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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Embroidered Sock Type The nature or genre of the resource 3D Object Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource text/plain Alias/WaveFront Object License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 7519c512a6384de6b1e5b35ebabeaf15 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/7519c512a6384de6b1e5b35ebabeaf15/embed Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2142 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Axe Head Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 826 Source A related resource from which the described resource is derived craftedobjects,viljandicountymap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/01/2026 Date Modified Date on which the resource was changed. 19/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Axe Head Type The nature or genre of the resource 3D Object Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource text/plain Alias/WaveFront Object License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 1e8671cafbc24f4b92105a371f4737dd Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/1e8671cafbc24f4b92105a371f4737dd/embed https://culturality.museum/omeka/files/original/cd30eb1e27572ba3216c46835e594816.jpg 137ebdadd20b0ba7218263756834b289 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ana Trampuš in her studio. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13/02/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/ddda458acc72d551b78fbb5dc4cd281d.jpg 139b57a0195d651ae1e41c6e6a2804fc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ana Trampuš in her studio. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13/02/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Artisan An artisan Contact info@cerawoods.com Author iain Email The email address of the museum. info@cerawoods.com Phone The phone number 00386 31 206 123 Biographical Text Ana Trampuš spent her childhood in Ljubljana. After graduating from secondary veterinary school in Ljubljana, she worked for several years in a pet shop. After maternity leave, when she realized that there were no jobs in her profession, she took ceramics classes and then started her own practice in seoson 2013/2014 as a part job. She would like to make a living from this in the future. External ID ZRCSAZU_PR_05 Knowledge Acquisition Twelve years ago, she first attended a beginner's and advanced ceramics course with a potter Barbara Štamberger in Kranj. She then taught herself through trial and error, gaining much of her knowledge from materials (information, videos) available online. Knowledge Transfer She occasionally leads workshops for children and families at the Škofja Loka Handicraft Center (DUO centre). However, the technique is not suitable for a short workshop as the processes are long. Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Deepl translator. Gender female Area Relation native Area Reason Ana Trampuš has been living in Škofja Loka since 2011. Before that, she lived in Ljubljana, but her grandparents are from Škofja Loka, so she has been connected to the area her whole life. Occupation ceramics Involvment part-time paid job knowledge1 Working with clay requires manual skills, precision, and a good sense of form. Technical knowledge about clay, firing, and glazes is essential. Creativity and problem-solving abilities when working with materials are also important. material1 All products are made of clay. She uses only white and black clay for use on the potter's wheel. She also uses colors for ceramics (engobes) and glazes. material2 She buys the clay and paintings from a potter in Radovljica, who also has a shop. The clay is supplied by Italian suppliers. material3 There is no waste. She recycles unburned clay, i.e., uses it again, and gives away unsuccessful products if someone likes them; a very small portion, if something breaks, is taken to the trash. There is very little of this. production1 She uses classic hand-building techniques and potter's wheel techniques. and classical and raku firing. First, the clay is shaped (by hand or on a potter's wheel), then it needs to dry slowly until it's totally dry (this can take anywhere from a day to a few days, depending on the size). This is followed by bisque firing, in which the dry product is fired in a pottery oven (at approximately 1000°C). The fired product is then decorated with colors (engobes, underglazes, or overglazes) and covered with a glaze—a protective glass layer. It is then fired again (also at approximately 1000°C), which completes the production process. Some products are also fired at 1200-1300°c. In raku technique, after the second firing at 1000 degrees, the product is decorated by placing it hot in a container with leaves, straw, and other materials, creating various unique and unpredictable patterns. production2 Pottery wheel, various knives, scrapers, smoothing tools, sponges, brushes, and a pottery kiln. For raku technique, for second firing she uses a gas kiln (up to 1000 degrees Celsius), while for the classic technique she uses an electric pottery kiln, which can reach temperatures of up to 1300 degrees Celsius. KOLIKO UR1. in 2. žganje in raku. production3 When manufacturing ceramic products, the most important tools are the pottery kiln and the potter's wheel for shaping the pottery. Therefore, they must function flawlessly. The oven and electric pottery wheel are homemade, made by Ana's husband. production4 Thenelectricity to power the electric potter's wheel and traditional pottery kilns, and gas for the outdoor pottery kiln, where he fires his products using the raku technique. production5 There is no waste; all leftover fresh clay is reused. There are few failed fired products—Ana gives these to friends if they like them; damaged, broken fired bricks are used for something else or taken to the dump, but there is very little of this. workshop Ana has a small workshop in one of the rooms in the basement of her family home. products1 Most of the products are useful items such as cups, bowls, potica molds (ceramic molds for baking a traditional Slovenian dessert called potica). There are also decorative items such as wall clocks, ceramic decorative magnets, earrings, etc. products2 She manufactures products for sale, but this does not yet enable her to make a living solely from this activity. Sometimes customers request a specific motif, so she occasionally makes custom orders (for Christmas and birthdays), but she still likes to follow her creative inspiration. Some products were created as part of a local handicraft colony for a group exhibition. products3 She sells her products at the DUO craft center in Škofja Loka and occasionally at fairs. She does not yet have an online store, but plans to launch one soon. She posts photos of her products on Facebook and Instagram so that customers can order them (she delivers them to their homes or they can pick them up themselves). products4 She makes custom-made items sometimes, but does not provide any other services. products5 No. products6 Anyone who likes ceramics and appreciates unique handcrafted items. products7 Her products carry the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 She participates in various tourist events (fairs, workshops) in Škofja Loka, which are visited by domestic and foreign tourists, organized by the DUO Craft Center and in Ljubljana through the Artish summer fairs. Once a year, she participates in a local crafts colony and group exhibition. tourism2 Vse keramične izdelke rada delam in včasih se moram prav zavestno odločiti, kaj bom izdelala najprej, da ne skačem z enega izdelka na drugega (smeh). I enjoy making all ceramic products, and sometimes I have to consciously decide what to make first so that I don't jump from one product to another (laugh). partnership Ana is a member of the DUO Škofja Loka Handicraft Centre and the Škofja Loka Regional Chamber of Crafts and Arts. challenges1 She is currently setting up an online shop and hopes to establish permanent cooperation with a souvenir shop in a tourist destination in Croatia, which she is already negotiating. She would also like to work with her husband, who works with wood. They already had this in mind when choosing the brand name for her products, Cerawoods. One day, she would like to make a living from her work. challenges2 "Ko se res posvetiš samo temu (glini), en mir ti da. To je fajn služba. " (When you really devote yourself to just that (clay), it gives you a sense of peace. It's a great job.) references https://www.centerduo.eu/en/masters-of-crafts/ana-trampus-cerawoods/ https://www.centerduo.eu/druzinska-delavnica-ustvarjanja-iz-gline/ https://www.facebook.com/cduo.skofjaloka/photos/dru%C5%BEinska-delavnica-ustvarjanja-iz-gline-vabljeni-na-delavnico-ustvarjanja-iz-gl/936398151866654/?_rdr Social Media The social media links. facebook,https://www.facebook.com/ana.trampus;instagram,https://www.instagram.com/cera.woods/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ana_Trampuš Prim Media 2141 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ana Trampuš Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1982 Language A language of the resource English,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 825 Source A related resource from which the described resource is derived artisans,uppercarniola Spatial Coverage Spatial characteristics of the resource. current,46.1564750452414,14.311619759188; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Ana Trampuš Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.cerawoods.com https://culturality.museum/omeka/files/original/741d6cb5efa8cdc517f93bc210da7052.jpg a5b5d79c2317552aeb0d463aded9ca95 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Forged pan made from a single piece. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Steel. Natural Cultural Cultural Function Useful product for cooking or frying or baking. Creation Purpose For wholesalers and individual customers in Krmelj's online store. Technique The pan is hand-forged from a single piece using traditional blacksmithing techniques - flattening and stretching hot steel with a spring hammer an manual hammer and hardening. Material Source The steel is purchased from retailers in Slovenia, who source it from various suppliers abroad. Conecept Blacksmithing has been a family craft for seven generations; production still takes place in the traditional way, with each piece passing through the hands of blacksmiths who work it by hand. This means that every item is unique, despite being mass-produced. Production Quality Several hundred per year. External ID ZRCSAZU_AR_04(3) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft metalwork Tool Fireplace, blacksmith's hammer, tongs, grinding tools, woodworking tools. Place The town or city Log nad Škofjo Loko 13, 4220 Škofja Loka Prim Media 2137 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Forged pan made from a single piece. Type The nature or genre of the resource Physical Object Description An account of the resource A unique forged pan with a diameter of 21 centimeters and a handle made from a single piece. Suitable for use on all types of heat sources and with low energy consumption. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Creator An entity primarily responsible for making the resource 2121 Extent The size or duration of the resource. 21cm x 5cm x 21cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 823 Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://mro.si/en/iron-forging-museum-kropa Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp. 627-628). Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kovana ponev iz enega kosa Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/3450bb4d660568256e325507c90877e2.jpg dce5f94d18b8f2cb17697007755ec2ce Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A series of identical heavy hammers, where it is clear that each product is slightly different and unique due to being handmade. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Steel and wood. Natural Cultural Cultural Function Useful product (tool for striking). Creation Purpose For wholesale. Technique These types of products are manufactured in large quantities at a time, as this is the only way to make the work profitable. First, the steel is cut into pieces. The hot material is processed under a spring hammer. First the hole for handle is made, followed by processing to the basic shape. Processing to the final shape includes hardening, grinding, polishing, and coating. The first stages are already prepared so that when an order is received, work can be completed quickly and the products can be delivered to the customer as soon as possible. Therefore, some products are half-finished, while others are almost complete. They forge continuously, even for stock that is sufficient for two years or even more. Material Source The steel is purchased from retailers in Slovenia, who source it from various suppliers abroad, while the wood is Slovenian. Conecept Blacksmithing has been a family craft for seven generations; production still takes place in the traditional way, with each piece passing through the hands of blacksmiths who work it by hand. This means that every item is unique, despite being mass-produced. Production Quality Massive production. External ID ZRCSAZU_AR_04(2) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft woodwork,metalwork Tool Fireplace, blacksmith's hammer, tongs, grinding tools, woodworking tools. Place The town or city Log nad Škofjo Loko 13, 4220 Škofja Loka Prim Media 2135 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hand forging hammer Type The nature or genre of the resource Physical Object Description An account of the resource Hand forging hammer with a wooden handle, on which a heavy metal part is mounted. Creator An entity primarily responsible for making the resource 2121 Extent The size or duration of the resource. 30cm x 4cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 822 Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://mro.si/en/iron-forging-museum-kropa Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp 627-628). Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ročno kovaško kladivo Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/978f1f9e016e045ae54750a9e1c066d5.jpg 98d78443b339f3838cb74875fffad1ad Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Damascus knife with a wooden handle. In the background, more Damascus knives with handles made of various materials can be seen. The photograph was taken in Krmelj's small museum, where some of his products are on display. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Steel and wood. Natural Cultural Cultural Function Useful and art product. Creation Purpose The product is a time-consuming work of art that allows for creativity. Jože Krmelj makes Damascus knives in his spare time out of his own joy and enthusiasm for the technique. His customers are individuals from Slovenia and abroad who want a high-quality product that is also a unique work of art. Knives only can be purchased in Krmelj's online store or from him personally, but they are not always available. Technique The Damascus knife is handmade from approximately 320 thin layers of special steel. The technique is around 3,000 years old. The handles are also handmade (from wood, animal bones, horn; there is even a product with an ivory handle in the display case). To make Damascus steel, a special material with a specific chemical composition is used in plates of two different colors (darker and lighter). Ten plates are first stacked on top of each other, alternating between the lighter and darker colors. This "package" is forged to create a connected, homogeneous structure in which the colored layers are visible. This material must then be folded five times. After the first folding, 20 layers are obtained, followed by 40, then 80, 160, and finally 320. Once the material has been welded, it is shaped into a knife using a forging process, and finally a handle is added. Jože Krmelj makes the handles himself from various materials, including wood, horn, and bone. He also makes wooden sheaths for the knives, while the leather sheaths are sewn by another craftsman.Each knife has a custom-made sheath made of wood or leather. The wooden sheaths are made by Jože Krmelj himself, while the leather ones are sewn by another craftsman. Material Source Steel with a special chemical composition (different from that used for tools) is purchased from a local distributor. Conecept Blacksmithing has been a family craft for seven generations; production still takes place in the traditional way, with each piece passing through the hands of blacksmiths who work it by hand. This means that every item is unique, despite being mass-produced. Damascus knives are made by Jože Krmelj in his spare time when no one else is in the workshop (the knives are not part of wholesale production). He has been using this technique since 2010, when he trained with master craftsmen in Austria. Production Quality Small production, very few items per month; Up to 30 or 50 pieces per year. External ID ZRCSAZU_AR_04(1) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft woodwork,metalwork Tool Fireplace, blacksmith's hammer, tongs, grinding tools, woodworking tools. Place The town or city Log nad Škofjo Loko 13, 4220 Škofja Loka Prim Media 2133 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Damascus knife Type The nature or genre of the resource Physical Object Description An account of the resource The Damascus knife is a unique, high-quality, and artistic product. These knives come in various sizes, but most often (like the one in the picture) the metal blade is 21 cm long , width 3-6cm and 2 mm thick. The blade is embedded in a handle, which is usually 12-14 cm long and made of various materials (wood, horn, bone). Date A point or period of time associated with an event in the lifecycle of the resource 2025 Creator An entity primarily responsible for making the resource 2121 Extent The size or duration of the resource. 21cm x 4cm x 21cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 821 Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://mro.si/en/iron-forging-museum-kropa Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp 627-628). https://en.wikipedia.org/wiki/Damascus_steel Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Damaščanski nož. Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/d02e820e09d6eee093c04c5286df560e.mp4 dee854382178cc4f619f3fbeb9227697 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Demonstration of forging with a blacksmith's hammer. The video was taken during an excursion by Culturality project collaborators. Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-27 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/ZRCSAZU_CP_04_09_.mp4 https://culturality.museum/omeka/files/original/801efef7380b6579f094850e98def5db.jpg 6df5ab1a53e27d9238c8f00f92e2d271 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wooden tool holders made in the Krmelj joinery workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/9dced9520ffdf33e4b36e07210edf3e6.jpg 58e364ed8ca51c756d0693e4ddaa1144 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Semi-finished product from which various tools (hammers, axes, ice axes, etc.) are made by forging. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/32918e385b0652c8f8900df8a9e049c7.jpg 76d451468e580fd5a6cb563566af27b9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anvil Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/6e8cbad55feeeee91ec781c218d171fe.jpg 2c504dbcd5f255a877717212e0d196d8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Grinding the product on a grinding machine. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/b227f28cda31538dd6122f13ced692d4.jpg 46abe809903334516cbd62dcdf3d022e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hardening by cooling hot steel in water. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/c929cec2484d69e2aa44a8a78f8d25cc.jpg 37823f2a7747acfa0ef32441d4ddf2c6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A blacksmith shapes a product under a forging hammer. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/d0bdaf26d4ef39dc350684094f3337e5.jpg 70ef220a3f115f3d4fafdecedf36fa5e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Red-hot furnace. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/3246250fe3df12b87178657c7ae609b9.jpg 7c0920160ffe6fd169c236dce529f3bb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Steel cut into pieces, the basis for the manufacture of steel tools. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Blacksmithing is closely connected to various other cultural practices, as it has historically helped shape community life, traditional crafts, and symbolic expressions. Craftsmanship – Blacksmithing is intertwined with woodworking (metal parts for furniture and tools), pottery (metal tools for shaping), leatherworking (metal buckles and fittings), and carpentry (nails, pins, door hardware). Oral traditions and storytelling – Tales of blacksmiths are common in folklore, where they are often portrayed as wise and strong figures. In mythology, the blacksmith often held a special status (e.g., Perun’s blacksmith in Slavic mythology). Festivals and fairs – Blacksmiths frequently participated in traditional fairs, where they showcased their products. In Slovenia, events like Kovaški šmaren in Kropa are still popular today. Performing arts – Folk plays, songs, and dances often include themes of blacksmithing (e.g., the rhythmic sound of hammering). Puppet theatre also occasionally features blacksmith characters. Social and economic practices – Blacksmiths played a central role in local communities as essential craftsmen, often with high social status. Beliefs and symbolism – Blacksmithing is often associated with protective symbols (e.g., the horseshoe as a sign of good luck) and was once believed to offer magical protection against evil spirits. These connections show that blacksmithing is not merely a technical craft but a rich cultural practice that weaves together knowledge, tradition, and community life. Field Worker Barbara Ivančič Kutin Climate Threats Mining Technological Threats Industrial production Weakened Practice Diminishing youth interest Climate Actions Community Engagement SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_04 AI Tools Yes AI Content Deepl Translator, general information. Knowledge The work of a blacksmith requires enjoyment of work, sufficient physical strength, agility, and endurance for working in hot conditions, as well as a sense of design and precision. Although the work is rough and requires physical strength, a forger must also have a soft side, because without softness and the right feeling, a beautiful product cannot be created. Knowledge Transfer Today, traditional (manual) blacksmithing is dying out. Kovaštvo Krmlelj is one of the few tool-making smithies in Slovenia (or the only one???). Master blacksmith Jože Krmelj has passed on all his knowledge to a younger employee, and for the last two years they have also had an apprentice from a vocational metalworking school. Every Saturday, Jože Krmelj holds one-day workshops for 5 to 7 people, but these are not intended for training, but rather for viewing and experiencing blacksmithing. The workshops are booked up several months in advance and are attended by interested people from Slovenia, including design students, as well as people from abroad, including Australia, Tasmania, and the USA. Practitioners In the case of Krmelj blacksmithing, it is a family tradition that has been passed down from generation to generation for seven generations. That is why blacksmithing and its products are a family heritage. Only men are employed in the workshop, as the working conditions are extremely difficult: physical strength is required, and the workshop is hot and noisy. Function Transfer of traditional crafts, providing income for the workshop owner and thus for the family and workshop employees. Origins and change Blacksmithing was an important craft in the past, enabling the production of metal products needed for tools and other implements used in agriculture (farming, livestock breeding) and household chores, etc.). The most important advance came with the invention of the spring hammer machine, which greatly facilitated the work of blacksmiths, who previously used only their own physical strength to shape metal products, and other electric machines (welding apparatus, grinding machines). On the machine it is possible to regulate the speed and power of the punch. Nevertheless, most of the work is still done by hand, using open fire and manual shaping and hardening. The Krmelj blacksmith's workshop still uses machines and tools that are 100 years old and are still perfectly adequate today. This is why all products are unique, which distinguishes them from mass-produced (industrial), technologically advanced, and automated production. Access to raw materials is easier today, and the product assortment has also changed to some extent, as customer needs are different. Organisations No specific organisation is linked to this practice. Places There are only two blacksmiths in the region who make tools; traditional blacksmithing is now a very rare craft. Artefacts These are forged tools of all kinds, but mostly cutting tools (various axes, sickles, pruning hooks, as well as ice pickaxes, shovels, hammers, etc.). They are used for various tasks in the garden, in the field, in the forest, in the household, but also as equipment for firefighters, tools for masonry, butchery, and archaeological excavations. Technological Threats Description Machine-made products are all the same and can be much cheaper; they don't involve as many hours of manual labour. Not all customers recognise this. Weakened Practice Description This is an artistic practice, so none of these threats are relevant. State of the practice stable Social sustainability The craft of blacksmithing in Krmelj has been passed down from generation to generation. Environmental sustainability There is almost no waste, as it is completely recycled, and a few buckets per year are sold to a landfill site for raw materials. Heat from the stove is stored in storage tanks and used to centrally heat the house and both workshops. Economic sustainability It provides a living for the owner and 5 employees. Place The town or city Log nad Škofjo Loko, Gorenjska, Slovenia Place Description The village Log nad Škofjo Loko (Log above Škofja Loka) is situated in the Poljanska valley, about 10 km south-west of Škofja Loka, where the municipal center is located. Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional Blacksmithing Type The nature or genre of the resource Intangible Description An account of the resource Blacksmithing is a traditional craft in which a blacksmith heats metal, usually iron or steel, and shapes it with hammer blows on an anvil. Using this ancient technique, they create tools, horseshoes, hardware, knives, artistic objects, and even sculptures. A blacksmith needs well-developed skills, strength, and precision, as the work involves mastering fire, temperature, and the properties of metal.In Slovenia, blacksmithing has a long history connected to mining and ironworking, especially in areas like Kropa, Železniki, and Ravne na Koroškem. Today, the craft is less common, but it is still preserved by artistic blacksmiths, museums, and ethnographic events. Besides Krmelj, there is only one other blacksmith in Slovenia that produces practical (cutting) tools. Creator An entity primarily responsible for making the resource 2121 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 820 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Baš, Angelos (ed.), 2004: Slovenski etnološki leksikon (Slovene Ethnological Lexicon). Ljubljana: Mladinska knjiga. https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://www.centerduo.eu/mojstri-rokodelci/kovastvo-krmelj/ Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp 627-628). https://www.etno-muzej.si/en/digitalne-zbirke/kljucne-besede/kovastvo Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kovaštvo Krmelj Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Contact info@kovastvo-krmelj.si Author iain Email The email address of the museum. info@kovastvo-krmelj.si Phone The phone number +386 (0)41 503 749 Prim Media 2117 Biographical Text Jože Krmelj (1963) spent his childhood in the village of Studeno in the Selška Valley and trained as a carpenter at the woodworking school in Škofja Loka. He then worked as a carpenter in the Alples furniture factory in Železniki. In 1983, he got a job at his ) wife's family's blacksmith shop.as an assistant blacksmith. The family has been involved in blacksmithing for seven generations since 1870, and since 1938 at their current location in Log pri Škofji Loki. Until 1990, his father-in-law managed the blacksmithing production of tools with a total of four employees. The most important blacksmithing product among cutting tools were axes. When his father-in-law was injured in 1990, he handed over the management of the blacksmith's workshop to Jože, who also took on the role of head blacksmith. He learned the blacksmith's trade by watching in the workshop as a self-taught apprentice. He added many new blacksmithing items to the production range and also set up a woodworking workshop for the production of tool handles. In 2010 he learned knife forging from two experienced master blacksmiths in Austria. Today, these knives are highly sought after for their uniqueness, quality and, last but not least, artistic appearance. All the blacksmith products from the workshop are hand-forged under an spring hammer and are unique, made from high-quality steel. The company now employs six people, including a young blacksmith whom Jože trained himself and an apprentice who is currently undergoing training. Kovaštvo Krmelj manufactures useful blacksmith products for partners in Slovenia, Germany and France. Jože Krmelj has grown to love the work of a blacksmith and finds it extremely enjoyable. On Saturdays, he runs blacksmithing workshops, which are attended by students from all over the world. In 2021, he was awarded the title of Craftsman of the Year. As one of the few blacksmiths in Slovenia, he received the Zlata vitica (Golden Vine) Award for special achievements in handicrafts in 2012. External ID ZRCSAZU_PR_04 Knowledge Acquisition Jože retrained from joinery to blacksmithing when he married into a family of blacksmiths in 1984 and found employment there as an assistant blacksmith. He taught himself blacksmithing by watching in the workshop, searching for information independently and experimentation an within a lot of practice. In 2010 he learned knife forging from two experienced master blacksmiths in Austria. Knowledge Transfer Jože trained a younger employee, who now works for them and also trains apprentices. Every Saturday, he runs one-day blacksmithing workshops, which are attended by participants from Slovenia and abroad. Workshops accept 5-7 participants, are very popular, and are fully booked several months in advance.This course is intended solely to introduce participants to the blacksmithing process and give them a chance to try it out. Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Deepl translator. Gender male Area Relation native Area Reason A local resident of the Škofja Loka area since birth. He moved to his wife's family home in the village of Log nad Škofjo Loko from the neighboring Selška Valley in 1984. Occupation woodwork,metalwork,artist Involvment full-time paid job knowledge1 The work of a blacksmith requires enjoyment of work, sufficient physical strength, agility, and endurance for working in hot conditions, as well as a sense of design and precision. Although the work is rough and requires physical strength, a forger must also have a soft side, because without softness and the right feeling, a beautiful product cannot be created. material1 In the workshop, they use only special so called steel for improvement, which is suitable for hardening. For Damascus knives, a special material with a specific chemical composition is used in plates of two different colors (darker and lighter). Wood is used to make the handles: elm, acacia, American oak. material2 The material known as steel for improvement is purchased from a Slovenian supplier. More than the origin (which is from various countries), they are interested in the highest quality of raw materials, which is determined by special markings. The wood for the handles is Slovenian, purchased at a sawmill in Metlika, where they also cut the boards to the appropriate thickness. material3 There is very little waste, just a few buckets per year. These are sold to a landfill as raw material. Everything else is recycled (reprocessed), i.e. reused. production1 First, the steel is cut into smaller pieces that will be processed. Then, using a forging process (heating the steel to a high temperature and hammering it with a sprin hammer machine (while turning the piece by hand), they first punch a hole for the handle, then forge it into its basic shape (axe, hammer, ice axe, etc.). This is followed by hand finishing to the final shape: hardening, grinding, polishing, and sharpening. The Damascus knife is handmade from 320 thin layers of steel. The technique is around 3,000 years old. To make Damascus steel, a special material with a specific chemical composition is used in plates of two different colors (darker and lighter). Ten plates are first stacked on top of each other, alternating between the lighter and darker colors. This "package" is forged to create a connected, homogeneous structure in which the colored layers are visible. This material must then be folded five times. After the first folding, 20 layers are obtained, followed by 40, then 80, 160, and finally 320. Once the material has been welded, it is shaped into a knife using a forging process, and finally a handle is added. Jože Krmelj makes the handles himself from various materials, including wood, horn, and bone. He also makes wooden sheaths for the knives, while the leather sheaths are sewn by another craftsman. production2 The most basic tools are a fireplace which is heated with charcoal and has a mechanism for supplying air (this regulates the temperature, which is ideal for forging at around 900 degrees Celsius); an spring hammer, a hand-held forging hammer, and tongs for gripping or turning hot pieces. A barrel of water or oil is needed for tempering steel. In addition, a grinding machine, welding equipment, and protective equipment such as gloves, goggles, and noice earphones are also used. production3 Good tools are extremely important to blacksmiths; tools for The most important tool is the machine spring hammer, which is over 100 years old at the Krmelj family's workshop and is maintained and repaired by them. This machine has greatly (physically) eased the blacksmiths' work. Since it works perfectly, there is no need to replace it. Most of the other tools are also made in the blacksmith's workshop and are regularly maintained and repaired at home. The tools are part of the family heritage. production4 The furnaces are coal-fired, the springhammer (machine), grinding and welding machines are electrically powered.The other tools are manual. production5 There is no waste, as all waste is recycled through re-forging. Only a few buckets per year are sold to landfill as raw material. workshop Krmelj's smithy is a separate building right next to the family home. There is also a separate building for a woodworking workshop next to the house. The office is located in the family house, which also has internal access to the smithy. products1 They have a wide range of products, more than 500 items. They mainly manufacture cutting tools: garden, forestry, carpentry tools,firefighting,bbutcher's tools ... such as various types of axes, sickles, as well as claws and hammers. Their their latest products are some rustical items such is a frying pan. Since 2010, when he is alone in the workshop, he have also been manufacturing Damascus knives. All their products are useful. products2 The products are forged for sale for Slovenian and foreign customers or distributors, mostly in large quantities. products3 The tools can be purchased in various shops supplied by wholesalers who order the products from the smithy; Jože Krmelj also collaborates with German and French companies who order products from them and sell them in their shops, including through a web catalog. The products can also be purchased in person at the blacksmith's shop or via the online store. Damascus knives are avaliable in his workshop only. products4 They manufacture custom-made products and also repair their products as well as all other steel tools. products5 Yes, both for our own products and for steel products from other manufacturers. products6 All these individual or grosist customers from Slovenia and abroad who want high-quality, durable, handcrafted, and useful products that suit their needs. Repair services are most often used by individuals. products7 His products has the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 Is the operator involved in tourism-related activities? What kind of activities? When do they take place? Who are the tourists (e.g., domestic, foreign)? tourism2 "Mi ne rabimo nobene reklame. Mi sami sebi ne oglašujemo. To opravijo zadovoljne stranke." Translation: "We don't need any advertisment. We don't advertise ourselves. Satisfied customers do that for us." partnership Jože is a member of the DUO Škofja loka Handicraft Centre DUO. He occasionally collaborates with the municipality and other institutions when they order protocol gifts – they come to him directly; he does not offer his products around. Cooperation with kindergartens, schools, and the DUO center also takes place in such a way that interested parties ask in advance to observe the process, participate in a workshop, or learn (apprenticeship). challenges1 He is very satisfied with his work and life and has no complaints. He enjoys facing creative challenges in developing new products; there are many problems to solve to ensure that a new product is of the highest quality. He is saddened by the decline of the blacksmithing trade, which no longer interests young people. Jože Krmelj puts product quality first and has no desire to expand. Efforts to preserve the craft and tradition of blacksmithing have always been a priority and still confirm the wisdom of their business decisions today. challenges2 "Spoznali smo namreč, da se je industrija modernizira in lahko naredi velike serije izdelkov, pa jih težko prodajo, ker so to izdelki brez duše. Mi pa malo naredimo in lahko prodamo, ker smo videli, da trg išče kvalitetne, unikatne, ročne kose, v tem je naša prednost. Izdelki z dušo. Vsak kos je unikaten." Translation: "We realized that the industry is modernizing and can produce large series of products, but they are difficult to sell because they are soulless products. We produce small quantities and can sell them because we have seen that the market is looking for high-quality, unique, handmade pieces, and this is our advantage. Products with soul. Each piece is unique." references https://www.centerduo.eu/mojstri-rokodelci/kovastvo-krmelj/ https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://365.rtvslo.si/arhiv/vizionar-obrtnik-in-podjetnik/174940812 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jože_Krmelj Shop https://www.kovastvo-krmelj.si Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jože Krmelj Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource German,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 819 Source A related resource from which the described resource is derived artisans,uppercarniola Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Jože Krmelj Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.kovastvo-krmelj.si https://culturality.museum/omeka/files/original/b88a203d557c2c1ccd517550eaa0492b.jpg cad95767de3bb8b086ba1ae8a6e8dcf7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Krmelj's joinery workshop, where they make tool handles and other wooden products, which are part of the finished metal product (e.g., knife cases, wooden cutting boards). Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 13.02.2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/90f3ca41a98f03b856c88aa699a5075e.jpg acbc232f05f05871be1691314e783657 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Krmelj blacksmith's workshop (exterior of the building). Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13.02.2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/9ddd5627a4dca8378623841021f59921.jpg 22e6866b37999f4175e409369c4fe494 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Krmelj blacksmith's workshop (interior). Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13.02.2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/6bf82cc54969724b0161eee5a67df22e.jpg 85c8eba315928b219780a06cf99b3899 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jože Krmelj in his blacksmith's workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13. 2. 2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/65cf74136746f86abeb56be1d3513ed2.jpg 70685e6a3d42d560661c2d3cfa8346a3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Golden Bird. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-21 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Clay, handmade lace, wood. Natural Cultural Cultural Function Decorative wall relief - illustration of the slovenian folk tale "The Golden Bird". Creation Purpose The relief was created for the exhibition of works by Lidija Debelak titled "7 Fairytale Ones", held in May 2024 in Škofja Loka. The artist found inspiration for the exhibited works in folk tales and fairy tales. This painting depicts a motif from the Slovenian folk tale The Golden Bird. Technique The artwork is composed of a combination of air-dried clay pieces on a wooden base. The pieces are cut from rolled clay, dried and painted, then glued onto a painted wood base. Material Source She buys clay and acrylic paints from the shop, gets wood from a local joiner. Conecept In the clay reliefs of Lidija Debelak, which represent an aesthetic intersection of tradition and modernity, a wide variety of motifs can be found. She draws inspiration from the slovenian folklore. This is a motif from the Slovenian folk tale "The Golden Bird." Production Quality Only a few items have been made with this exact motif. External ID ZRCSAZU_AR_03(5) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft other (specify) Tool Roller, knife, brushes. Place The town or city Gorenja vas, Gorenjska, Slovenia Prim Media 2116 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Golden bird: Relief made from air-dried clay on wooden base. Type The nature or genre of the resource Physical Object Description An account of the resource Decorative wall relief: the artwork is illustration of a motif from the Slovenian folk tale "The Golden Bird". Date A point or period of time associated with an event in the lifecycle of the resource April 2024 Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. 35cm x 2cm x 35cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 818 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.centerduo.eu/mojstri-rokodelci/lidija-debelak/ https://www.centerduo.eu/razstava-izdelkov-lidije-debelak-pravljicnih-7/ http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Zlata ptica: Relief iz zračno sušene gline na lesu. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/f906437aeb5c72d6cd8c77d829611b93.jpg 10313f7be09e4fe35dd2c8d6e49ba510 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geeeting card with a Slovenian folk motif combined with Slovenian handmade lace on paper in a cardboard gift box. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource February 2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Vito Debelak Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Clay, handmade lace, paper. Natural Cultural Cultural Function A usable and decorative product. Creation Purpose For sale. Technique The greeting card is composed of a combination of air-dried clay pieces and handmade lace on paper base. The pieces are cut from rolled clay, dried and painted, then glued onto a painted wood base. This piece also has lace added, as the artist wanted to emphasise the Slovenian motif. Material Source She buys clay and acrylic paints from the shop, gets wood from a local joiner, handmade lace is made by a local lady. Conecept The product is innovative. Some Slovenian folklore motifs, such as red carnations, are linked to the tradition; in this case also the complement of handmade lace - Making Slovene bobbin lace is registered in the Register of Slovenian Intangible Heritage: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-slovene-bobbin-lace Production Quality Only a few items have been made with this exact motif. External ID ZRCSAZU_AR_03(4) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft other (specify) Tool Roller, knife, brushes. Place The town or city Gorenja vas, Gorenjska, Slovenia Prim Media 2114 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Greeting card: Relief made from air-dried clay and handmade lace on paper. Type The nature or genre of the resource Physical Object Description An account of the resource The greeting card with a Slovenian motif is a collage of air-dried clay and handmade lace on paper in in a cardboard gift box. Date A point or period of time associated with an event in the lifecycle of the resource Dec-24 Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. 10cm x 0.1cm x 10cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 817 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.centerduo.eu/mojstri-rokodelci/lidija-debelak/ https://www.centerduo.eu/razstava-izdelkov-lidije-debelak-pravljicnih-7/ http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Voščilnica. Relief iz zračno sušene gline na in čipke na papirju. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/59238928c6825a633d066ddc1f7b3eaf.jpg 3388d4bef945fbea6d1210224c42cc10 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorative relief with angel motif in cardboard gift box. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-21 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Clay, wood. Natural Cultural Cultural Function Decorative relief. Creation Purpose The piece was made for sale. Technique The artwork is composed of a combination of air-dried clay pieces on a wooden base. The pieces are cut from rolled clay, dried and painted, then glued onto a painted wood base. Material Source She buys clay and acrylic paints from the shop, she gets wood from a local joiner. Conecept The product is innovative. Production Quality It depends on the inspiration. Each product is unique. External ID ZRCSAZU_AR_03(3) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation (deepl translator). Craft other (specify) Tool Roller, knife, brushes. Place The town or city Gorenja vas, Gorenjska, Slovenia Prim Media 2112 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angel. Relief made from air-dried clay on wooden base. Type The nature or genre of the resource Physical Object Date A point or period of time associated with an event in the lifecycle of the resource January 2025 Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. 10cm x 1cm x 10cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 816 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.centerduo.eu/mojstri-rokodelci/lidija-debelak/ https://www.centerduo.eu/razstava-izdelkov-lidije-debelak-pravljicnih-7/ http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Angel. Relief iz zračno sušene gline na lesu. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2109 Material Clay, flooded wood. Natural Cultural Cultural Function Decorative wall relief. Creation Purpose The piece was made as a wedding gift and was also exhibited in Lidija Debelak's solo exhibition in 2022. Technique The artwork is composed of a combination of air-dried clay pieces on a wooden base. A a piece of wood for this product was picked up on the seashore. The pieces are cut from rolled clay, dried and painted, then glued onto a painted wood base. Material Source She buys clay and acrylic paints from the shop, a piece of wood was picked up on the seashore. Conecept The product is innovative. Production Quality The piece is unique. External ID ZRCSAZU_AR_03(2) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft other (specify) Tool Roller, knife, brushes. Place The town or city Gorenja vas, Gorenjska, Slovenia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Relief: air-dried clay on flooded wood. Type The nature or genre of the resource Physical Object Description An account of the resource Decorative wall relief: the artwork is composed of a combination of air-dried clay on flooded wood. Date A point or period of time associated with an event in the lifecycle of the resource January 2022 Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. 35cm x 2cm x 25cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 815 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.centerduo.eu/mojstri-rokodelci/lidija-debelak/ https://www.centerduo.eu/razstava-izdelkov-lidije-debelak-pravljicnih-7/ http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Relief: na zraku sušena glina na naplavljenem lesu. Spatial Coverage Spatial characteristics of the resource. current,46.1072,4.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/8dcfeb77d8711f84e3fbd8658babcbd8.jpg 95ebe716bec7a3a1d4196816ea609af6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorative wall relief with a Slovenian artistic motif combined with Slovenian handmade lace. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource January 2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Vito Debelak https://culturality.museum/omeka/files/original/cd6114780aa71fdbb3e9e2ac2c55ed1c.jpg 8c3bb25a1c41b4252c9934831429983d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID ZRCSAZU_AR_03(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felted brooch Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-13 Spatial Coverage Spatial characteristics of the resource. current,46.0478599144413,14.5047086035969; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Manca Filak Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Clay, handmade lace, wood. Natural Cultural Cultural Function Decorative wall relief. Creation Purpose The piece was designed for a ceremonial occasion—as a gift from the Slovenian delegation for the inauguration of the U.S. President in 2025. Technique The artwork is composed of a combination of air-dried clay pieces and handmade lace on a wooden base. The pieces are cut from rolled clay, dried and painted, then glued onto a painted wood base. This piece also has lace added, as the artist wanted to emphasise the Slovenian motif. Material Source She buys clay and acrylic paints from the shop, she gets wood from a local joiner, handmade lace is made by a local lady. Conecept The product is innovative. Some Slovenian folklore motifs, such as red carnations, are linked to the tradition; in this case also the complement of handmade lace - Making Slovene bobbin lace is registered in the Register of Slovenian Intangible Heritage: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-slovene-bobbin-lace Production Quality Only a few items have been made with this exact motif. External ID ZRCSAZU_AR_03(1) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Translation. Craft other (specify) Tool Roller, knife, brushes. Place The town or city Gorenja vas, Gorenjska, Slovenia Prim Media 2108 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Relief made from air-dried clay on wooden base. Type The nature or genre of the resource Physical Object Description An account of the resource Decorative wall relief: the artwork is composed of a combination of air-dried clay pieces and handmade lace on a wooden base. The piece was designed for a ceremonial occasion—as a gift from the Slovenian delegation for the inauguration of the U.S. President in 2025. Date A point or period of time associated with an event in the lifecycle of the resource january 2025 Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. 20cm x 1cm x 20cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 814 Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.centerduo.eu/mojstri-rokodelci/lidija-debelak/ https://www.centerduo.eu/razstava-izdelkov-lidije-debelak-pravljicnih-7/ http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Relief iz zračno sušene gline na lesu. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/cff35cc1b0755edc3f7303fa50646eb9.jpg 0fc270135d5c13c2fed1414bdbafc3ab Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carving tools that can also be used when working with rolled clay. The tool had previously belonged to Lidija's grandfather. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/8874eea177bb05d699959a0b9479ccd5.jpg a4d1654e98d464a1ae1abc29d9d959b7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sharp knife for cutting shapes out of rolled clay. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/63734a31ea404ac079e7a02318ed0446.jpg 9e0620121f0946ac3b85656294e3a295 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija rolls out the clay with a wooden kitchen roller. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Lidija Debelak includes in her works motifs that are part of local and Slovenian folklore and tradition, e.g. the ornaments of the Mali kruhek (Little Bread), entered in the Slovenian Register of Intangible Heritage: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models )); she uses traditional ornaments which are on paintings of old chests; on her reliefs she applies handmade lace, which is also entered in the National Register of Intangible Heritage (Making Slovene bobbin lace:http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-slovene-bobbin-lace). Field Worker Barbara Ivančič Kutin Technological Threats Industrial production Climate Actions Community Engagement SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_03 AI Tools Yes AI Content Deepl Translator. Knowledge She had previously taken a pottery course (on the spindle), but this did not suit her and she wanted a different approach to clay as a base material. She developed the technique of making reliefs from air-dried clay by experimenting on her own. Knowledge Transfer She herself is passing on the knowledge to younger generations through 4 workshops for primary school children and one for adults. However, the procedures are lengthy and therefore the product cannot be made in a short workshop. That is why she does not have many such workshops. Practitioners The practice of air-dried clay products is unique in this environment, and Petra Debelak knows no one else in Slovenia who is engaged in this type of practice. Function This practice enables personal and community development, contributes to the sustainable development of local environments, connects tradition with modern life, and facilitates the transfer of knowledge through workshops. Origins and change The technique is unique. Initially, Petra used " bobrovci" - a ceramic roof tile - for the underlay. Later, she changed this to wooden panels (mediapan or natural wood). The technique progressed with experience and practice, so that the products became more and more sophisticated. The tools remain the same, and there are very few of them (roller, small sharp knife, brushes). Organisations No specific organisation is linked to this practice. Places The workshops took place in a primary school Gorenja vas and at the DUO Handicraft Centre in Škofja Loka. Artefacts Making reliefs from dry clay does not require many tools. Pre-prepared materials are the basic wooden tiles, which is prepared by the joiner using machines.Gift packaging is produced by a local manufacturer. Economic Threats Description High taxes and margins. Technological Threats Description Machine-made products are all the same and can be much cheaper; they don't involve as many hours of manual labour. Not all customers recognise this. Weakened Practice Description This is an artistic practice, so none of these threats are relevant. State of the practice stable Social sustainability This practice does not require a lot of space or expensive equipment. Environmental sustainability There is no waste, practice does not require electricity. Economic sustainability This practice contributes to economic sustainability, opens up the market, strengthens local entrepreneurship, and enables individuals to earn a living. Place The town or city Gorenja vas, Gorenjska, Slovenia Place Description Gorenja vas is situated in the Poljanska valley, about 16 km south-west of Škofja Loka, along the Sora River and its right inflow, the tributary Brebovščićica. Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Prim Media 2104 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reliefs made from air-dried clay. Type The nature or genre of the resource Intangible Description An account of the resource For the ground she uses mediapan boards (groundwood panels), natural wood panels (from walnut wood) or pieces of wood she finds on the seashore. She paints mediapan base with acrylic paints, the natural wood with linen oil. The wood debris is left in its natural condition First, she draws the shapes on paper and cuts them out, then she puts them on the rolled clay and uses a sharp little knife to cut the shape out of the clay. Then she engraves an ornament on each piece. When the clay is almost air- dried, she patinates it with linseed oil. She then assembles the pieces into a complete motif on a wooden base and glues them. Then she paints the pieces with acrylic paints. All the stages of making the relief are carried out by hand, so that each product is unique. Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 813 Source A related resource from which the described resource is derived practices,uppercarniola Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reliefi iz zračnosušene gline. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/3c3e8ee1d44c6cae4b33cf75972e4a74.jpg bd2db7cac852489ffbda627202a3b876 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija Debelak v prodajni galeriji. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/74f52a23507532260c4270891b984bf8.jpg 71a9c68886ee8f7694dad4e322ca3d35 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lidija Debelek v soji delavnici. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 21.2.2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Artisan An artisan Contact lidija.debelak@gmail.com Author iain Email The email address of the museum. lidija.debelak@gmail.com Phone The phone number +386(0)31 206 123 Biographical Text Lidija Debelak showed an interest in handmade crafts from an early age, creating jewelry from materials she found in her surroundings. She attended a secondary school for woodworking and then worked for a year at Alples (furniture production). Later, she studied social work and, after graduating, got a job at the Red Cross in Škofja Loka, where she worked with refugees from Bosnia and Herzegovina. When the refugees returned home, she was left without a job, so she started creating reliefs on "bobrovci" (ceramic roof tiles). She soon received a positive evaluation from the Chamber of Craft and she obtained the ArtCraft SLO certificate. Soon after that, in 2000, she opened her own business for living. Even after 26 years, creating reliefs remains a great source of joy and inspiration for her, and she wouldn't change her job for anything in the world. The clay reliefs of Lidija Debelak incorporate a wide variety of motifs representing aesthetic crossroads of tradition and contemporariness. She finds her inspiration in the Škofja Loka "Little bread" , handmade inlays on traditional wooden chests, and in folk literature and beliefs. Her angels, horseshoes, carnations, golden birds and clay combined with bobbin lace take us through tradition to a modern design made in gaily colours. External ID ZRCSAZU_PR_03 Knowledge Acquisition She has developed her own technique through experimentation. Knowledge Transfer She has held a few workshops for children in primary school and one for adults at the DUO centre. However, the technique is not suitable for a short workshop as the processes are long, and the product cannot be made in a few hours as it needs intermediate drying between the different steps. Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Deepl translator. Gender female Area Relation native Area Reason She was born in Podpulferca near Škofja Loka and moved to Goranja vas, where her husband is from. The villages are in the same area. Occupation artist Involvment full-time paid job knowledge1 Making the reliefs requires, above all, the joy of working with clay, manual dexterity and, because the pieces are small, great precision. Because they are unique works of art, though, a sense of aesthetics and creativity is so important. material1 Wood as a base (sometimes also paper), clay, paints, glues, oils. Some products have additions made of other materials, e.g. handmade lace of thin thread. material2 She buys clay and acrylic paints from the shop, she gets wood from a local joiner, handmade lace is made by Mrs. Vera Miklavčič from Gorenja vas. material3 There is no waste. production1 The reliefs are a collage of air-dried clay pieces on a wooden base: the shapes are made of paper; pieces are cut from rolled clay, dried and painted, then glued to the painted /patinated wooden base. Some products, e.g. greeting cards, have a paper backing. Handmade lace and other materials are also added to some of the products. In addition to reliefs, Petra also makes jewellery with air-dried clay (earrings). production2 Roller, knife, brushes, chisles. production3 The most important tool is an ordinary small sharp knife to cut out the pieces from the rolled clay. Lidija also has a set of old carving chisels that belonged to her husband's grandfather, who carved guns. She uses this set for engraving ornaments. production4 All the work is done by hand. production5 There is no waste. workshop Lidija's small workshop in one of the rooms in the family house. She also has a small gallery/shop on the ground floor. products1 In addition to the decorative wall and other reliefs that form the main part, Lidija also makes jewellery from air-dried clay (earrings). products2 She makes products to sell, as that is how she earns a living. Sometimes customers ask for a motif they would like to have and then Lidija makes a bespoke product, but she still follows her creative inspiration (including protocol gifts). She also makes artwork for occasional (thematic) solo or group exhibitions. products3 She sells most of her artworks in her online store and in her small gallery shop at home. She also sells some handicraft cente and museum in Škofja Loka, and other galleries and museums in Slovenia . products4 Lidija also creates commissioned artworks (from her repertoire) for individuals or for museums, galleries or for different clients who order protocolar gifts, but she still follows her creative inspiration. products5 No. products6 Clients are from all over Slovenia; they buy products for themselves, but mostly as gifts for various occasions (weddings, baptisms, confirmations, anniversaries of all kinds, etc.). In more touristic places, such as Sevnica and Bled, many of the purchasers are foreigners. products7 Her products carry the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 She participates in different tourist events (fairs, exhibitions, workshops) in Škofja Loka, visited by domestic and foreign tourists. She cooperates with different museums and galleries and also administrative institutions e.g. municipality (protocol gifts). She cooperates with the Handicraft Centre DUO, and in this framework she and other craftsmen and craftswomen often present themselves together. She has had solo exhibitions at the Handicraft Centre DUO Škofja Loka, the premises of the UE Škofja Loka and Žigon's House. Each year, the Loka craftsmen have two group exhibitions. She ran workshops for children during the summer sessions and workshops for tourists during the creative sessions. She also participates in the exhibitions of the KD Deteljica. She participates in a local handicraft colony once a year. S tourism2 "Ta služba me je poiskala. To je moje veselje, moja strast." This job found me. It's my joy, my passion. partnership Lidija is a member of the DUO Škofja loka Handicraft Centre and the Škofja Loka Regional Chamber of Crafts and Arts. She cooperates with local school (occasional) and with different museums and galleries and also administrative institutions e.g. municipality , government (protocol gifts). challenges1 She has no particular problems. She only mentions the high margins in the shops. challenges2 Rokodelci naredimo vse z rokami, imamo pa iste marže in prispevke kot samostojni podjetniki, ki v trgovine pripeljejo kontejner masovno izdelanih angelčkov. Marže v trgovinah so zelo visoke od 30%, v Ljubljani tudi do 120%! We craftsmen make everything with our hands, but we have the same margins and contributions as the sole traders who bring a container of mass-produced little angels to the shops. The margins in the shops are very high, ranging from 30%, even up to 120% in Ljubljana! references http://www.duo-kunsthandwerk.eu/news_sl/detail/833 https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html https://www.kulturnadozivetja.si/en/art-and-craft-centre/masters-craftsmen/item/19-lidija-debelak.html https://www.youtube.com/watch?v=lVPyMzXVg_A Social Media The social media links. facebook,https://www.facebook.com/petraplestenjakrocnorezbarjenje;instagram,https://www.instagram.com/lidijadebelak_glinenireliefi/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Debelak_Lidija Prim Media 2102 Shop https://www.lidijadebelak.si/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Debelak Lidija Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource English,Croatian,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 812 Source A related resource from which the described resource is derived practices,uppercarniola Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Debelak Lidija Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.lidijadebelak.si/ https://culturality.museum/omeka/files/original/2800642915104dd71c24581cf1827a09.jpg b8b3c4e441c01c0647263e20c05bcb3e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A carved bowl, with the slogan Poglej in pojej - "See and savour" in the artist's workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Pear wood Natural Cultural Cultural Function Decorative. The bowl is occasionally used to put small breads in it (workshops). Creation Purpose Petra made the bowl for herself: at workshops and fairs, small bread rolls are put in a bowl to be eaten. Technique The bowl has a machine-turned centre (made by the craftsman Janez Jankovec) and the rim is hand-carved with chisels. The bowl is oiled and stacked. Material Source Wood and wood scraps Petra gets or buys from carpenters; sometimes she buys small boards from local farmers, especially if they have pear wood; sometimes she buys a piece of log, preferably pear. Production Quality Unikate. External ID ZRCSAZU_AR_02(3) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Chat GPT was used for summarisation and translation of the text. Craft woodwork Tool Various chisels, wooden hammer, natural brush. Place The town or city Škofja Loka, Gorenjska, Slovenia Prim Media 2099 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A carved bowl, with the slogan Poglej in pojej - "See and savour" in the artist's workshop. Type The nature or genre of the resource Physical Object Description An account of the resource A wooden decorative bowl. Date A point or period of time associated with an event in the lifecycle of the resource 2020 Creator An entity primarily responsible for making the resource 2088 Extent The size or duration of the resource. 27cm x 5cm x 34cm Contributor An entity responsible for making contributions to the resource iain Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html https://www.loski-muzej.si/spletni-arhiv-zusl/petra-plestenjak-podlogar/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Izrezljana lesena skleda z večjezičnim napisom "Pogflej in pojej" v delavnici Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/a5beb0c94aa42e98016037e4cb58fff6.jpg 75979d30870aa871d719c283bd5ce2a7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wodden bookmark insert Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Pear wood. Natural Cultural Cultural Function A useful and decorative function. Creation Purpose For sale in the craft centre or museum shop. Technique Handmade - by hand carving a pattern into a small piece of wood with a chisel and. The wooden planks are cut into pieces by a joiner, who also uses a machine to carve out the basic shape. Material Source Wood and wood scraps Petra gets or buys from carpenters; sometimes she buys small boards from local farmers, especially if they have pear wood; sometimes she buys a piece of log, preferably pear. Conecept It is an innovative product, but the main technique is the same as that used to carve the models for the small bread stamps that are part of the local tradition. Production Quality These are small quantities, depending on the order, sometimes 5 items sometimes 20 over a longer period of time. External ID ZRCSAZU_AR_02(2) Field Worker Barbara Ivančič Kutin AI Content Chat GPT was used for summarisation and translation of the text. Craft woodwork Tool Various chisels, natural brush. Place The town or city Škofja Loka, Gorenjska, Slovenia Prim Media 2097 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmark insert Type The nature or genre of the resource Physical Object Description An account of the resource Carved wodden bookmark insert on a textile ground. Date A point or period of time associated with an event in the lifecycle of the resource 2017 Creator An entity primarily responsible for making the resource 2088 Extent The size or duration of the resource. 5cm x 0.5cm x 3cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 811 Source A related resource from which the described resource is derived craftedobjects,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html https://www.loski-muzej.si/spletni-arhiv-zusl/petra-plestenjak-podlogar/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Knjižno kazalo. Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2094 Material Pear wood. Natural Cultural Cultural Function A useful function for stamping samples on dough. Creation Purpose The products were made for an exhibition. Technique The wooden small bread model is made by hand carving a pattern into a piece of wood using a chisel and a wooden hammering plunger. The wooden planks are cut into pieces by a joiner, who also uses a machine to carve out the basic shape. The usable products have no covering, they are natural and are only polished to a shine with a cotton cloth or a natural brush. Decorative products, however, may be coated with beeswax. Material Source Wood and wood scraps Petra gets or buys from carpenters; sometimes she buys small boards from local farmers, especially if they have pear wood; sometimes she buys a piece of log, preferably pear. Conecept The "small bread" were baked, sold and bought locally as gifts on church festivals and other special occasions (St Nicholas, Christmas, New year, wedding, baptism, port, feast, fiancée gift, etc.) from the 18th century onwards and are a local feature. Production Quality Depending on orders and other activities (workshops) and the size and complexity of the ornaments. Sometimes she doesn't make a single piece in a month. External ID ZRCSAZU_AR_02(1) Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Deepl translator. Craft woodwork Tool Various chisels, wooden hammer, natural brush. Place The town or city Škofja Loka, Gorenjska, Slovenia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource wooden models for making small breads Type The nature or genre of the resource Physical Object Description An account of the resource A wooden models for stamping out pattern in a so-called small breads (local pastries made with black wheat and rye flour, honey and spices for the gingerbread). Creator An entity primarily responsible for making the resource 2088 Extent The size or duration of the resource. 12cm x 9cm x 2cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 810 Source A related resource from which the described resource is derived craftedobjects,uppercarniola Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Leseni modeli za mali kruhek Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/1a6d5df63ad185b2dd80f43f5ffd39ad.JPG d13ef22a812b5ab7bf3150ee4267a5a9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID ZRCSAZU_AR_02(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felted sweater Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-13 Spatial Coverage Spatial characteristics of the resource. current,46.0478599144413,14.5047086035969; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Manca Filak Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 2089 Context Closely linked to the practice of carving these models is the practice of baking "mali kruhek" (small bread). Both together are also listed in the Slovenian Register of Intangible Heritage. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models Field Worker Barbara Ivančič Kutin Economic Threats Insufficient financial resources,Increased income disparity Technological Threats Industrial production Weakened Practice Diminishing youth interest Climate Actions Community Engagement SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_02 AI Tools Yes AI Content Chat GPT was used for summarisation and translation of the text, and drafting of some answers which required technical or generalized (i.e. not the interviewer's specific) special knowledge. Knowledge Woodcarving requires various skills that enable precise and creative work with wood. Manual dexterity and precision: a woodcarver must have good control over tools and the ability to shape fine details. Knowledge of wood: understanding different types of wood, their structure, hardness, and properties is essential for successful carving. Tool proficiency: mastering traditional carving tools such as chisels, knives, and files, as well as modern equipment for more precise or efficient work. Spatial visualization and design skills: the ability to envision the final product and a good sense of proportion and aesthetics. Patience and perseverance – Carving is a demanding and time-consuming process, so precision and persistence are key to achieving high-quality results.These skills allow a woodcarver to develop their own style and create unique pieces that reflect their creativity and technical expertise. Knowledge Transfer In Škofja Loka and Slovenia in general, the knowledge of woodcarving is passed on in group and individual workshops led by experienced craftsmen. Practitioners Exact data on the total number of woodcarvers in Slovenia and the percentage of women among them is not available. Given the traditionally male-dominated nature of craft professions, it is likely that the proportion of women among woodcarvers is lower, but without precise data, this cannot be confirmed. But it is the female carver - Petra Plestenjak Podlogar - who is best known for carving the little bread models. Function The carving of molds for mali kruhek (small bread) - a type of honey pastry shaped in wooden molds) holds several important social functions and cultural meanings for communities, groups, and individuals today. Preservation of cultural heritage: this is a traditional craft passed down through generations, helping to maintain knowledge of folk woodcarving and honey pastry baking. Identity and community bonding: in places where mold carving and "mali kruhek" baking are still practiced, this tradition strengthens local identity and a sense of belonging. It is often associated with holidays, fairs, and local festivals. Artistic and craft expression: carving these molds is not just a craft but also an artistic expression, where artisans create unique motifs, often with historical or symbolic meanings. Touristic and economic aspect: wooden molds and "mali kruhek" are valued as souvenirs and part of the local tourism offer, contributing to the promotion of regional culture and providing additional income for artisans. Personal meaning and symbolism: baking and gifting "mali kruhek" often carry symbolic values related to luck, prosperity, and good wishes, giving this tradition special emotional significance for individuals. Thus, the carving of molds for "mali kruhek" continues to play an important role in preserving cultural heritage, strengthening community ties, and fostering artistic creativity. Origins and change The origins of carving molds for dough stamping date back to the Middle Ages when they were primarily used by monasteries and the wealthier classes to create ceremonial pastries. Over time, the practice spread to craftsmen and peasants, with designs adapting to local traditions. This was also the case of "mali kruhek" (small bread) in Škofja Loka, where the tradition expanded from the monastery. Initially, the molds were crafted by skilled carvers, but later, bakers and local artisans also took up the practice. While the techniques have remained largely unchanged due to the handmade nature of the craft, the tradition continues to thrive, particularly through handicraft workshops, museums, and tourist event. Organisations No specific organisation is linked to this practice. Places Workshops are held in the museum and handicraft centre in Škofja Lokita and in the workshop of carver Petra Plestenjak Podlogar for individual participants. Artefacts The carving of the small bread moulds is carried out with minimal tools such as wooden planks and various chisels, as well as abrasive tools (mainly cotton cloth or a natural brush). The only pre-prepared materials are the basic wooden tiles and the basic shape cut into them, which is prepared by the joiner using machines. Economic Threats Description Hand-carved products are more expensive than the industrially produced ones sold in souvenir shops, due to the time investment involved. In addition, shops have high margins, which make the product even more expensive. Sales are limited to orders and to the museum shop and the handicraft centre, which have lower margins. Technological Threats Description Machine-made wooden products with a relief similar to hand carving are much cheaper; uninformed customers find carved products expensive because they do not realise how many hours of work go into a single product. . Weakened Practice Description The economic viability of carving is uncertain, making it less attractive as a professional activity. It is more interesting as a hobby or as a complementary activity. State of the practice stable Social sustainability Carving does not require a lot of space or expensive equipment. It can be adapted for children, the elderly and people with disabilities, making it an inclusive craft. Environmental sustainability Yes, the practice contributes to environmental sustainability, as it uses only natural materials, in fact mostly wood waste, and does not require electricity. Economic sustainability ? Place The town or city Škofja Loka, Gorenjska, Slovenia Place Description Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Models for baking small bread (mali kruhek) Type The nature or genre of the resource Intangible Description An account of the resource Woodcarving in general is a craft technique of shaping wood by carving decorative or functional motifs. In Slovenia, it has a long tradition, especially in the Gorenjska, Štajerska, and Ribnica regions, where it developed alongside carpentry and woodenware production. It was often present in sacred art, in the making of wooden statues, altars, and decorative furniture elements. Today, woodcarving is preserved both as an artistic and a craft practice, with many artisans combining traditional and modern techniques. Craft workshops, museums, and folk art festivals play an important role in preserving this heritage. The carving of moulds for pressing out dough for small bread is a particular feature of Škofja Loka and its surroundings. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 809 Source A related resource from which the described resource is derived practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Rezbarjenje modelčkov za peko "malega kruhka" Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Creator An entity primarily responsible for making the resource 2088 Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/532a87eac964f006923d02424a9576c1.jpg 24df77256331b0aaa650eb335ad5d6f9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/813dcc243b9de6f6bf8b51f2ad0dfafd.mp4 d8e2534b5d7171cf1ed05eb54aab52a0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short video: carving a small bread model. Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/ZRCSAZU_CP_02_03_.mp4 https://culturality.museum/omeka/files/original/5351c4c992c63431901d39af62326ef0.jpg cd756ff5562b5a337a127fbe22dc3837 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carving a small bread model Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/48afde616faa798c0e83a03a2f447ed4.jpg c70de0f2b50ab6cf85be7366131826a3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chisels and other tools for wood carving. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Artisan An artisan Contact petra.plestenjak@gmail.com Author iain Email The email address of the museum. petra.plestenjak@gmail.com Phone The phone number +386 (0)41 503 749 Prim Media 2086 Biographical Text Petra Plestenjak Podlogar (1963) graduated at the Higher School of Textile Design at the Faculty of Natural Sciences and Engineering in Ljubljana. In 1978 and 1990, she obtained the title of Master of Arts and Crafts in Slovenj Gradec. She has worked as a freelance cultural profession for 17 years. For the last 10 years, carving has been a complementary activity to her other jobs, as it was difficult to make a living from this craft. She started carving as 11 years old child, having been surrounded by her father's drawings and her grandfather's carvings. She enjoyed spending her free time with a chisel in her hands. She carves figures, both human and animal, and ornaments out of wood. She specialises in making models for stamping the "Mali kruhek" - small honey bread from Škofja Loka continuing a family tradition. Petra Plestenjak Podlogar preserves the rich cultural tradition of carving motifs on wooden that models. These designs are not replicas of the old ones made by self-taught and trained carvers from the 18th century onwards - Petra enhances them with her own floral, geometric or figurative ornamentation. Because she does not use any templates, each piece is unique. She also complements her designs with new wood products - bookmarks, wooden wall reliefs with different motifs, built-in furniture panels and greeting cards. The unit "Making small breads and wooden models", of which Petra Plestenjak Podlogar is the bearer, was entered in the National Register of Intangible Cultural Heritage in April 2018, see: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models She lives and works in Škofja Loka. External ID ZRCSAZU_PR_02 Knowledge Acquisition She started learning carving as a child from her grandfather. She made her first piece when she was 11 years old. She has been carving for more than 50 years. Knowledge Transfer Petra runs decolourisation workshops at the DUO Škofja Loka craft centre, groups of up to 8 people, attended by adults, children and families. She has also had several individual students, including from abroad. During the course, participants make their own product. Field Worker Barbara Ivančič Kutin Gender female Area Relation native Area Reason Resident of Škofja Loka since birth. Occupation woodwork Involvment part-time paid job knowledge1 Carving small items such as small bread models requires, above all, a joy for working with wood, manual dexterity, precision and mastery of technique (working with the chisels, sanding, coating) and a certain sense of aesthetics; it is also necessary to know the properties of the wood, as not all wood is suitable for fine and precise cuts (it must not be broken, layered). material1 The wood most commonly used is pear, which is hard enough, without strong annual lines and knots, and does not break. material2 Sometimes she buys wood (a piece of log or board) from farmers in the area, but most of the wood she uses for her products is waste wood she gets from cabinet-makers because she needs mainly small pieces for his products. material3 There is almost no waste. Sometimes small pieces are turned into decorative items (earrings, pendants) and the useless shavings are thrown into the wood stove. production1 Petra uses exclusively hand carving techniques with various chisels. The basic working parts are made by a joiner: the wood is sliced into plates, basic shapes are cut out, a hole is drilled in the back (for hanging). production2 The basic tools are chisels, a wooden plunger for pounding, and a smoothing paper. The drilling machine she uses to drill holes in the back of the products designed to be hung on the wall. production3 The tools serve as indispensable tools in her carving. She handles the tools very carefully. All the chisels were used by her grandfather, so they are very valuable to her. production4 s. All the work is done by hand; the exception is the drilling of the holes for the hangers, which is done with an electric drill. production5 There is no waste. workshop Petra's carving workshop in one of the rooms in the family house. products1 She mainly makes carved wooden moulds for the so-called "mali kruhek" (honey bread made by pressing dough into hand-carved wooden moulds or shaped and decorated freehand; "Making small breads and wooden models", of which Petra Plestenjak Podlogar is the bearer, was entered in the Register of Intangible Cultural Heritage in April 2018, see: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models She also produces decorative wooden reliefs, key rings, wooden jewellery (pendants, earrings), bookmarks, and occasionally (on request), inlays for furniture (e.g. wardrobes, chests). products2 Mostly she sells only made-to-order products, otherwise she carves for herself - for her own pleasure and as gifts for friends. products3 A few products are on sale in the handicraft centre's shop and museum shop, but mostly she sells only made-to-order products directly to her clients. products4 Petra makes products (from her carving repertoire) on request. Some of her products can be bought in the museum shop and the handicraft centre shop. products5 Almost never. Sometimes decorative items are rewaxed or coated with lye if they fade over the years. products6 The clients are very diverse, all people, and they all have in common that they like useful or decorative carvings; many of the clients are foreigners. Larger or more complicated pieces require a lot of work and cannot be cheap. Clients commission pieces for special gifts (anniversaries, birthdays, etc.) or as protocol gifts. products7 Her products carry the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 She participates in tourist events in Škofja Loka - carving workshops and baking small bread (which are related) as part of the Škofja Loka - Historical Town. She participates in craft colonies and exhibitions. tourism2 "Najboljši učitelj so lastne napake!" Translation: The best teacher is one's own mistakes. Hrana ni igrača, da bi jo metali stran, zato se mi zdi primerno geslo za medeno pecivo iz modelov, ki ga pečemo na delavnicah, čeprav je lepo: "Poglej in pojej!" Translation: Food is not a toy to be thrown away. That's why the motto for the beautiful honey cakes made from the models we bake in the workshops is: "See and savour" partnership Petra is a member of the DUO Škofja loka Handicraft Centre and is the President of the Škofja Loka Regional Chamber of Crafts and Arts and Crafts Section of the Slovenian Chamber of Crafts and Arts. She cooperates with the Handicraft Centre DUO, and in this framework it and other craftsmen and craftswomen often present themselves together, e.g. at fairs; once a year they have a handicraft colony. She cooperates with the Ethnographic Museum of Slovenia, it has worked with the municipality on the production of protocol dadaril, and is now cooperating with the ZRC SAZU. challenges1 Every new product or new pattern is a new challenge, especially for larger pieces. In the future, she would like to make a smaller chest with inserts for herself, as she has already made for a client, which is a challenge. challenges2 Izdelkov se ne da zaračnati tliko, kot je vanje vloženega dela. V trhgovinah pa so še visoke marže, zato prodajam le v muzejski trgovini in rokodelskem centru, kjer so marže nižje. Products cannot be charged as much as the work that goes into them. And there are still high margins in the shops, so I only sell them in the museum shop and the handicraft centre, where the margins are lower. references http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.loski-muzej.si/spletni-arhiv-zusl/petra-plestenjak-podlogar/ https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ Social Media The social media links. facebook,https://www.facebook.com/petraplestenjakrocnorezbarjenje; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Petra_Plestenjak_Podlogar Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Plestenjak Podlogar Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource English,Croatian,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 808 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,46.1664897673265,14.3072256355819; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Petra Plestenjak Podlogar Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.centerduo.eu/mojstri-rokodelci/petra-plestenjak-podlogar/ https://culturality.museum/omeka/files/original/b19f1f0c21733bf88101ce1f55a9045e.jpg 30629191325910b09c2451237ac9adfe Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Pletenjak Podlogar shows her products (carved relief) in her workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 06/02/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/96d0bc3dbfb1e0443e8c63375398d505.jpg ec003e1a58b1e20ec0bbc61883970465 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Plestenjak Podlogar in her workshop (working room in her house) in Škofja Loka Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource xx.xx.2019 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Luka Karlin Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Therese Henner Touch screen exhibit Type The nature or genre of the resource Website Format The file format, physical medium, or dimensions of the resource text/x-uri License A legal document giving official permission to do something with the resource. In Copyright (InC) Identifier An unambiguous reference to the resource within a given context 806 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/touchscreens/varmland/ https://culturality.museum/omeka/files/original/16aea52631313f40d803bcfcf47a95dd.jpg 3daf725a45ddb57a3ee09e2a429c0888 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID AAS_AR_17(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Diggory borwn Harris Tweed Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource unknown Spatial Coverage Spatial characteristics of the resource. current,58.4917648473254,-6.23148173863765; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Wool Natural Cultural Cultural Function A textile that can be used fro garments or home furnishings Creation Purpose For sale Technique Woven Material Source Please see above Conecept The wool used to weave this cloth was sheared (AAS_CP_06) from the sheep belonging to AAS_PR_06. An emotionl connection exists therefore because the work invovled in tending to the sheep is understood by the practtioner. The treu financial cost of this artefact can never truley be realised. Production Quality One years 'clip' of wool produced appeoximately 100metres of cloth External ID AAS_AR_17 Field Worker Netty Sopata Craft fibre and textile crafts Tool Hattersley Loom Place The town or city Ness, Isle of Lewis Prim Media 2083 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harris Tweed Type The nature or genre of the resource Physical Object Description An account of the resource Woollen cloth handwoven on a single width Hattersley Loom by a weaver in the Isle of Harris. The wool used in this cloth comes from a flock of Hebridean sheep owned by AAS_PR_06. After shearing it was washed, carded and spun at Uist Wool micro-mill and then woven into Harris Tweed. Creator An entity primarily responsible for making the resource 2076 Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. 40000cm x cm x 75cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 805 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 06/01/2026 Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 06/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/9545e26035c4d2439171e420e6762bee.jpg 51613433ff2828b9608c760a63686280 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shaering using machine clippers / shears Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-01 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/a8214bf0a5aefe2ad95bae9f95f7d538.jpg 02575d91fdd31566362e4acf97f39478 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rolling the fleeces at the fank Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-01 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/024a784629d165671c32ec6b00d6c54f.jpg be873b83008dc141fed81b0f15ccccf7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shearing using hand shears Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2017-06-26 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Spinning wool, weaving, kiltmaking, tailoring. Field Worker Netty Sopata Economic Threats Insufficient renumeration Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge SDG Good Health and Wellbeing,Responsible Consumption and Production,Life On Land External ID AAS_CP_06 Knowledge To shear a sheep requires practise and stamina. The way in which the sheep is handled determines whetehr they will stay still so a sequence of movments are followed to guide the animal into certain posiitons as the shearer cuts away the fleece in certain directions. When carried out correctly a whole fleece is removed from a sheep in one piece with a calm and un-stressed animal. Knowledge Transfer In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. Practitioners There are two well known shears that operate commericially across the Isle of Lewis and Harris. Therew ill be more across the rest of Scotland, but due to geographical boundaries they do not travel over to the islands to work. Function Shearing as a village community at the village fank does still occur sometimes, normally if all of the livestock are gathered from the common grazing on a day that the machine shearer has been booked. This becomes a social occasion, gaelic is spoken in these scenarios and stories or 'yarns' are told. Origins and change Sheep need to be shaered once a year for their welfare - this has not altered since humans began to rear and keep them. Organisations The Wool Board: https://www.britishwool.org.uk The Crofters Commission: https://www.crofting.scotland.gov.uk Places Each village in the area of Ness has a 'Fank.' A dedicated, outdoor handling facility to pen sheep in and handle them for shearing, dosing and dipping. Artefacts Woven Tweed Fabric. Climate Threats Description As the climate changes and becomes warmer the time at which the wool rises i.e the old fleeces is ready to cut away has altered. Over the peast couple of years some Crofters have sheared as early as May Economic Threats Description The price the woolboard pays the crofter fro each fleece is less than the crofter has to pay for the sheep to be sheared. Weakened Practice Description In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. State of the practice declining Social sustainability It contributes to social cohesions when the viallge athers livestock at the fank in preparation for the shearing to commence. Environmental sustainability Wool is a sustainable resource. Economic sustainability It supports the self-sufficient lifestyle of crofting and has to take place foe the welfare of the animal. Place The town or city Habost, Port of Ness Place Description Habost is a vilage that sits within Galson Estate which consists of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting. Prim Media 2078 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheep Shearing Type The nature or genre of the resource Intangible Description An account of the resource Sheep Shearing is a process used by crofters in the hebrides to remove the old wool or 'fleeces' from their sheep when the new groeth starts to 'rise' in the late summer. The traditional method of shearing is to use hand-held shears – this is till practised by some crofters in Ness, but there is also travelling shearer who can be paid per sheep to shear using elctric clippers. Tradiotnally the shearing process would have been conducted at the village 'fanks' – commnical handling areas for livestock that sit on the common grazing land. As the sheep are sheared a team of usually woemn, would clean off, roll up and bag the fleeces ready for the wool board to collect. Alternatively, the wool can be kept and processed at micro mills on behalf of the crofter but this is very rare and an expensive process to complete. Creator An entity primarily responsible for making the resource 2076 Language A language of the resource English,Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 803 Source A related resource from which the described resource is derived highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clipping Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 05/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Contact nettysopata@gmail.com Author iain Email The email address of the museum. nettysopata@gmail.com Phone The phone number 07881 273 966 Biographical Text Netty moved to the Isle of Lewis in 2006 to take up a Kiltmaking Apprenticeship. After two years she started her own business and explored using locally woven Harris Tweed in her designs. This led to a number of commissions and displays including at Norton and Son’s, Saville Row and through this contemporary kilt production for fashion designer Christopher Kane. After fifteen years of working o na self-employed basis Netty strated to teach Fashion Design at the local height education college on a part-time basis. Since then she has continued her kiltmaking and garment design business but on a reduced scale, whilst also fulfilling the role as a board member with Applied Arts Scotland, project managing national and international craft focused projects and recently, becoming editor of community newsaper – Fios. An area Netty has developed over the past twenty years is usung the wool form her families flock of Hebridean Sheep to be washed, cardded and spun in to weaving yarn at Uist Wool. This yarn has then been woven in Harris Tweed by a local weaver . External ID AAS_PR_06 Knowledge Acquisition Served a traditonal apprenticeship and then adapted the skills to develop Harris Tweed kilts. Harris Tweed is heavier then the tradiitonal tartan cloth used to make kilts. Knowledge Transfer Yes through evening classes at the lcoal arts centre. Field Worker Netty Sopata Gender female Area Relation incomer Area Reason Moved in 2006 to commence a Kiltmaking Apprenticeship in Stornoway Occupation fibre and textile crafts knowledge1 Tradtional hand tailoring techniques applied to kilt making: Measurement, pleat calculations and chalking out, hand sewing and steam pressing. material1 Harris Tweed. Leather (for straps) and brass / other metals for buckles. material2 Local Harris Tweed mills. material3 Donates them to local higher education college production1 Calking out (to mark the pleats and kilt pattern); Hand sewing (using a thimble); Steam pressing (to set the pleats) production2 Thimble, measuring tape (inches), pattern master (straight edge ruleer to mark out the pleats). Steam Iron and pressing table. Needle and scissors. production3 Tape and thimble belonged to her grandmother who was a hoe based seamstress in London. production4 Electricity for lighting and steam press. Peat for heating stove in studio. production5 Cut-away' segemnts of cloth are donated to the local college fro students to use in mood boards etc. workshop Yes. The upstairs area of her domestic house is a dedicated studio space. products1 Handtailored Kilts and contemproray garments products2 For people to wear products3 The kiltmaking service is no longer advertised and commissions are completed on a word of mouth basis only. products4 Bespoke one to one orders. products5 For kilts only yes products6 Locally based cliets fro repairs and alterations. Visitors to the Hebrides who have a connection to the location and/or want to have something created fro them that resonates with the location. products7 Harris Tweed label tourism1 Netty used to display work and take orders at the local music festival: HebCelt. This four day festival attracts the perfect target market for bepoke kilts. The tourists at this event are from a range of national and international locations. tourism2 An interview was not conducted. partnership Applied Arts Scotland. challenges1 Outwith the HebCelt festival, accessing physical events to display and take orders at was not cost efficient sdue to being located on an island. challenges2 An interview was not conducted. Social Media The social media links. instagram,Diggory Brown ; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Annette_Sopata Prim Media 2306 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annette Sopata Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 47 Language A language of the resource English Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 802 Spatial Coverage Spatial characteristics of the resource. current,58,6; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Annette Sopata Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With mountain cattle farming and the so-called fiestas de prao—traditional outdoor celebrations in northern Spain, especially in Asturias—people gather to eat and drink together, enjoy dancing, and listen to traditional music. These events often form part of the patron saint festivals of towns or parishes. Field Worker Carmen Pérez Maestro Economic Threats Insufficient financial resources Weakened Practice Reduced practice SDG Zero Hunger,Good Health and Wellbeing,Responsible Consumption and Production,Partnerships for the Goals External ID LAPONTE_CP_07 Knowledge Knowledge of the type of milk and rennet used, the kneading of the product, and the maturation processes is essential. The curd is passed through the “rabilar machine” several times, with salt being added during some of the passes. The mass (known as gorollos) is then shaped by hand into a truncated pyramid and stored in an airing chamber for a period ranging from five days to two weeks, at a temperature of 14–20 °C. The gorollos may be kneaded in the machine as many times as necessary to achieve the texture desired by each producer. The greater the number of passes, the finer and more homogeneous the cheese will be; it will mature better and develop a stronger flavour. Finally, it is shaped by hand into a cylindrical–disc form or a round wheel and the upper face is marked with a punch or stamp bearing the producer’s emblem. It is then kept for at least one day in the airing room. The marcu casín (the stamp applied to the cheese) goes beyond the simple identification of an individual cheese, as it also seeks visual appeal: its impressions are placed on the most visible face of the cheese, covering it completely. Knowledge Transfer The tradition was passed down within families, essentially from mothers to daughters. Today, there is no generational transmission, and it is produced by only two dairies. Practitioners Quesería Redes was founded in 1989 by Marigel Álvarez, and in 2018 it was inherited by her daughter, Natalia Lobeto Álvarez. The complex includes the dairy, a hotel, and a shop selling cheeses and other local products. Quesería Ca Llechi was opened in 2012 and is run by Alberto Valiente. Function The human connection is intrinsic to the essence of this product, particularly when discussing its unique method of production. Today, cheese production remains purely artisanal and highly labour-intensive, resulting in limited output that once threatened its survival. Its preservation has relied largely on the efforts of the women who produce it for family consumption and the dedication of a cheesemaker who, for a long period, was the only person to showcase and sell the product at fairs and traditional markets throughout Asturias and across Spain. The support of local rural development groups has also been important. Origins and change Canut (2000) maintains that “Casín cheese, due to its method of production and the rustic tools used, may be one of the oldest in Spain and forms part of the group of cheeses made in the Cantabrian Mountains that trace their origins directly back to the Neolithic and the first settlers who arrived in the backbone of the Peninsula.” Written records of cheese production in the area date back to the 14th century. In the leases of the mansos of San Salvador de Sobrecastiello and San Juan del Campo, managed by the Convent of Nuestra Señora de la Vega in Oviedo, Casín cheese is mentioned for the first time: in 1328, during the abbacy of Dª. Gontrodo, the mansos of San Salvador de Sobrecastiello were leased for six years at a price of 70 maravedís, payable on 1st September, along with “ten roasted cheeses” (dolze quesos assaderos) to be paid on each Saint Martin’s Day in November. Further references to this cheese appear in the writings of Jovellanos (18th century), in Madoz’s Diccionario Geográfico published in the early 19th century, and in Dionisio Martín Ayuso’s Curso de Agricultura Elemental, published at the end of the 19th century. Mentions of Casín cheese continued in various 20th-century publications. In the 1980s, at the First Casín Cheese Fair organised by the Ayuntamiento de Caso, 42 female artisans participated; today, in 2025, only two remain. Regarding the process, Casín was originally made exclusively with milk from the casina cow (Asturian Mountain breed). The milk from these dual-purpose cows has an excellent fat content, imparting unique characteristics to the cheese. Today, while the casina cow is still used, milk may also come from higher-yielding breeds such as the Friesian. Indeed, the casina is considered an endangered native breed. What has changed are the materials used in cheesemaking, such as the rabilar machine, which was formerly wooden with rollers operated by a manual crank. Today, it is an electric steel machine, as are the stamps and marks Organisations El Certamen del Queso Casín es un evento anual que trabaja por mantener viva la tradición ancestral de este milenario queso. Tiene lugar el último sábado de agosto en Campo de Caso. Sin embargo al quedar unicamente dos queserías este va a ser dificl de mantener. Antiguamente este certamen se celebraba al aire libre y llegaban a participar hasta 30 elaboradoras de queso. Places See in the Practitioners section. Artefacts The rabilar table or machine originated as an adaptation of a tool used in traditional baking. It is a device consisting of two rollers rotating in opposite directions, designed to break up, crumble, or shred the pressed curd. There are two types of stamps used to imprint the cheese. The first, applied to the semi-processed curd or gorollo, was called an ochavau: a cylindrical or spindle-shaped wooden piece, decorated at the ends with simple symbols, which was pressed onto the gorollo as many times as it had been kneaded. For the finished cheese, the marcu or cuñu is used—also made of wood but larger and more complex, with a variety of imprints—serving both decorative purposes and to identify the production. Today, these stamps are made of stainless steel. Economic Threats Description The procedures with the public administration are very tedious, and the purchase of steel equipment for its production is costly, which prevents new initiatives from emerging. Weakened Practice Description The practice has declined to the point that there are now only two producers of this cheese. They are young, but generational succession will be needed. Health regulations and the costs associated with adapting the dairies have partly contributed to the decline in production of this cheese. Safeguarding activities For several decades, the Casín Cheese Festival has been held annually. The event revolves around two main pillars: the market, featuring stalls from Casín cheese producers, and the cheese competition for dairies registered under the Casín PDO. In parallel, various complementary activities take place, such as cooking contests, tastings, workshops, exhibitions, performances by folk groups, a charity marathon, and special menus. State of the practice declining Social sustainability Not applicable Environmental sustainability Yes, because it uses local raw materials for its production. Economic sustainability Yes, because it is an artisanal process, minimally mechanised. Place The town or city Queseria Redes, Campo de Caso 43°10'53"N 5°20'26"W- Queseria Ca Llechi, Pintueles, Piloña 43°22'27"N 5°21'31"W Place Description A full-fat, matured cheese made from whole, raw cow’s milk, using enzymatic coagulation and a kneaded curd, with a semi-hard to hard texture. It has an irregular cylindrical–disc shape, with one face embossed with floral or geometric motifs, symbols, or the name of the person who makes it. It measures up to 20 cm in diameter and up to 7 cm in height. It has a strong, slightly piquant flavour. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casin Cheese Type The nature or genre of the resource Intangible Description An account of the resource Casín, which is produced by only two small dairies in Asturias, is one of the cheeses with the oldest written references in the world, one of the most intense in flavour, protected by a Designation of Origin since 2011, and unique in its method of production. Casín takes its name from its place of origin: the municipality of Caso, which also gives its demonym to the Asturian Mountain cattle breed, or “casina” cow, which yields little milk but of exceptional flavour thanks to the excellent pastures on which it feeds. Documentary references to Casín date back to the 14th century, when it was known as queso assadero. The cheesemaking technique used for Casín cheese arose from the need to achieve a safe and long-lasting method of preservation in an area where mild temperatures and the predominance of rainy, overcast days create high ambient humidity, which hinders the drying of the curds produced by milk coagulation. Thus, kneading emerged as the customary method of combining several small-format curds into a single piece. Repeating this process resulted in drier, more compact pastes, producing a longer-lasting product without the need for pressing. To facilitate kneading, the ‘rabilar machine’ was developed (see description below). Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 796 Source A related resource from which the described resource is derived asturiasmap,practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. D.O.P (n/d). El queso Casin. http://www.dopquesocasin.es/ D.O.P (2008). PLIEGO DE CONDICIONES DE LA DENOMINACIÓN DE ORIGEN PROTEGIDA (DOP) “QUESO CASÍN” Marcet, I., Rendueles, M., & Díaz, M. (2023). De la que tábemos faciendo un quesu…. Ciencies. Cartafueyos Asturianos de Ciencia y Teunoloxía, 13. pp 81-93 SOCIEDAD ASTURIANA DE ESTUDIOS ECONÓMICOS E INDUSTRIALES (1985). Los quesos artesanales asturianos. Oviedo: Gráficas Summa. Videos: Canal Prestosu | Secretos de Asturias: queso Casín https://www.youtube.com/watch?v=eISrTnGZ2wU; Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso casín, Quesu Casín Spatial Coverage Spatial characteristics of the resource. current,43.18138889,-5.34055556;origin,43.37416667,-5.35861111; Date Modified Date on which the resource was changed. 07/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With the Asturianada, Tonada, or Asturian Song, which is a traditional song of popular type, the bagpipe serves as accompaniment. The performance begins with a floréu, or melodic introduction, played by the musician. The bagpipe also accompanies traditional Asturian dances and forms a fundamental part of the Bagpipe Mass. Field Worker Carmen Pérez Maestro Weakened Practice Aged practitioners,Reduced practice External ID LAPONTE_CP_06 Knowledge The bagpipe craftsman (Facedor de gaites) must be familiar with the types of wood available in the forest in order to choose the most suitable for making the instrument. They should know how to work and turn the wood, as well as the process of tanning hides (although today most bellows are made from synthetic materials or fabrics, as are the decorative coverings of the bagpipe). They must also have knowledge of music, which allows the maker to understand scales, tones, and how to tune each pipe of the instrument so that it sounds harmonious. "To successfully practise the craft of bagpipe making, appropriate machinery and tools are required, along with manual skills, knowledge of materials, a good eye for proportions, and the trained ear of an experienced musician" (Web Taller de Gaitas Alberto Fernández). Knowledge Transfer In Asturias today, the transmission of the craft of bagpipe making, that is, the artisanal construction of the Asturian bagpipe, occurs through a combination of channels: family-run workshops and the training of new luthiers, who learn either independently or under guidance. The organisation Conceyu de la Gaita plays a significant role in promoting the craft; its website serves as a reference point and provides visibility for those wishing to get started. There are also courses, workshops, and educational activities; for example, some artisans run practical sessions on basic maintenance, the adjustment and construction of bagpipe components, including woodturning, timber selection, reed adjustment, and tuning. Practitioners The craft of making bagpipes in Asturias is traditional and remains predominantly male, although the “vistíu” (decorative covering of the airbag) and the “pezolera” (textile ornamentation on the drone) are created by women. Public information about the women who specifically make the decorations and bellows of Asturian bagpipes is not readily available. However, the Conceyu de la Gaita website provides a list of bagpipe makers: Alberto Fernández, Vicente Prado “El Pravianu”, Chus Solís, Gaitas Linde, Simón San José, Oliver Gaitas, David López, and Obradoiro de Gaitas Seivane. Function The making of bagpipes in Asturias is important for several cultural, economic, and social reasons. Asturian bagpipes are a traditional symbol of the region, present in festivals, popular celebrations, and both folk and contemporary music. Having bagpipes made in Asturias strengthens the connection between music, tradition, and local identity. Bagpipes crafted in Asturias adhere to traditional standards of sound and construction. This ensures that musicians can accurately perform Asturian folk music. This activity not only preserves traditional techniques but also inspires innovation within the craft, combining artisanal skills with creativity in design and ornamentation. Origins and change Thanks to the Bagpipe Museum located in the city of Gijón, musicians, craftsmen, and researchers can access documentation, historical instruments, and gain detailed insight into how the construction of bagpipes has evolved. There is extensive documentation on bagpipers, that is, those who play the bagpipe, but far less on the makers and the manufacturing process of the instrument. According to documentation from the 1920s (Fernández, 2008a), Asturian craftsmen worked with woods such as boxwood, which grows very slowly and was scarce, using rudimentary tools that limited their rate of production. The lathe consisted of a system of rope, pedal, and flexible pole that allowed the piece of wood to rotate, making the application of tools more difficult. These tools were homemade and included gouges, chisels, and augers, while the interior of the chanter was hollowed out using reamers made by the craftsmen themselves. Finishing was done with coarse cloth, beeswax, or occasionally shellac. The most highly valued skins were kid skins, and the making of the bagpipe covers was usually carried out by the craftsmen’s wives, who even handcrafted the fringes knot by knot. Innovation and changes in contemporary manufacturing have come with the use of new types of wood, the inclusion of methacrylate components and other plastics and fully mechanised turning tools, although some finishing work is still carried out by hand. Decorative elements have also changed, such as the tassels (farrapos) and the bag cover, which are used to personalise the instruments. Asturian craftsmen, drawing on their experience with historical bagpipes, developed a model suited to the needs of younger players, featuring tempered tuning and chromatic fingering. In 1991, a second method was published, still in use today, which introduced an alternative position for the seventh degree of the scale and an empirically developed chromatic chart. Influenced by interceltic festivals, emphasis was placed on the B♭ d Organisations Asociación Cultural Conceyu de la Gaita: It is a non-profit cultural association founded in Asturias, with the mission of revitalising and keeping the world of the Asturian bagpipe alive from a transversal perspective. It serves as a meeting point for professionals, enthusiasts, researchers, and instrument makers, all united by the same passion: the Asturian bagpipe and its cultural heritage. Places here are no collective spaces for the manufacture of bagpipes, nor are there any buildings specifically devoted to their production that have been granted cultural heritage status Artefacts Woodworking Tools: Mechanical or electric lathe,Electric drill, Milling machine, Band saw / circular saw,Electric sander,Gouges, Chisels, Augers, Reamers, Calipers and micrometers.Tuning and Acoustic Tools. A reamer (escariador) is a tool used to widen, shape, or smooth the interior of a hole or tube. In the context of bagpipe making, the reamer is primarily used to hollow out and give the correct taper to the interior of the chanter or pipe, ensuring that the bore is uniform and that the airflow is correct for proper tuning and sound quality. State of the practice stable Social sustainability Not applicable Environmental sustainability Not applicable Economic sustainability Not applicable Place The town or city The whole of Asturias Place Description The history of bagpipe making in Asturias is linked to its origins as a popular instrument in the Middle Ages, with the earliest depictions dating back to the 13th century. The artisanal tradition, based on ancestral techniques, has remained alive over the centuries, although with the introduction of mechanical improvements and the emergence of modern innovations such as the electronic bagpipe.The Gaita Asturiana is not only a musical instrument; it is a complete cultural practice, as it has the following characteristics: it is closely linked to the identity of the Asturian people; it is used at festivals, pilgrimages, weddings and traditional events; it involves traditional knowledge, such as playing it, making it and teaching its use; and it is passed down through oral teaching and traditional music schools. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Asturian Bagpipe Manufacturing Type The nature or genre of the resource Intangible Description An account of the resource The Asturian bagpipe belongs to the group of aerophones with a flexible air reservoir and, in its most common form, consists of a mouth-blown blowpipe, a bass drone with a single reed, and a conical chanter with a double reed. The earliest surviving examples in Asturias date from the mid-19th century, although iconographic sources and written records suggest that the instrument may have been introduced as early as the Middle Ages (Fernández, 2008). Language A language of the resource Asturian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 795 Source A related resource from which the described resource is derived asturiasmap,practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Fernández, Juan Alfonso (2008a): La gaita y el oficio de gaitero en Asturias. Etno-Folk: revista galega de etnomusicoloxía 11, p. 59-82. Fernández, Juan Alfonso (2008b) La gaita asturiana: características y evolución. Etno-Folk: revista galega de etnomusicoloxía, 2008, no 11, p. 171-197. López , Fernándo (2021). Los nuevos contextos sonoros de la gaita asturiana, 1980-2020 (Bachelor's thesis). Universidad de Oviedo. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fabricación de gaita asturiana Date Modified Date on which the resource was changed. 07/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Contact aturrutaredes@gmail.com Author iain Email The email address of the museum. aturrutaredes@gmail.com Phone The phone number Spanish phone code: 34 / 644 27 28 56 Prim Media 2067 Biographical Text Alba was born in Madrid but moved to Asturias in 2014, and currently lives in the village of Veneros in the municipality of Caso. Since 2016, she has been a beekeeper, mountain guide, and works as a manager of the beekeeping and wood museums in Caso. Alba has her own company called ‘Aturruta’ where she gives interpretive tours of the Redes Natural Park to raise awareness of the cultural and historical values of the area. She also organises guided tours of the beekeeping museum and the wood museum in Caso. Beekeeping workshops are currently offered to visitors so that they can learn about the environmental value of bees' work and the value of honey as a traditional craft. External ID LAPONTE_PR_13 Knowledge Acquisition In 2018, Alba began her apprenticeship and it was her partner who taught her all the basic techniques. She started out as her partner's assistant, where she gradually learned about the different processes. Unfortunately, in that same year, 2018, her partner had an accident in the mountains and passed away. From that moment on, Alba took charge of the hives and continued her apprenticeship on her own, reading books, searching for information on the internet, watching videos/tutorials, etc. Alba mentions that her partner's family has been very supportive and that without their help the project would not have gone ahead. Knowledge Transfer She currently offers basic workshops with educational themes for tourists and external visitors, but she does not have any formal apprentices seeking to continue her legacy. Field Worker Sofía Gonzalez Sandoval Gender female Area Relation incomer Area Reason Alba was born in Madrid but moved to Asturias in 2014, and currently lives in the village of Veneros in the municipality of Caso. Since 2016, she has been a beekeeper, mountain guide, and works in the beekeeping and wood museums in Caso. Alba mentions that she found a better quality of life in a rural area than in a big city like Madrid, as the village is like her family, there is solidarity and support, and in nature she finds more freedom and opportunities to do meaningful activities. Occupation other (specify),other (specify) Involvment full-time paid job knowledge1 In Alba's case, she is not only a beekeeper, she is also a mountain guide. Therefore, it is very important to have a deep knowledge of the territory, its history, its resources, the changes it has undergone over time, and the aspects that make this area unique and important in terms of its conservation. In addition, she has knowledge of heritage interpretation, enabling her to conduct tours of the museums in the municipality of Caso. When it comes to beekeeping, it is important to learn not only about bees as a species, but also about their needs in the territory, the climatic threats (or invasive species) they face, etc. material1 Local bees from the region. material2 N/A material3 Bees do not generate waste. Everything is used for their own consumption: honey and wax. production1 To produce honey, Alba continues to use traditional techniques, carrying out the processes by hand. For example, they use wooden hives, which are simple wooden boxes with various compartments, hand tools (such as knives for scraping wax) and manual cranks to process honey (instead of electric centrifuges). She mentions that although much time has passed and technology is now available, many beekeepers continue to use traditional techniques. production2 1) Wooden beehives – boxes with various compartments inside, which are stacked on top of each other. 2) Knives and scrapers for scraping honey and wax. 3) Beekeeper's suit for protection. 4) Traditional smoker. 5) Their hands to carefully handle the hives. production3 For Alba, her tools are very special because they are all inherited. For example, some tools come from neighbours who used to be beekeepers but can no longer do so due to their advanced age, or tools that were given to her by friends. Because of this, whenever a tool breaks, she tries to repair it (with glue, tape, etc.) so as not to throw anything away, because she is fond of all her tools. She mentions that it is important to take care of what has been inherited because it has a special value and history. production4 In beekeeping, Alba does not use any type of energy, as everything is done by hand and she does not have industrial machinery or any other type of modern technology. production5 N/A workshop Yes, their workplace is the museums mentioned above and the Redes Natural Park. As for the beekeeping workshops, part of the workshops consist of visiting the apiaries located in the mountains in Caso. It is a high-altitude place with lots of nature and local scenery. products1 100% natural honey. products2 Alba does not sell the honey she produces, as she has very few apiaries. The honey is produced for two reasons: 1) for ecological/environmental reasons, as bees are pollinators that are essential for the balance of ecosystems, and the Beekeeping Museum aims to preserve traditional beekeeping as a traditional craft, as well as protecting bee populations. 2) for educational reasons, to raise awareness of the importance of protecting bees, the value of honey as a symbol of Asturian traditions, as a nutritious product and as a historical craft. products3 N/A products4 Yes, at the Caso Beekeeping Museum, workshops are given to visitors explaining all the basic principles of beekeeping: types of bees in the region, the bee cycle and their different roles in the hive, how an apiary works, how honey is obtained, the different types of tools used, etc. After the theoretical explanation inside the museum, the group goes to the apiaries (up in the mountain) so they can put their knowledge into practice. products5 N/A products6 Most of the customers who take part in the beekeeping workshops and museum visits are local people from Asturias and foreigners. During the summer, Alba receives many visits from foreigners who are in the area and looking for a variety of activities. Alba mentions that it is difficult to get local participation from the municipality of Caso. products7 N/A tourism1 Yes, she is a mountain guide and is responsible for managing visits to the Redes de Caso Natural Park. She also manages the Beekeeping Museum and the Wood Museum in the same municipality. Her main activities are guided tours of the museums and beekeeping workshops with visitors, so that they can learn the basic principles of honey production using traditional techniques. tourism2 1) "Los visitantes llegan aquí, hasta Caso, gracias a las redes sociales. Es increíble lo mucho que se mueve la gente en las redes sociales! yo publico algún evento y la gente lo ve de inmediato y participan. También estamos en la página web del ayuntamiento de Caso y eso ayuda mucho". 2) "Queremos que lleguen turistas que estén interesados en lo que estamos contanto, que se interesen por lo que vivimos y por nuestro territorio. No queremos este turismo masivo y esta persona insensible que tú le estás mostrando algo (como una planta local en peligro de extinción) y que ni presten atención." partnership Yes, she is part of the ‘Caso Beekeepers Association’ and a network called ‘Redes Natural’ (Natural Networks), which is a network of local entrepreneurs (people from the community) who support each other to promote economic activity in Caso, support entrepreneurship, etc. challenges1 One of the main challenges is the distance and being located in a little-known rural area. According to Alba, the municipality of Caso is not very far away, and access is not difficult; it is a common road that is easy to reach. However, for tourists, it is not attractive to go to rural areas that are not so well known, as they want quick activities, things that are along the way, places close to more urban areas challenges2 "Las personas creen que un sitio está muy lejos solo porque no lo conocen, creen que el acceso a estas zonas es difícil o peligroso solo por el simple hecho de no estar familiarizados con el territorio, es falta de educación y eso es un reto para el turismo". references https://www.youtube.com/watch?v=GwoSCRVCGc0 https://www.turismoasturias.es/descubre/cultura/museos-y-espacios-culturales/espacios-culturales/aula-de-la-apicultura Social Media The social media links. facebook,https://www.facebook.com/aturruta;instagram,https://www.instagram.com/aturrutaredes/?igshid=qhuu2e6ce8rg; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Alba_López_Garrido Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alba López Garrido Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1991 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 794 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.360259,-5.844758; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Alba López Garrido Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://aturruta.com/ https://culturality.museum/omeka/files/original/ab28d1cf5aad1c48bdecacefd79ab9d8.jpg 383ea39c9709a1203622fb4cf1da08f2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imagen de Alba a la entrada del museo de la apicultura Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/d0c54952740b6c6df562ad1c0fffb00a.jpg 9d21efb77aea1e79cb896d724033579f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/ba57ceedccad6acbde2b09a26ee168e9.jpg b10168014374df3c27833bcea718c498 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro