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              <text>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</text>
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              <text>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.</text>
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              <text>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.</text>
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              <text>Workshops are held in the museum and handicraft centre in Škofja Lokita and in the workshop of carver Petra Plestenjak Podlogar for individual participants.</text>
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              <text>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.</text>
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              <text>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.</text>
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              <text>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. .</text>
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              <text>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.</text>
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              <text>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.</text>
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                <text>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. </text>
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https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/&#13;
https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html</text>
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                <text>Mariana Hint-Rääk</text>
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                <text>Monika Hint, an student of the University of Tartu Viljandi Culture Academy, runs her own studio, Koordikamber, in Koordi farm in Viljandi county. Collaborating with fellow artisans, local farmers, and hunters, she uses bone, horn, leather, wool, and other natural, often recycled materials to create products that build on and develop further traditional technologies.</text>
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              <text>Monika Hint, an alumna of the University of Tartu Viljandi Culture Academy, runs her own studio, Koordikamber, in Koordi farm in Viljandi county, Estonia. Collaborating with fellow artisans, local farmers, and hunters, she uses bone, horn, leather, wool, and other natural, often recycled materials to create products that build on and develop further traditional technologies. Koordikamber also offers courses and workshops.</text>
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              <text>Monika has been crafting since an early age as her mother was a craftswoman, and so were her grandparents and great-grandparents. She has learned a lot about working independently with natural materials by curiously experimenting. Enthusiasm, insight, theory and practical experience came from studies at the UT Viljandi Academy of Culture in folk textiles and the Master's programme in heritage technology. She is now trying to complement all this with a degree in philosophy at Tallinn University. If she would like to learn more, it would be something to do with natural materials, perhaps their chemical structures and properties.</text>
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              <text>Monika Hint's fascination with bone material lies in its plasticity, natural tone and beauty of form. Learning about old techniques helps her to recognise the material and to use it in a sustainable and meaningful way. To preserve the naturalness of the objects, she uses the fire-water-sun method of making the pieces, i.e. heating, cleaning in a water drum, sanding and sun bleaching. She draws inspiration for her work from archaeological finds and neighbouring peoples. Still, she is most inspired by the form of the material itself, which can also be described as natural design. Combining bone material with other natural materials, such as plants, oils, waxes, and resins, allows her to create beautiful and long-lasting compositions.</text>
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              <text>Collaborating with fellow artisans, local farmers, and hunters, Monika uses bone, horn, leather, wood, stone, clay, wool and other natural, often recycled materials. Sourcing materials is not complex for her. She finds a lot of stuff lying around that could be used to make more durable and valuable objects. She likes to work on a material basis, i.e. if she gets a bag of leather from somewhere, she thinks of what could be made from it rather than the other way around. The material itself gives her ideas. So, no excess energy is spent chasing and stockpiling something. When one material runs out and cannot be replenished, she uses the next one, from which new products are born.</text>
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              <text>Monika can obtain bone material from hunters, as Category 3 animal by-products are subject to rendering. She calls it “forest material” because the rest of the game is usually returned to the forest. Wood, leather and similar materials are generally scraps from industries and other artisans. She grows the plants for dyeing himself. Any scrap material left over from her workshop makes her wonder what she does with it, where it goes, and what becomes of it. She thinks a lot about the life cycle of her products. These are everyday questions for her, so she needs to know where her material comes from, what will eventually become of the finished objects and how much she has leftovers.</text>
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              <text>Monika sorts the waste carefully: all leftover bones are burned, and ashes and charcoal are used as fertilisers. She uses plants to paint her bones, horns, and wooden objects. In this way, she develops a circular and meaningful behaviour towards nature and production. She uses charcoal dust as a black pigment to darken the skin.</text>
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            <description>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.</description>
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                <text>Paula Labrador, Enrique Meléndez y Santiago Rodríguez</text>
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              <description>A name given to the resource</description>
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                  <text>Site: Barn</text>
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          <name>Field Worker</name>
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              <text>Enrique Meléndez Galán</text>
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          <name>Craft</name>
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              <text>woodwork</text>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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              <text>https://culturality.museum/wiki/index.php/Mortar</text>
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                <text>Art,PEOPLE,SOCIAL HISTORY</text>
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            <name>Extent</name>
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            <name>Identifier</name>
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            <name>Date Submitted</name>
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                <text>13/08/2025</text>
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            <description>The Europeana material type of the resource.</description>
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        <name>woodworking</name>
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      <name>Artisan</name>
      <description>An artisan</description>
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          <name>Contact</name>
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          <elementTextContainer>
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              <text>iain</text>
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        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
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        <element elementId="153">
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          <description/>
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        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20049">
              <text>Ida Fossli</text>
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        <element elementId="247">
          <name>Gender</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20050">
              <text>male</text>
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          </elementTextContainer>
        </element>
        <element elementId="248">
          <name>Area Relation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20051">
              <text>native</text>
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        <element elementId="34">
          <name>Occupation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20052">
              <text>woodwork</text>
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          </elementTextContainer>
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        <element elementId="250">
          <name>Involvment</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20053">
              <text>part-time paid job</text>
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        </element>
        <element elementId="251">
          <name>knowledge1</name>
          <description/>
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          <description/>
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              <text>Different wood work and material associated with this. Glue. Carpenter tools.</text>
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          </elementTextContainer>
        </element>
        <element elementId="253">
          <name>material2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20056">
              <text>Local shops and online stores.</text>
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          </elementTextContainer>
        </element>
        <element elementId="254">
          <name>material3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20057">
              <text>Reuse, if not delivered to recycling.</text>
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          </elementTextContainer>
        </element>
        <element elementId="255">
          <name>production1</name>
          <description/>
          <elementTextContainer>
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              <text>Carpenter and model makers techniques.</text>
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        <element elementId="256">
          <name>production2</name>
          <description/>
          <elementTextContainer>
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        <element elementId="257">
          <name>production3</name>
          <description/>
          <elementTextContainer>
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              <text>Some tools are heritage from Per Henriks father, but most of the bought to a specific need.</text>
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        <element elementId="258">
          <name>production4</name>
          <description/>
          <elementTextContainer>
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              <text>Electricity. And of course muscle power</text>
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              <text>He has a workshop at home where he does some of the work. But for the most part he works in spaces of clients.</text>
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          <description/>
          <elementTextContainer>
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          <description/>
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              <text>He likes to, and clients buy his services.</text>
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          <description/>
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          <description/>
          <elementTextContainer>
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              <text>Carpenter services.</text>
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          <description/>
          <elementTextContainer>
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        <element elementId="266">
          <name>products6</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20069">
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        </element>
        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20070">
              <text>No.</text>
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          </elementTextContainer>
        </element>
        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="20071">
              <text>No.</text>
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          <name>partnership</name>
          <description/>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="20074">
              <text>https://culturality.museum/wiki/index.php/Mørk_Per_Henrik</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="20031">
                <text>Artisan</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
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                <text>TEXT</text>
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            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
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            <name>Country</name>
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              <text>Thrown by a potter using a potters wheel (AAS_AR_01). The clay is manipulated by hand as the potter’s wheel turns. After a period of air-drying, the clay is still soft enough to have handles added and stamps imprinted on the base. The handles are made by being ’pulled’ (AAS_CP_001_l1) by hand and molded on the mug base. These are then fired in a gas, or electric kiln. A glazing process takes place (to add colour to the mug) and a second ‘firing’ in the kiln. </text>
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              <text>Mugs are one of the most popular items the pottery has produced over the decades. They are functional items that many tourists purchase. The colours created in the glazes that Sue uses depict the colours of the  surrounding landscape. </text>
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              <text>Extensive skill and ability to handle the clay by shaping and pulling it into the desired form and thickness. AAS_PR_001 uses thi technique for her mugs and durig her interview reflected on how each mug made using this technique means that it will sit comfortable in a persons hand. Many of her customers come into her shop and test out mugs to make sure the handle is correct for them.</text>
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              <text>This technique can be taught but it very much trial and error and practice that perfects it. There are alternative and faster methods of making the handles for mugs but thes edo not produce the level of quality that hand pulling does.</text>
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              <text>AAS_PR_001 takes pride that her mugs and other items of an extremly high quality. Over the decades she has perfected a balance of design and production speeds that generate feasable products for retail driectly to consumers. This has bee done without comprimising on the bespoke, specilaist techniques that add cultural value to hand made products. A handle made by hand and pulled by hand fits the hand.</text>
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              <text>This technique is one of the oldest used for making handles in pottery and dates back to medieval times.</text>
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              <text>Scottish Potters Association. Heritage Craft Association.</text>
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              <text>AAS_AR_01 - 05 are all related to the process of pulling a handle by hand. The clay is needed to make the product, the Pugmill to process the clay and the potter's wheel to throw the body of the mug. The kilns are then needed to fire the finished mugs and turn them into pottery. The only tools needed to pull a handle by hand (once the clay has been prepped) are the makers hands.</text>
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              <text>Modern production of pottery is always a threat to maintaining skills that do not fit with fast production times.</text>
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              <text>Access to the level of education AAS_PR_001 received has reduced significantly.</text>
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              <text>The practice of Pulling a Handle by hand is one that requires demonstration and practice. Although many 'YouTube' videos exist for people to learn from, this does not replace the experence of being taght in a tangible way with intangible knowledge being passed on from a master practitioner to a learner.</text>
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              <text>The practice of Pulling a Handle by hand is one that requires demonstration and practice. Although many 'YouTube' videos exist for people to learn from, this does not replace the experence of being taght in a tangible way with intangible knowledge being passed on from a master practitioner to a learner.</text>
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              <text>The technique is a USP (unique selling point). It is a good point of conversation with customers when they examining the mugs.</text>
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              <text>Borgh 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.</text>
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                <text>Pulling the handle by hand is a technique used in mug making to compete the production of the handle. The process invloves holding clay in one hand and with the other hand (which is wet) stroking the clay into a strip. This strip is then cut into desired lentghts (apporx four inches). One end of the strip is then attached to the top of the mug. The strip is then stroked through a pulling process and looped round to form a handle. The other end is then fixed towards the base end of the mug.</text>
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                <text>Leach Pottery What is Pulling Hands . (2025 , July 29 ). Retrieved from You Tube : https://www.youtube.com/watch?v=5I_JVtf__e8</text>
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              <text>The mittens are worn with the local folk costumes in the area. Also, a local ethnologist, Ulrika Jäger, is researching the connection of the symbolism of the flowers to the strong worship of Mother Mary in this area, before the reformation, when the valleys were a pilgrimage route to Nidaros, modern day Trondheim. The flowerson the mittens seem to be the same as the ones as the once symbolizing "Mary's plants".</text>
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              <text>To make the Dalby nålbidningn there's a special technique that's slightly different from other types of nålbindning. This particular technique is shown and mentioned as "Dalbytekniken", the Dalby technique in the book:  (5.112) i "Vinterblomster. Nålbundna vantar från Dalby i Värmland" (page 36). It requiers a knowledge of "krus", embroidery, of the flowers and the local practice. The craft requiers both practical skill, cultural and traditional knowledge.</text>
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              <text>The technique and tradition are today taught by Bengtsson. She preferes teaching it personally to one pupil at the time as it's advanced and she wants to make sure she can show and teach all details. She's also held courses and taught in schools for ages 13-16 in textile craft.</text>
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              <text>This technique has been documentet since the viking age. There are also reason to believe that the technique was also transfered to the region from the immigrating Finns in the northen part of Värmland during the 16- and 1700.</text>
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              <text>Primarily mittens but also other garments and clothes made in the technique, and usually here also decorated with the particular flowers. </text>
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              <text>It could be argued that the embroidery could be made industrially, but the nålbindning could not.</text>
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              <text>The technique makes the e.g. mittens very durable and they are also made in a very high quality. </text>
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              <text>100% wool, fully biodegradable and also durable.</text>
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              <text>There's a large intrest for these products, but it's not economically sustainable. A pair of mittens takes about 90 hours to make.</text>
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              <text>Sysslebäck is a small town of about 500 inhabitants in Dalby parish, Torsby municipality. The Norra Klarälvdalen is characterized by the winding river, valley and forests. Through the building tradition in agriculture and forestry, we see that the area is recognizable and reminiscent of a North Scandinavian character with a Norrland-influenced vegetation. From a historical perspective, the Klarälvdalen and the area along the banks of the Klarälven have been crossed by thousands of pilgrims heading for Nidaros, today's Trondheim.The area invites skiing, hiking and fishing. There is a rich wildlife and the area is home to one of the country's densest moose populations.</text>
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                <text>N&amp;aring;lbindning (literally: needle binding)</text>
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                <text>Nålbidning is a way of making a fabric with a larger needle, and it can be compared to knitting or crocheting, or sewing. The needle passes through the loops made (like sewing), and therefor needs splicing quite frecuently. </text>
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                <text>Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026&#13;
Värmland förr och nu 1991. ISBN 9185224308&#13;
https://en.wikipedia.org/wiki/N%C3%A5lebinding</text>
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              <text>Born in Laviana, Asturias in 1976. Designer and ceramist. Graduate in Fine Arts, specialising in Design, from the University of Barcelona and a Higher Graduate in Artistic Ceramics from the School of Arts and Crafts of Barcelona, Llotja, San Andreu. In the village of El Valle, in Candamo, she created a design workshop in ceramics and wood, materials that give name to her brand WOODIC, in which she designs and creates unique and totally handmade pieces in a commitment to honest designs based on the feminine imaginary, mythology and the forms of nature.She is also a dynamiser of the rural environment through workshops and activities.</text>
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              <text>Yes, she is currently running workshops in hand and slow wheel pottery for adults and children. These are introductory classes to try out techniques and develop pieces that he teaches in hes rural studio. He also conducts kintsugi workshops, the Japanese art of soldering pieces of ceramic fragments with gold.</text>
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              <text>Carmen Pérez Maestro</text>
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              <text>The clay is bought on the internet and does not know its origin. Many of the glazes she used were imported from the UK, but because of Brexit the tariffs have risen so high that she can no longer buy them.</text>
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