of the late Byzantine period (14th Century), which belongs to the Dionysiou Monastery in Mount Athos, Greece, constitutes an important relic of valuable technological information due to its construction technology and history. Seventeen (17) samples detached from the door are studied using optical microscopy, scanning electron microscopy (SEM) with energy dispersive X-ray analysis (SEM-EDX), and micro-Raman and FTIR spectroscopy. The following materials are identified in the cross sections of the door samples using micro-Raman spectroscopy: orpiment, lead white, red lead, red ochre, cinnabar, carbon black, gypsum, anhydrite, and calcite, and an organic colourant of the indigoid family. SEM-EDX studies supported to the aforementioned Raman results. Interestingly, a combination of inorganic and organic colourants was detected. The main goals of this particular study were to: (a) reveal the colour palette and materials, (b) identify the type of varnish and its condition, and (c) contribute to future restoration processes and aid conservators in selecting compatible restoration materials. Full article

This study examines the multiplicity of styles and heterogeneity of the arts created on the southern coasts of India during the period of colonial rule. Diverging from the trajectory of numerous studies that underline biased and distorted conceptions of India promoted in European and Indian literary sources, I examine ways in which Indian cultural traditions and religious beliefs found substantial expression in visual arts that were ostensibly geared to reinforce Christian worship and colonial ideology. This investigation is divided into two parts. Following a brief overview, my initial focus will be on Indo-Portuguese polychrome woodcarvings executed by local artisans for churches in the areas of Goa and Kerala on the Malabar coast. I will then relate to Portuguese religious strategies reflected in south Indian churches, involving the destruction of Hindu temples and images and their replacement with Catholic equivalents, inadvertently contributing to the survival of indigenous beliefs and recuperation of the Hindu monuments they replaced. Full article