1 100 1975 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: Universidade de Aveiro Identifier An unambiguous reference to the resource within a given context 6 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. Natural Cultural Cultural Prim Media 110 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 Bed Blanket Coat “Manta da Cama Coat" Type The nature or genre of the resource Physical Object Description An account of the resource Helena Cardoso is a Portuguese designer and visual artist. Cardoso has worked since the late ‘70s, with several artisans specialising in different handmade techniques and materials in northern Portugal, especially traditional Portuguese crafts. Cardoso has been active in the areas of product design, fashion design, interior design, jewellery, social design and visual art. Regarding her work at villages, Cardoso officially started, in 1982, her partnership as a tutor with the Commission on the Status of Women –CCF (nowadays it is called CIG- Commission for Citizenship and Gender Equality) and worked to support groups of women in underprivileged villages in northern Portugal until the present day. In 2010, Cabeceiras de Basto City Council invited designer Helena Cardoso to work with artisan women, resulting in a set of new contemporary pieces (some of which use industrial wool), while maintaining the traditional way of making them. The designer was inspired to create the Manta de Cama Coat, which uses ancestral weaving skills —the chequered pattern—, but replaces the colour palette (blacks, oranges, and browns) with a monochromatic one (white and black) with brightly coloured accents using rags of burel. Creator An entity primarily responsible for making the resource Design by Helena Cardoso handcrafted by the artisans Bucos Women of Casa da Lã group 2023 Extent The size or duration of the resource. 107cm x 58cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 86 Source A related resource from which the described resource is derived 3portugal,craftedobjects,portugalobjects 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). 17/03/2025 Date Modified Date on which the resource was changed. 17/03/2025 Spatial Coverage Spatial characteristics of the resource. current,41.5729836,-8.0416041; 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/3-portugal/ Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidade de Aveiro 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 Site: Barn Identifier An unambiguous reference to the resource within a given context 929 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 1099 Material Oak and Hazel wood Natural Cultural Cultural Creation Purpose Transport of Materials Technique Basketry Field Worker Enrique Meléndez Galán Craft woodwork Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Basket_Bag 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 Basket Bag Type The nature or genre of the resource Physical Object Description An account of the resource Basket made with interwoven wood, featuring a rectangular base and a handle Date A point or period of time associated with an event in the lifecycle of the resource 2000 Creator An entity primarily responsible for making the resource 1097 Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 16,8cm x 17,4cm x 17,8cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 545 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). 13/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cesta Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT woodworking 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 Site: Barn Identifier An unambiguous reference to the resource within a given context 929 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 1103 Material Glazed pottery Natural Cultural Cultural Creation Purpose Household ware Field Worker Enrique Meléndez Galán Craft ceramics Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jar 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 Jar Type The nature or genre of the resource Physical Object Description An account of the resource Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar Date A point or period of time associated with an event in the lifecycle of the resource ca. 1900/36 Creator An entity primarily responsible for making the resource 1102 Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 19cm x 14,7cm x 13,8cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 547 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). 13/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Jarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramic 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 Wood, birch Natural Cultural Cultural Function The "Tachadeira" is a beautifully handcrafted wooden piece made with an ancient foot-powered lathe, a technique passed down through generations in the Cunqueiros region, between Ibias and Degaña. The name "Tachadeira" comes from "tachada," meaning a slice of meat, as it was originally used for slicing. This practical item features a wooden block in the centre, serving as a cutting board for cured meats, cheeses, or vegetables, and can also be used to serve food. Besides its unique crafting process, the Tachadeira carries the history of a culture focused on making household items, including bowls, as part of a set called "tixela." This is why the people who practiced this craft in the villages of Trabau, Il Curralín, Il Bao, and Astierna were known as "tixileiros" or "cunqueiros". Creation Purpose For sale Technique Pedal lathe. It takes about 3 to 4 hours to make the piece, in addition to the time required for felling and drying Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept It is one of the most famous, well-known, and interesting pieces of Cunqueiro craftsmanship and is part of the tixela. External ID ESPTOR_AR_01 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) 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 plate Type The nature or genre of the resource Physical Object Description An account of the resource Wooden plate with a raised centre, like a small cutting board. Tachadeira (in asturianu -local dialect-, also known as Trilladeira in neighboring regions or Tajadera in Spanish) / Wooden bowl called Tachadeira (no English translation) Date A point or period of time associated with an event in the lifecycle of the resource 2021 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 587 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tachadeira Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Date Modified Date on which the resource was changed. 02/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT 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 One related cultural practice to the cunqueira tradition is the trade of the blacksmith (ferreiro). This craft is essential for creating tools and equipment needed for woodworking and other rural tasks. In particular, blacksmiths forge tools such as axes, chisels, and other metal implements that are crucial for the work of woodworkers, basket makers, and traditional shoemakers (madreñeros). These tools are no longer produced industrially because they are not in demand on a large scale. Therefore, the blacksmith's role remains key to the survival of many traditional crafts. However, the blacksmith trade is also facing extinction in Asturias, with few practitioners remaining, such as Alfredo in Arabal, Tineo, who is aging and working less, and a former blacksmith in Posada de Rengos who has significantly reduced his activity. The activity is also reflected in the oral tradition through local songs, where the departure of the cunqueiros, the craft itself, and other related aspects are mentioned. A collection of these songs and melodies, performed by Rosa "Cunqueira," can be found on YouTube: https://www.youtube.com/@rosacunqueira4419 Some examples are: “Los cunqueiros vanse, vanse; las cunqueiras tsoran, tsoran, ¡ay de mí, triste aburrida! ¿con quién voy dormir ahora?”, "The cunqueiros are leaving, they are leaving; the cunqueiras cry, they cry, oh me, sad and bored! Who will I sleep with now?" or "al llegar al alto la collada, di la vuelta a mi sombrero. Adiós pueblo de Trabau, en el corazón te llevo", "When I reach the pass, I turn my hat around, goodbye village of Trabau, I carry you in my heart." Field Worker Olaya Alonso López Technological Threats Industrial production,Use of modern materials Policy Threats Lack of conservation policy Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of ancestral language,Loss of knowledge,Loss of cultural significance SDG Quality Education,Sustainable Cities and Communities,Responsible Consumption and Production External ID ESPTOR_CP_01 Knowledge The practice of creating wooden bowls requires a combination of traditional craftsmanship, an understanding of natural cycles, and knowledge of wood behavior. First, the craftsman needs to observe the lunar cycle, as it is believed that cutting wood during the waning moon (cuarto menguante) results in better quality wood. The lunar phases affect the sap movement in the tree, with the sap concentrated in the roots during the waning moon, making the wood more durable. The craft requires knowledge of tree types, particularly deciduous trees, and the ideal time to cut them—during the winter when the trees are in their vegetative rest phase. The wood is then left to "bleed" or expel sap for 2-3 months to make it more resistant to damage and pests. The process of working the wood involves using basic tools like a chainsaw to cut the tree, an axe to shape the wood, a lathe to turn it, and gouges to refine the shape. Additionally, skills in drying the wood, avoiding cracks, and knowing the appropriate finishing techniques are necessary. The creation of different pieces requires varying levels of skill and time. For example, making a standard bowl might take 30-40 minutes, while more intricate pieces like "tachadeiras" or "cimbreiras" can take hours to complete. The craft requires patience and attention to detail, especially in the preparation and drying of the wood, as well as understanding the specific characteristics of different trees and their wood. The tools used are relatively simple, including a chainsaw, axe, compass, pencil, tape measure, lathe, and gouges. Knowledge Transfer This craft technique used to be passed down orally and through practice within the community itself. The practice gradually disappeared by the mid-20th century, with a pause between the 1970s and 1990s. Valdovinos Gabela was the last traditional "Cunqueiro" who had participated in transhumance in his youth, and after retiring from herding, he still made some bowls as a hobby in the 1980s. In the 1990s, Victorino García self-taught himself to revive this practice, and in 2005 he began an activity more associated with tourism and experiences through "El Rincón Cunqueiro." Víctor García, his nephew, became interested in the craft and learned from his uncle in the 2000s at the age of 12-13, later dedicating himself professionally to the trade as a freelancer from the age of 18. Víctor's mother, Rosa "Cunqueira," was a tour guide at the Muniellos Natural Reserve and started offering guided tours of the workshop and learning the craft, primarily making tambourines, drums, and castanets. Unfortunately, Victorino passed away in 2020 and Rosa in 2024, leaving Víctor as the last "Cunqueiro" knowledgeable about this practice. Following his mother's sudden passing, Víctor temporarily ceased his activities. He plans to reopen the workshop and resume his work soon, offering workshops and courses, and is willing to collaborate with the university (he previously taught five years of university extension courses) in the dissemination, promotion, and, above all, training to enable a dignified living from the craft (profitability-sustainability), helping the positive development of his land, Degaña, which he considers the most important aspect for the preservation of this traditional craft. In brief, the transmission of this craft depends on Victor Garcia's voluntary efforts to pass on this technique and, more importantly, its significance to the region. Practitioners Currently, there are no established roles or division of responsibilities based on importance or gender roles (although in the past, the craft was practiced by men in a transhumant way, as an extra source of income during the winter months, due to the difficult geography that made it hard to maintain crops and livestock to survive the cold months). This is because there is only one remaining "Cunqueiro," which is Víctor García (33 years old). Function Originally, the craft was particularly important during the colder months (from October to April) when agricultural work was less productive and the need for self-sufficiency was most critical. During this time, men would form groups to travel and sell their handmade goods, which helped supplement family incomes and reduce the burden of feeding their families, as the winters could be harsh and food scarce. Nowadays, the craft has lost much of its practical function and is valued more for its cultural significance, social appreciation, and as a tool for regional promotion by local administrations. For Víctor, the last practitioner, it has become an economic resource, one that he combines with other means to make a living. Origins and change The cunqueira (or tixileira) tradition has roots that date back to the 16th century in the southwestern region of Asturias, particularly in the municipalities of Ibias and Degaña. This craft, initially focused on wood carving, was primarily used to create domestic utensils ("tixelas"), particularly wooden tableware like "cachus" (wooden bowls), "tachadeiras" (plates), and "cimbreiras" (airtight containers), etc. The materials and tools used to create the tixelas have remained stable over time. The materials include wood from deciduous trees such as birch, walnut, ash, maple, and chestnut—native woods from the local forests, mainly from living trees. The tools are simple, including axes, compasses, pencils, rulers, the lathe, and chisels. The work has always been and remains essentially manual, relying on skill. The only modern innovations are the use of chainsaws, planers, and sanders, which ease some processes in obtaining the wood and improve the finish for sale, but the carving with the lathe and chisels remains exactly the same. Another difference is that while the craft originally focused primarily on creating tixelas, which are now less useful, Víctor, Victorino, and Rosa have diversified their products. They now also create and sell musical instruments (tambourines, pandeiros, and castanets), "madreñes" (traditional Asturian wooden shoes), and other souvenirs such as magnets and keychains. Organisations None. There is only a small "homemade" interpretation space dedicated to this practice at the Hotel El Tixileiro in Sisterna (Ibias). Places Currently, the only place is the workshop of Victor Garcia, called "La Guarida del Cunqueiro," which is located in Trabau, Degaña (temporarily closed). Artefacts Tools: The traditional tools used in this craft are quite simple and include axes, compasses, pencils, rulers, the lathe, and chisels. These are essential for shaping and carving the wood by hand, requiring a high level of skill. The lathe plays a key role in this process, allowing the practitioner to shape the wood into various forms. Machinery: The lathe, a crucial piece of machinery, can also be portable. It typically consists of a pedal made of leather strips and a flexible wooden branch. The lathe used by Victor Garcia was custom-made for him during his youth. It features a rectangular frame with several holes to place tools for convenience. The key component is the leather strap that connects to the flexible branch, allowing the piece of wood to rotate back and forth (like a seesaw). Additionally, there is a section with a hole and a fitting piece to secure the wood using pins, holding it in place while it is carved with chisels. Objects: Initially, the craft focused on creating tixelas (wooden tableware), but as these have become less practical today, the practice has diversified. Victor, Victorino, and Rosa now also create and sell musical instruments such as tambourines, pandeiros, and castanets. They also produce madreñes, traditional Asturian wooden shoes, and various souvenirs like magnets and keychains, reflecting the adaptation of the craft to contemporary needs and market demands. Technological Threats Description Substitution with other materials that are easier to work with, more ergonomic and hygienic to use than wood, and cheaper to produce on an industrial scale, such as earthenware. Policy Threats Description It doesn't seem that there is any conservation policy for the craft driven by public institutions, beyond the private initiative of Víctor García, who uses and promotes the craft as a driver of territorial development. Demographic Threats Description It's a vicious cycle; it's a remote rural area with poor communications, no public transportation, and few basic services (medical, supermarket, etc.), which leads people to migrate to the main cities in the area (Gijón, Avilés, Oviedo, Ponferrada, etc.). This results in a lack of sufficient population to invest in the sustainable development of services and infrastructure in the area. Without a population, which typically comes for the first half of August for the local festivals, it is difficult to make collective efforts to transmit and preserve the craft in relation to its logic within the territory. Weakened Practice Description The age of the practitioners is not a significant issue, as the current practitioner is 33 years old. However, the real concern is that there is only one person remaining who possesses this traditional knowledge, which poses a risk to the survival and continuity of the craft. Loss Threats Description What is being lost is the guild language they used (tixileiro or cunqueiro), as well as the knowledge of the techniques involved in the craft (such as when and which trees to fell, the drying time of the wood to improve its quality, the carving technique, how to create the lathe, etc.). There is also a loss of the significance linked to the territory, including the forests, transhumance, etc., that were integral to the practice. State of the practice endangered Social sustainability N/a. There is only one person alive with this knowledge. Environmental sustainability The practice contributes to environmental sustainability in several ways. The materials used are natural, renewable, and locally sourced. The wood comes from local forests, and efforts are made to avoid overexploitation, ensuring that only trees that are not optimal for other purposes are cut down. The practitioner is mindful of the type of wood needed for their work and prioritizes sustainable practices by cutting the "worst" trees, which are not expected to grow to their full potential, thus allowing healthier trees to thrive. The waste generated, including shavings and sawdust, is composted and repurposed for agricultural use or as fertilizer for reforestation projects, such as planting trees in degraded areas. In this way, the practice helps improve soil quality and encourages sustainable land management. In addition to these practices, the practitioner’s work does not require electricity for the crafting process itself, except for basic lighting to see while working. Natural light is usually sufficient during the day, reducing energy consumption. When electricity is needed, it comes from a standard power supply, and there is no need for energy-intensive machinery. The lack of a heating system in the workshop also reduces energy usage, supporting a low-energy, environmentally conscious approach to craftsmanship. This minimal reliance on electricity aligns with sustainable energy practices and reduces the carbon footprint of the work. Economic sustainability The practice does not significantly contribute to economic sustainability at present. The traditional craft of creating tixelas is no longer widely used, and as a result, these pieces have shifted to being more decorative rather than functional. In response to this decline, practitioners have diversified their products to include musical instruments, souvenirs, and other items. However, in order to sustain the craft, as noted by Víctor García, it is necessary to integrate it into other practices, adapt its uses, and particularly diversify income sources. This could include offerings such as tourism (workshops, tours, and classes), agriculture and livestock, and even tourism accommodation. By creating a multifaceted economic model, it would be possible to ensure a balance between sustainability and profitability for this craft in the specific region. Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Place Description Degaña, located in southwestern Asturias, has historically been linked to mining and rural life. Since Roman times, the territory was exploited for its gold deposits, and later, in the 19th and 20th centuries, coal became the main economic driver. Popular architecture and traditions reflect both Asturian and Leonese influences, and the municipality maintains a strong cultural identity based on language, music, and local festivities. The municipality is nestled in the Cantabrian Mountains and is part of the Fuentes del Narcea, Degaña, and Ibias Natural Park. Its mountainous landscape is home to beech and oak forests, with notable wildlife including the Cantabrian brown bear and the Iberian wolf. Nature is one of its main attractions, promoting rural and ecological tourism. Until the early 21st century, Degaña maintained a stable population and even stood out as one of the youngest in Asturias, with positive natural growth. However, the closure of mining operations has led to a sharp demographic decline, with the population decreasing by approximately 40%. Emigration has primarily been directed towards Oviedo, Gijón, Madrid, and other areas with better economic prospects. As a rural and historically isolated municipality, Degaña's economy was based on subsistence agriculture and livestock farming, with trade exchanges with the neighboring region of Laciana (León). Additionally, vaqueiros (nomadic herders) rented pastures for transhumant grazing. With the arrival of coal mining in the 19th and 20th centuries, the economy underwent a radical transformation, becoming the municipality’s main economic driver. However, following the decline of mining, livestock farming, forestry, and rural tourism have gained prominence in the local economy. Hunting and ecotourism are emerging as sustainable alternatives, although the municipality still faces challenges in curbing depopulation and generating economic opportunities. Regarding the tangible cultural heritage of Degaña, som Prim Media 1245 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 "Cunqueiru" or "tixileiru" handicraft Type The nature or genre of the resource Intangible Description An account of the resource The cunqueira or tixileira tradition is an ancient craft with records dating back to the 16th century, associated with a tax linked to this activity in the southwestern region of Asturias, especially in the municipalities of Ibias and Degaña, such as Sisterna, El Bao, Trabau, and El Corralín. This craft was dedicated to wood carving (usually using a lathe) to create domestic utensils, particularly wooden tableware known as "tixelas." Among these objects, the "cachus" (wooden bowls for drinking wine), "tachadeiras" (plates with an elevated center structure for cutting food), "cimbreiras" (airtight containers similar to modern tupperware), and others stood out. As for the denomination, "cunquiero" comes from the proximity to Galicia, where they were known for their work with "cuncos" or wooden bowls. However, in the early days, they preferred to call themselves "tixileiros" because they felt that the term "cunqueiro" referred only to the bowls, which they considered a reductive description. Today, the term "cunqueiro" is more common and widely accepted. Beyond the production process, the cunqueira tradition was characterized by intense commercial transhumance. During the winters, from October to April, when agriculture was less productive and to reduce the number of mouths to feed, the men of the valley formed groups of about seven people, usually family members, who would travel to other towns to sell and produce their pieces. These groups started in Bierzo due to its proximity and then spread throughout the peninsula, dividing their routes towards the Ruta de la Plata, Madrid, Galicia, Catalonia, and even Andalusia. In addition to this mobility, the cunqueiros had their own guild language, which reinforced their cultural identity. However, with the arrival of mining and the industrialization of earthenware and porcelain production, this craft began to decline, disappearing by the mid-20th century. Despite this, in the 1980s, Victorino García, a neighbor from Trabau Creator An entity primarily responsible for making the resource 1195 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 588 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Gavela Sal, R. (2024). Valdeprusia. Tierra de los Tixileiros (Tapa blanda). Rodríguez, C. (1960). El habla de Sisterna. CSIC. Red Asturiana de Desarrollo Rural. (2004). Revista de la Red Asturiana de Desarrollo Rural, (Nº 6, Invierno de 2004). Museo Tixileiro. (n.d.). Tixileiro: Museo de los Cunqueiros. Recuperado de https://tixileiro.com/museo/ La Guarida del Cunqueiru. (n.d.). La Guarida del Cunqueiru. Recuperado de http://laguaridadelcunqueiru.com Méndez, I. (2015). Valdeprusia. A terra dus tixileirus [Documental]. Galán, A. (n.d.). Il Moulin [Documental]. 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Artesanía cunqueira o tixileira Spatial Coverage Spatial characteristics of the resource. current,42.9407,-6.57125; Date Modified Date on which the resource was changed. 02/09/2025 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 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 1268 Material Wood, birch Natural Cultural Cultural Function The cachu is a small wooden bowl used for serving and drinking wine Creation Purpose As a souvenir for the first edition of the "Cachu Fest" a arts and crafts festival in Trabáu, Degaña. Technique Pedal lathe. It takes about 45 minutes to one hour to make the piece, in addition to the time required for felling and drying. Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept It is part of the tixela, one of the easiest, fastest, and cheapest pieces to make in the entire tixela. And for that reason, it is one of the pieces that Víctor makes the most. External ID ESPTOR_AR_02 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wooden_bowl 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 bowl Type The nature or genre of the resource Physical Object Description An account of the resource A small wooden bowl Date A point or period of time associated with an event in the lifecycle of the resource 2023 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 594 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cachu Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; 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. Material Wood, birch Natural Cultural Cultural Function The cimbreira was originally designed to store food, keeping it protected and hermetically sealed to guard against insects and temperature, helping it last longer. In this case, it is a variation where the lid and the bowl still fit together (which is the most difficult part), but a hole has been left to insert a wooden spoon, also hand-carved. This allows the piece to function as a modern sugar bowl, or as we understand a sugar bowl today. Creation Purpose To keep at home Technique Pedal lathe and Hand-carved with gouges. It takes about 4 hours to make the piece, in addition to the time required for felling and drying. Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña. Conecept A free, personal, and artistic variation within the concept of tixela and the domestic use of the pieces, creating a piece with a more contemporary style. It speaks to the creative freedom of the practitioner while respecting the logic of the craft, as he himself explained in the interview. External ID ESPTOR_AR_03 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Prim Media 1310 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 Sugar bowl with a spoon Type The nature or genre of the resource Physical Object Description An account of the resource A wooden bowl with a lid, the lid has a hole to allow the wooden spoon to come out. It is a variation of the cimbreira (which served as a hermetic container) for a different use. In this case, the lid still fits, but it is no longer hermetic due to the hole for the spoon to come out. Date A point or period of time associated with an event in the lifecycle of the resource 2022 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 595 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cimbreira" variation Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Wood, birch Natural Cultural Cultural Function The main function of a keychain is to serve as an accessory to organize and keep keys together, making them easier to carry and preventing them from getting lost. In this case, it is a small and inexpensive version of the cunqueira craft that allows visitors to take home a sample without spending too much. The keychain is a miniature cimbreira, made in a single piece, so that the lid and the bowl do not separate. Creation Purpose To keep at home or for sale Technique Pedal lathe and Hand-carved with gouges. It takes about 1 hours to make the piece, in addition to the time required for felling and drying. Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept Artistic exploration of other uses and variations of the tixela within the logic of the traditional craft itself. External ID ESPTOR_AR_04 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Prim Media 1312 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 Keychain Type The nature or genre of the resource Physical Object Description An account of the resource A small decorative wooden piece, spherical in shape, adapted to be a keychain, as a souvenir. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 596 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Llavero Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Wood, birch Natural Cultural Cultural Function Decorative Creation Purpose To keep at home or for sale Technique Pedal lathe and Hand-carved with gouges. It takes about 3 to 4 hours to make the piece, in addition to the time required for felling and drying. Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept Diversification of the items they offer from their wood production External ID ESPTOR_AR_05 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Prim Media 1313 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 wooden shoe Type The nature or genre of the resource Physical Object Description An account of the resource A madreña is a traditional wooden clog from Asturias, designed to protect the feet from the mud and wet conditions of rural life in the region. Traditionally made from wood, they were used by farmers, shepherds, and workers in the countryside, offering a practical solution for walking in harsh weather conditions. In this case, the madreña is a small-sized variation, intricately engraved with the cross from the flag of Asturias and the tourist logo of the region. This version is designed as a souvenir or gift, combining the traditional craftsmanship of the madreña with regional symbols, making it a meaningful and unique keepsake for visitors to Asturias. Date A point or period of time associated with an event in the lifecycle of the resource 2021 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 597 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Madreña Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Silver, jet and amethyst Natural Cultural Cultural Function Personal adornment Creation Purpose For sale Technique Techniques employed in jewellery craftsmanship and carving techniques for working yhe stones. Material Source The jet is locally sourced, while the silver and amethyst come from elsewhere. Conecept This piece stands out for its use of Jurassic jet, which has been worked since prehistoric times in what is now Asturias. Production Quality One External ID LAPONTE_AR_10 Field Worker Carmen Pérez Maestro Craft metalwork Tool She uses manual tools (such as a jeweler’s saw, hammers, and a hand file). For working with jet, she uses dental prosthetic tools that operate with a micromotor, such as diamond discs and tungsten carbide burs. She also uses an electric polishing machine. Place The town or city Barrio de la Roza, Lieres, Siero, Asturias, Spain Prim Media 1317 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 Pendant Type The nature or genre of the resource Physical Object Description An account of the resource Double-sided pendant made from sterling silver, jet, and amethyst. On one side, the stones are set, and on the other, there is an image of a ship created by cutting a sheet of silver. 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 1196 Language A language of the resource Spanish Extent The size or duration of the resource. 2cm x 0.3cm x 1cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 598 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Colgante Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Jet and silver Natural Cultural Cultural Function The cigua is a traditional Asturian amulet used to protect against the evil eye and negative energies. Creation Purpose For sale Technique Jewellery technique for setting and manual work with mechanical tools for carving and polishing jet. Material Source The jet is local, and the silver is imported Conecept This piece stands out for its use of Jurassic jet, which has been worked since prehistoric times in what is now Asturias. Its origin is ancient, with roots in Mediterranean and African culture Production Quality Unknown External ID LAPONTE_AR_11 Field Worker Carmen Pérez Maestro Craft metalwork Tool She uses manual tools (such as a jeweler’s saw, hammers, and a hand file). For working with jet, she uses dental prosthetic tools that operate with a micromotor, such as diamond discs and tungsten carbide burs. She also uses an electric polishing machine. Place The town or city Barrio de la Roza, Lieres, Siero, Asturias, Spain Prim Media 1319 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 Pendant in the shape of a "cigua" Type The nature or genre of the resource Physical Object Description An account of the resource Pendant in the form of a closed fist with the thumb protruding between the index and middle fingers, a gesture known as the ‘fig hand’. It is set in a silver mount. 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 1196 Language A language of the resource Asturian Extent The size or duration of the resource. 1cm x 0.2cm x 0.3cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 599 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cigua Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Jet and silver Natural Cultural Cultural Function Personal adornment Creation Purpose For sale Technique Techniques employed in jewellery craftsmanship and carving techniques for working the stones. Material Source The jet is locally sourced, while the silver come from elsewhere Conecept This piece stands out for its use of Jurassic jet, which has been worked since prehistoric times in what is now Asturias. Production Quality One External ID LAPONTE_AR_12 Field Worker Carmen Pérez Maestro Craft metalwork Tool She uses manual tools (such as a jeweler’s saw, hammers, and a hand file). For working with jet, she uses dental prosthetic tools that operate with a micromotor, such as diamond discs and tungsten carbide burs. She also uses an electric polishing machine. Place The town or city Barrio de la Roza, Lieres, Siero, Asturias, Spain Prim Media 1321 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 Ring Type The nature or genre of the resource Physical Object Description An account of the resource Ring with a nearly raw jet stone, elongated in shape, with a silver band and setting 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 1196 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 600 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Anillo Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Glass jars for holding honey and beeswax. Natural Cultural Cultural Function Honey for consumption and candles for lighting. Creation Purpose For sale Production Quality Unknown External ID LAPONTE_AR_19 Field Worker Carmen Pérez Maestro Prim Media 1323 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 Honey and candles Type The nature or genre of the resource Physical Object Description An account of the resource Bee-derived products. The honey is harvested and jarred by the beekeeper in containers of various sizes. Using beeswax and molds, he makes candles shaped like pallozas or chozos (traditional Asturian pastoral architecture) and beehives. 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 1204 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 601 Source A related resource from which the described resource is derived asturiasmap,craftedobjects 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Miel y velas Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Date Modified Date on which the resource was changed. 08/09/2025 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. Material The combustion chamber is made of metal, and the bellows are made of wood and leather. Natural Cultural Cultural Function It is used to calm the bees and facilitate their handling during hive inspections and honey collection. Creation Purpose It is a working tool. Technique Unknown Material Source Unknown Conecept An object associated with beekeeping. The older one is the most cherished by the interviewed beekeeper. Production Quality Unknown External ID LAPONTE_AR_20 Field Worker Carmen Pérez Maestro Craft woodwork,metalwork,leatherwork Tool Unknown Place The town or city Villanueva de Santo Adriano, Asturias, Spain Prim Media 1324 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 Bee smoker Type The nature or genre of the resource Physical Object Description An account of the resource A bee smoker is an essential tool in beekeeping, used to calm the bees and make hive inspections and honey collection easier. The smoker produces smoke that disrupts the bees’ alarm pheromones, making them less aggressive. Manual smokers consist of a combustion chamber where fuel (such as straw or hay) is placed and lit to produce smoke; a bellows or blower, which pushes air into the combustion chamber to maintain the fire and the flow of smoke; and a spout or smoke outlet that concentrates the smoke so it can be directed toward the hive. In this case, we have both an old and a modern model of manual smokers—the latter includes an external protective grid around the combustion chamber. Date A point or period of time associated with an event in the lifecycle of the resource 2010s (older model 1950s) Creator An entity primarily responsible for making the resource 1204 Language A language of the resource Spanish Extent The size or duration of the resource. cm x 40 (older model 30)cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 602 Source A related resource from which the described resource is derived asturiasmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ahumador Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Date Modified Date on which the resource was changed. 08/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT 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 1766 Context Beekeeping is related, for example, to the traditional use of home remedies to treat stings. The most commonly used consist of applying or rubbing the sting area with different substances or plants: sweat from the armpits or testicles; smegma; mud or soil; dung; honey; garlic; parsley; houseleeks (Sempervivum montanum); "millo de rey" (an unknown plant); llantaine (Plantago media), and fern root. Other less widespread remedies included placing a silver coin (Taladriz, Ibias municipality) or sheep dung (Teyeo, Lena municipality). To relieve the pain of stings, infusions of a/triaca (Tanacetum vulgare) were also taken, especially in eastern Asturias. This practice also has a cultural connection with language. Abeyeiro and abeyista are Asturian terms used in some municipalities in the western part of the region to refer to people who keep bees. In Asturias, the word meleiro (honey seller) is used to describe "a person who sells honey," as well as someone with a gentle, mellifluous character who charms with their conversation. Likewise, the term miel (honey) is used to describe people with a soft and kind character, calling them "meixamiel," or applying the saying: "Faiste de miel y cómente les mosques" ("You are made of honey and eaten by flies"). Field Worker Carmen Pérez Maestro Climate Threats Loss of biodiversity,Invasive species Economic Threats Insufficient financial resources Weakened Practice Diminishing participation,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge SDG Zero Hunger,Good Health and Wellbeing,Affordable and Clean Energy,Climate Action External ID LAPONTE_CP_04 Knowledge Management techniques are one of the most crucial aspects of apicultural production, as human capacity to work with bees directly affects the sustainability and productivity of the apiary. In western Asturias, a set of techniques was traditionally known that allowed for the maintenance and expansion of beehives: natural swarms were captured during May and June, and it was also possible to induce artificial swarms when necessary. In March, the old wax at the bottom of the hives—known to encourage the spread of wax moths and hinder proper brood development—was removed. Colonies were fed if required, and finally, a portion of the bees’ harvest was extracted, ensuring that enough was left behind for the colony to survive the winter. By contrast, in the central-eastern areas of Asturias, beekeeping operations were generally reduced to two basic tasks: the capture of swarms in spring—an essential practice to maintain the apiary—and the complete extraction of honey and wax. For this purpose, the heaviest hives were selected, and all the bees were killed in the process. The coexistence of these two extraction methods—one involving partial harvesting ("cutting" or "castrating" the hive), and the other involving total extraction through the destruction of the colony—clearly delineates a fundamental difference between the apicultural practices of western Asturias and those of the central and eastern zones (López, 1994). Abeyeiros (traditional Asturian beekeepers) are drawn to the behavior and biology of bees, demonstrating a profound and often intuitive understanding of the species they work with. Knowledge Transfer The learning of bee care was done, as with all teachings related to rural life, within the family. The youngest children, who did not take part in the hard tasks, would instead accompany their grandparents or parents to capture swarms in the spring and visit the beehives with them. Practitioners Although beekeeping is generally considered a male activity, in western Asturias—where bees play a significant role in the domestic economy and the apiaries are scattered throughout the countryside—it was traditionally an exclusively male occupation. Conversely, in the central and eastern regions of Asturias, it was common for women to take care of hives within their homes. Currently, the majority of practitioners remain men; however, there is also a notable presence of women, with both young men and women actively involved in the practice. Function Beekeeping represents an economic supplement or even a primary source of income for some beekeepers, particularly through the production of honey, wax, propolis, and other derivatives. This activity is closely linked to Asturian rural identity and has historical ties to traditional practices. In the context of rural depopulation and the loss of traditional occupations, sustaining beekeeping is viewed as an act of cultural resistance and the preservation of intangible heritage. Origins and change Traditional hives in Asturias are vertical and fixed-frame, meaning the combs are attached permanently to the hive body and can only be removed by breaking them. In contrast, modern movable-frame hives feature combs placed in removable frames that can be extracted without damage and then returned after honey extraction. The advantage of the latter system lies not only in harvesting honey without harming the bees but also in the ability to easily inspect and manipulate the colony. Until a few decades ago, more rudimentary methods were used to calm the bees during hive management: a tile with burning dung; a mechón or fumeiro—a bundle of old rags rolled up, which was the most common method; an escacio (an epiphytic lichen) harvested from trees; and oak bark. Nowadays, bellows smokers are employed. Organisations The Federation of Beekeepers’ Associations of Asturias (FAPI) represents beekeepers before official bodies, private entities, and other institutions, advocating for the collective interests of the apicultural community. Additionally, ADAPAS (Association for the Defense of Bees of the Principality of Asturias) works to protect and promote the welfare of bees in the region. Places Two specific constructions from this activity, of great ethnographic value, are the talameiros or talameras and, above all, the cortinos, beehives built in the mountains that appear in the western part of Asturias. Both types of beehives were and still are scattered across the sunny slopes of the low mountains and served to protect the hives from fire and bears. At the Beekeeping Museum of Caso, the life cycle of bees and their importance for the natural balance of the planet are displayed, helping to understand the foundations of the beekeeper’s work and the applications of the products obtained. Through its exhibition, one can observe the evolution of hives, the work involved in their preparation, the care they required, and the extraction of honey. Alongside this, there is an interesting collection of tools, utensils, and clothing necessary for beekeepers to carry out their work. The Beekeeping House in Los Mazos, Boal, is a center for dissemination and interpretation related to the art of bee breeding: traditional beekeeping, modern beekeeping, products extracted from the hive, life within the colony... At the Asturias People’s Museum in Gijón, there is also a collection of objects related to traditional beekeeping: hives of different types, honeycomb cutters, smokers, containers for storing honey, and wax presses. Artefacts Truebano, queisieyu o coxedor (se emplea para coger los enjambres que huyen lejos del colmenar o que se posan en la rama de un árbol), ahumadores de fuelle o soplón, cortadeiras, esmielgadoras o jegras empleadas por los abeyeiros están formadas por un mango y una hoja de doble filo y curva. Recipientes para almacenar la miel, trobos da mel o truébanos del miel, si son de madera y olla, el puchero, la tarreña, la xarrina y el pucherín si son de cerámica. Climate Threats Description Reduction of floral diversity. Invasive species—the Asian hornet (Vespa velutina), a predator of bees and a cause of stress in the hives, which reduces food collection. Deterioration of traditional structures for protecting the hives and access to them. Economic Threats Description No hay suficiestes ayudas por parte de las administraciones públicas para el mantenimiento de la apicultura. Safeguarding activities Activities organized by the two associations (see the organizations section). State of the practice declining Social sustainability Its main role is the maintenance of ecosystems and biodiversity precisely through entomophilous pollination carried out by the beekeeping population. Its environmental contribution can be measured both by an improvement in the final agricultural production, in quantity and quality, and by its contribution to the maintenance of biodiversity. No other livestock sector uses natural resources as sustainably while simultaneously providing environmental benefits and supporting rural areas, thus contributing to their maintenance and development. Therefore, it is an example of a Sustainable and Environmentally Beneficial Production Model, understood as one in which economic interests (production of honey and hive products that provide profitability to beekeeping operations), social aspects (settling populations in rural areas where there are hardly any other economic activities), and the environment (not only respectful of the environment but also providing a service to society through the pollination of our fields) converge. Environmental sustainability Contributing to the maintenance of the vegetation layer in our environment, to the production of pastures, apples, blueberries, chestnuts, cherries, etc Economic sustainability Beekeeping represents an economic supplement or even a primary source of income for some beekeepers, especially through the production of honey, wax, propolis, and other derivatives. Place The town or city Toda la provincia de Asturias Place Description Beekeeping in Asturias has a long-standing tradition, with a production structure linked to small-scale operations where self-consumption was a primary purpose of the harvests. This cultural practice is associated not only with traditional and ancestral knowledge and techniques, but also with a rich material heritage, as well as the important role of the "abeyeru" or "abeyeiro", the specialist in this type of livestock. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Apicultura_artesanal_ 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 Apicultura artesanal Type The nature or genre of the resource Intangible Description An account of the resource Beekeeping has historically been an integral part of rural life in Asturias. According to the census conducted by the Marquis of Ensenada in the mid-18th century, a total of 65,813 beehives were documented in the region. The cultural and economic relevance of apiculture is reflected in practices such as the inclusion of hives and apiaries in dowries provided by parents to their daughters upon marriage, as well as in testamentary bequests—such as that of Licentiate Juan Sierra de Castañedo (from the municipality of Allande), who in 1659 stated: “a good hive shall be given to the priest attending my death, and if there are two, each shall take one.” The imposition of wax-based tributes by monastic institutions on Asturian peasants further contributed to the entrenchment, expansion, and institutionalization of beekeeping in the region. By 2007, official records indicated the presence of approximately 25,000 beehives within the Principality of Asturias. Of these, 13,232 were registered under the Federation of Beekeepers’ Associations of the Principality of Asturias (FAPI), and were managed by a total of 776 apiarists. Asturias exhibits an average of approximately 15 hives per beekeeper, with a significant number of practitioners operating at small scale. This pattern reveals a high degree of dispersion of beekeeping activity across the Asturian territory. While the overall volume of honey production may be modest, the ecological benefits in terms of pollination, as well as the high quality of bee-derived products—such as honey, pollen, and propolis—underscore the continued importance of apiculture in the region. Creator An entity primarily responsible for making the resource 1204 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 721 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Avila, J. (2022). Los otros apicultores de Taramundi (Asturias). Vida apícola: revista de apicultura, (232), 58-61. Copena, D.(2023). Abejas melíferas y comunidades rurales: una caracterización de los principales elementos patrimoniales en Galicia y Asturias. Cuadiernu: Revista internacional de patrimonio, museología social, memoria y territorio, (11), 121-146. Díaz, E. y J. Naves (2010). Los colmenares tradicionales del noroeste de España. AÇAFA On Line 3: 1-37. López, X. (1994). Las abejas, la miel y la cera en la sociedad tradicional asturiana. Real Instituto de Estudios Asturianos. López, J (2022). Arqueología de la apicultura en la Asturias preindustrial. New Approaches to the Archaeology of Beekeeping, 216. 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). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Apicultura artesanal 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 1731 Material Wool, silk, seaweed, tread Natural Cultural Cultural Function For decoration Creation Purpose For exhibition and for sale Technique The object was sown by the artist Material Source From shops and the sea Conecept Close connection to our coastal culture Production Quality The object are not mass produced External ID MN_AR_18 Field Worker Julie Therese Sæther Craft fibre and textile crafts,metalwork Tool Needle, scissors and grapf paper Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pieces_of_art 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 Pieces of art Type The nature or genre of the resource Physical Object Description An account of the resource It is a piece of art made from silk and seaweed, it looks like something that came from the sea, only in a softer way. The silk gives the more crunchy looking seaweed a new dimension. Seaweed is soft when in the ocean but on land it dries up. The silk somehow softens it up again. Creator An entity primarily responsible for making the resource 1205 Language A language of the resource Norwegian Extent The size or duration of the resource. 30cm x 20cm x 30cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 710 Source A related resource from which the described resource is derived craftedobjects,lofotenmap 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). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The object don`t have names, but they are of textiles sown by smocking and seaweed. 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 1381 Material Wool, silk, seaweed, tread Natural Cultural Cultural Function For decoration Creation Purpose For exhibition and for sale Technique The object was sown by the artist Material Source From shops and the sea Conecept Close connection to our coastal culture Production Quality The object are not mass produced External ID MN_AR_16 Field Worker Julie Therese Sæther Craft fibre and textile crafts,metalwork Tool Needle, scissors and grapf paper Place The town or city Stokmarknes, Vesterålen, Norge Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pieces_of_art 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 Pieces of art Type The nature or genre of the resource Physical Object Creator An entity primarily responsible for making the resource 1214,1205 Language A language of the resource Norwegian Extent The size or duration of the resource. 30cm x 20cm x 30cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 643 Source A related resource from which the described resource is derived lofotenmap 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). 19/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Artwork (kunstverk) 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 1728 Material Wool, silk, seaweed, tread Natural Cultural Cultural Function For decoration Creation Purpose For exhibition and for sale Technique The object was sown by the artist Material Source From shops and the sea Conecept Close connection to our coastal culture Production Quality The object are not mass produced External ID MN_AR_17 Field Worker Julie Therese Sæther Craft fibre and textile crafts,metalwork Tool Needle, scissors and grapf paper Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pieces_of_art 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 Pieces of art Type The nature or genre of the resource Physical Object Description An account of the resource It is a piece of art made from silk and seaweed, it looks like something that came from the sea, only in a softer way. The silk gives the more crunchy looking seaweed a new dimension. Seaweed is soft when in the ocean but on land it dries up. The silk somehow softens it up again. Date A point or period of time associated with an event in the lifecycle of the resource 24/03/2025 Creator An entity primarily responsible for making the resource 1214,1205 Language A language of the resource Norwegian Extent The size or duration of the resource. 30cm x 20cm x 30cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 709 Source A related resource from which the described resource is derived craftedobjects,lofotenmap 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). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The object don`t have names, but they are of textiles sown by smocking and seaweed. 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. Material Pine (seating) and ash (legs) Natural Cultural Cultural Function Work bench used mainly for making shrink pots. The material for the pot is wedged to differnt angles of the bench for diffent part of the making process. The bench is to be straddled. Creation Purpose Made for own use in production of shrink pots. Technique The pine has been cut with an adz, which primarily is used for timming. The legs are split with a whittled butt joint. The butts are split from the same material as the legs and have been planed to a circular plane. A saw has been used to cut the material to the correct lenght, and hole have been drilled in the log for the legs. Material Source Pine if from county of Dalarna, and the ash from the area around Falköping. Conecept His own idea but connections to other work benches for wood working. Production Quality One is needed, due to the use of it in Frej's own making process. External ID RV_AR_16 Field Worker Ulrika Jäger, Kajsa Stinnerbom Tool Saw, adz, chalk reel, brace, axe, draw knife Place The town or city Ullvi, Dalarna, Sweden Prim Media 1332 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 pot mare" Type The nature or genre of the resource Physical Object Description An account of the resource Workbench to sit straddle at for making of wooden jars. Arbetsbänk för slöjdare att sitta grensle över vid tillverkning av främst krympburkar. Date A point or period of time associated with an event in the lifecycle of the resource 2021 Creator An entity primarily responsible for making the resource 1220 Language A language of the resource Swedish Extent The size or duration of the resource. 109cm x 69cm x cm Contributor An entity responsible for making contributions to the resource iain Source A related resource from which the described resource is derived varmlandmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Burkmärr Spatial Coverage Spatial characteristics of the resource. current,60.7137084,15.0534981; Date Modified Date on which the resource was changed. 08/09/2025 Identifier An unambiguous reference to the resource within a given context 632 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. Material Birch Natural Cultural Cultural Function To rest one's feet in front of the fire place. Creation Purpose As a gift to his loved one. Technique The seat was cut and then carved with a smaller adz. The legs have been cut, split sawed and whittled with draw knife. Everything is decorated with knife and v shaped carving knife. Treated with flax seed oil. Material Source The material was bought at a sawing mill outside of Vingåker, Sweden. Conecept It's a foot stool Production Quality Have made a few, but will make on demand. External ID RV_AR_17 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft woodwork Tool Saw, axe, brace, draw knife, knife and v shaped carving knife. Place The town or city Ullvi, Dalarna, Sweden Prim Media 1333 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 Foot stool Type The nature or genre of the resource Physical Object Description An account of the resource Foot stool made of wood, with rich chip-carving treated with flaxseed oil. Creator An entity primarily responsible for making the resource 1220 Language A language of the resource Swedish Extent The size or duration of the resource. 42cm x 28cm x 26cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 609 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Frej says he can't find any relevant references 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fotpall Spatial Coverage Spatial characteristics of the resource. current,60.7137084,15.0534981; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Birch Natural Cultural Cultural Function Storage of dry food or of objects. Creation Purpose Since 2013 it's made for Sörmlands museum (regional museum). There's an original in their collection, with an unknown age. Technique A fresh material of birch stem is hollowed out and whittled clean. A track out of one end is made and a dry bottom is fixed. As the material dries, it shrinks and holds the bottom in place. The lid is cut with an axe and then finished with whittling from a birch plank. The knob is split and carved from a piece of birch. When the pot is done, the carving is made. Painted with flax seed oil paint. Material Source Ullvi, Dalarna Conecept The orignal pot was probably a purely decorative object. It's cut geometical shapes are a commonly found way of decorating older, peasant objects. Lonnfors has also said: “I think a fascination with these objects is deeply rooted within us. Jars, boxes, urns and pots have been so important to us for so long, from the storing of food to the final resting place in the burial urn. Sometimes I toy with the idea that the pots standing there are like small temple buildings or reliquaries, ready to hold all sorts of secrets… or perhaps simply coffee.” Production Quality When the museum has sold out their pots, a new batch is made. Usually every five years. External ID RV_AR_18 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft woodwork Tool Saw, wood auger, gouge, plane, marking gauge, axe, brace, knife and v shaped carving knife. Place The town or city Ullvi, Dalarna, Sweden Prim Media 1334 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 Shrinking pot Type The nature or genre of the resource Physical Object Description An account of the resource Decorated shrinking pot with lid, made from birch, Painted blue with flaxseed oil and pigment. Creator An entity primarily responsible for making the resource 1220 Language A language of the resource Swedish Extent The size or duration of the resource. cm x 13cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 610 Source A related resource from which the described resource is derived craftedobjects,varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://sokisamlingar.sormlandsmuseum.se/objects/c24-291345/ https://butiken.sormlandsmuseum.se/duka-forvara/burk-med-skuren-dekor-stor.html https://www.svenskttenn.com/se/en/designers/designer-frej-lonnfors/ 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Krympburk Spatial Coverage Spatial characteristics of the resource. current,60.7137084,15.0534981; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Alder Natural Cultural Cultural Function An enlargend decorative variant of a fiber hold for the spinning of linen threads, about three times the original size Creation Purpose Made for exhibitions and is for sale. Technique Carved from one piece of wood. Material Source Wood company in Sala, Västmanland, Sweden Conecept These types of distaffs have been most common on the Swedish eastern coast and therefor bears the resemblence of Finnish distaffs, as well as the like from Russia and the Baltic countries. Decorated distaffs have been popular as "proposal gifts", and the decorations usually have a strong symbolic meaning such as hearts, trees of life, birds, etc. Production Quality This is unique, but Lonnfors makes in regular size for sale too External ID RV_AR_19 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts,woodwork Tool Old hacksaw, jigsaw, axe, draw knife, drill and knife Place The town or city Ullvi, Dalarna, Sweden Prim Media 1335 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 Distaff Type The nature or genre of the resource Physical Object Description An account of the resource Decorated distaff with carvings and cut-outs. Painted in a uniform red with flaxseed oil and pigment. An enlargend replica. Date A point or period of time associated with an event in the lifecycle of the resource 2023 Creator An entity primarily responsible for making the resource 1220 Language A language of the resource Swedish Extent The size or duration of the resource. 135cm x 3cm x 36cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 611 Source A related resource from which the described resource is derived craftedobjects,varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://kulturmiljonorrbotten.com/2019/07/26/en-karleksforklaring-genom-linfasten/ https://digitaltmuseum.se/0210213652852/linfaste 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Rockblad Spatial Coverage Spatial characteristics of the resource. current,60.7137084,15.0534981; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Birch Natural Cultural Cultural Function To hang spoon on Creation Purpose For exhibition and sales. Technique Completely by hand, like all Lonnfors' works. Carving. Material Source From a sawing mill in Rättvik, Dalarna, Sweden Conecept Based on traditional spoon racks. The idea is to brag about ones fancy silver spoons on a beautiful hanger in the kitchen or in the dining hall. This particular type was probably more common on the continent or in North America, than in Sweden. In Sweden the spoons where more often than not hung in the kitchen cupboards. Production Quality Two are made, and Lonnfors also makes additional ones when they are ordered. External ID RV_AR_20 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft woodwork Tool Saw, planes (such as scrub plane), backsaw, compass, marking gauge, ruler, drill, knife. Place The town or city Ullvi, Dalarna, Sweden Prim Media 1336 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 spoon rack Type The nature or genre of the resource Physical Object Description An account of the resource Provide a detailed description of the object. Date A point or period of time associated with an event in the lifecycle of the resource 2023 Creator An entity primarily responsible for making the resource 1220 Language A language of the resource Swedish Extent The size or duration of the resource. 61cm x 1.6cm x 19cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 612 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.prices4antiques.com/blog/word-of-the-week-frisian-carving/ 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Skedhäck Spatial Coverage Spatial characteristics of the resource. current,60.7137084,15.0534981; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Earthenware clay, glaze 1013 cebex, porcelain slipware/engobe Natural Cultural Cultural Function Soap tray in ceramics with drain holes. A decorative and useful object. Creation Purpose Thenman noticed there was a demand for soap trays at the store and co-op Arvika konsthantverk. Technique A slab technique where the clay is rolled with a pin on a plaster board with textured pattern. Then he form is cut and shaped on a plaster molder and feet are attatched to the bottom. When the tray has become hard as leather the drain holes are cut and the whole product is cleaned and made to have a nice finish with a sponge. It's dipped in engobe/slipware and the underside of the feet are dried off. Then it's left to dry. The dry shape is bisque fired up to 950 degrees, glazed, dried under the feet and then fired to about 1100 degrees. Material Source Clay glaze and engobe from Cebex: www.cebex.se Conecept The artist dosen't say Production Quality About 100 a year External ID RV_AR_21 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft ceramics Tool Modeling board, rolling pin, plaster board with carved pattern. Plaster dome/shape, modelling wooden tools, sponge, hole mkaing tool. Place The town or city Lerhol, Edane, Arvika, Sweden Prim Media 1337 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 Soap tray Type The nature or genre of the resource Physical Object Description An account of the resource A white glazed on earthenware clay soap tray in a flower shape with drainage holes in the middle, standing on four feet. Date A point or period of time associated with an event in the lifecycle of the resource 2018 Creator An entity primarily responsible for making the resource 1225 Language A language of the resource Swedish Extent The size or duration of the resource. 15cm x 0.3cm x 11cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 613 Source A related resource from which the described resource is derived varmlandmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tvålfat Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Earthenware clay, glaze (1013 cebex), slipware/engobe (Ballclay+0.5% Coo, 3% Rutil), metal loop Natural Cultural Cultural Function For usage as a plate or for decoration Creation Purpose First made for exhibitions, but are now sold as a product at artisans webshop or at the co-op Arvika konsthantverk. Technique A slab technique where the clay is rolled to about 0.5 cm thickness and a circle is cut. The plate is formed on a dome and the foot is fastned. When the plate is hard as leather it's engoved, and when that in turn dries the pattern is scraped. Two holes are made in the foot to be able to mount the plate to a wall. The plate is dried, burned to 950 degrees, glazed with a transparent glaze and burned to about 1100 degrees. Material Source Clay glaze and engobe from Cebex: www.cebex.se Conecept Thenman has been inspired by different plates form around the world and by patterns from nature. Production Quality About 60/year External ID RV_AR_22 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft ceramics Tool Modeling board, rolling pin, dome/shape with fabric over, knife, modelling wooden tools, sponge, sgrafitto tool, Place The town or city Lerhol. Edande, Arvika, Sweden Prim Media 1339 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 Plate "Anna" Type The nature or genre of the resource Physical Object Description An account of the resource Plate in a brown and beige flower pattern (crocus flowers) for usage as a plate or for decorating a wall. Date A point or period of time associated with an event in the lifecycle of the resource 2023 Creator An entity primarily responsible for making the resource 1225 Language A language of the resource Swedish Extent The size or duration of the resource. cm x 0.5cm x 18 (diameter)cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 614 Source A related resource from which the described resource is derived varmlandmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fat, Anna Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Earthenware clay, glaze (1013 transparent), engobe/slipware (ball clay + 15% black pigment body). Natural Cultural Cultural Function Vase for smaller bouquets Creation Purpose Vase was originally for an exhibition and is now sold at store and co-op Arvika Konsthantverk. Technique The clay is kneaded and centered and trown on a electrical potter's wheel. The vase is lifted from the wheel and left to dry until leather hard before it's engobed. When that's dried, the pattern is scraped and then it is bisque fired up to 950 degrees, glazed, dried under the feet and then fired to about 1100 degrees.. När engoven torkat till litegrann skrapas mönstret fram- The vase is not glazed at the edge and is burnt upside down to get an enclosed, fully glazed foundation. Material Source Clay glaze and engobe from Cebex: www.cebex.se Conecept The artist dosen't say Production Quality About 30 vases in total External ID RV_AR_23 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft ceramics Tool Potter's wheel, wire/clay cutters, sgrafitto tool, sponge, scraper Place The town or city Lerhol. Edande, Arvika, Sweden Prim Media 1342 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 Vase Type The nature or genre of the resource Physical Object Description An account of the resource An eathernware vase for a smaller bouquet of flowers in a twisted pattern of black and brown. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 1225 Language A language of the resource Swedish Extent The size or duration of the resource. 10cm x 0.2cm x 8cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 615 Source A related resource from which the described resource is derived varmlandmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Vas Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Earthenware clay - white and red clay mixed, and detail in wood Natural Cultural Cultural Function Decoration for wall Creation Purpose Exhibition Technique The clay is modeled and the wood plug is cut with a knife. Material Source Clay glaze and engobe from Cebex: www.cebex.se. Wood plug cut from wood pin bought from hardware store Conecept Inspired by folklore imagery and shapes Production Quality One, unique External ID RV_AR_24 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft ceramics Tool Knife saw, wooden model tool, sponge Place The town or city Lerhol. Edande, Arvika, Sweden Prim Media 1344 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 Wall shape Type The nature or genre of the resource Physical Object Description An account of the resource Decorative clay sculpture in unglazed clay to be hung on the wall Date A point or period of time associated with an event in the lifecycle of the resource 2016 Creator An entity primarily responsible for making the resource 1225 Language A language of the resource Swedish Extent The size or duration of the resource. 44cm x 0.7cm x 21cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 616 Source A related resource from which the described resource is derived craftedobjects,varmlandmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Väggform Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Earthenware clay Natural Cultural Cultural Function Decorative cup for drinking tea. It holds liquid even unburnt. Creation Purpose For the exhibition "Leran" (The clay) at Rackstadmuseet 2023. Technique The cup is thrown by artisan Joel Stuart Beck. The shapes are made with a small metal knife. Material Source The clay is dug out of the ground in Lerhol, close to Thenmans studio. Conecept The cup is made in a project where the local material and craft is highlighted and put on display. There's an article about this in the journal "Hemslöjden" nr. 3, 2023. Production Quality About 20 pieces External ID RV_AR_25 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft ceramics Tool Pottery tools, metal knife, clay trim knifes Place The town or city Lerhol. Edande, Arvika, Sweden Prim Media 1345 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 Cone cup 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 2024 Creator An entity primarily responsible for making the resource 1225 Language A language of the resource Swedish Extent The size or duration of the resource. 7cm x 0.3cm x 7cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 617 Source A related resource from which the described resource is derived craftedobjects,varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.hemslojd.se/det-leriga-experimentet/ 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kottkopp Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Description An account of the resource A cup made from earthenware clay in the shape of a cone. Date Modified Date on which the resource was changed. 08/09/2025 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. Material Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Natural Cultural Cultural Function Hat for warmth and for regular use or to wear with the local folk costume. It’s a garment and accessory which shows tradition and heritage both in the technique and form. Creation Purpose Bengtsson made the first hat over 20 years ago, and she wanted to create something inspired and belonging to the Dalby mittens. She makes hats for exhibitions and for sale. Technique Made with nålbindning technique, see RV_CP_06 for further information. Material Source Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no Conecept The hat is made in the image of the Dalby mitten and uses the same nålbindning technique and a similar embroidery. As the nålbindning is a cultural heritage and history of the region, the hat is a continuation and development of the unbroken practice in the valley. Production Quality Bengtsson has made about 20 hats External ID RV_AR_26 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts Tool Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. Place The town or city Sysslebäck, Sweden Prim Media 1346 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 Knitted cap from Dalby - "stitched and ruffled" Type The nature or genre of the resource Physical Object Description An account of the resource The knitted hat is made in the nålbidning of Northen Värmland with white wool yarn with flower embroidery and decorated with borders of red wool yarn. The design is inspired by the Dalby mitten of the region. The embroidery presented have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the hat was made. Date A point or period of time associated with an event in the lifecycle of the resource 2020s (before 2025) Creator An entity primarily responsible for making the resource 1234 Language A language of the resource Swedish Extent The size or duration of the resource. 22cm x 0.3cm x 27.5cm Contributor An entity responsible for making contributions to the resource iain Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Dalbymössa - sömmad och krusad Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; Date Modified Date on which the resource was changed. 08/09/2025 Identifier An unambiguous reference to the resource within a given context 631 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. Material Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Natural Cultural Cultural Function Mittens for warming hands or use with the local folk costume. A Vantar för att värma händer. It’s a garment and accessory which shows tradition and heritage both in the technique and form. Creation Purpose For exhibitions and for sale. Technique Made with nålbindning technique, see RV_CP_06 for further information. Material Source Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no Conecept As the nålbindning is a cultural heritage and history of the region, the mittens are a continuation of the unbroken practice in the valley. Production Quality Bengtsson has made about 40 pair of mittens External ID RV_AR_27 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts Tool Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. Place The town or city Sysslebäck, Sweden Prim Media 1347 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 Dalby mittens Type The nature or genre of the resource Physical Object Description An account of the resource The knitted mittens are made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mittens were made. Date A point or period of time associated with an event in the lifecycle of the resource 2020s (before 2025) Creator An entity primarily responsible for making the resource 1234 Language A language of the resource Swedish Extent The size or duration of the resource. 26.6cm x 0.3cm x 10cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 618 Source A related resource from which the described resource is derived craftedobjects,varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Dalbyvanten Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Brosch needle of metal. Natural Cultural Cultural Function Brooches for decorating clothes or to use for the local folk costume. A decorative piece that showes the old traditions in a minitaure way. Creation Purpose For sale Technique Made with nålbindning technique, see RV_CP_06 for further information. Material Source Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no Conecept The brosch is a miniature of the Dalby mitten. See RV_AR_27 for futher information. Production Quality Bengtsson has made about 30 pieces External ID RV_AR_28 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts Tool Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. Place The town or city Sysslebäck, Sweden Prim Media 1348 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 Dalby mitten brooches Type The nature or genre of the resource Physical Object Description An account of the resource The knitted miniature mittens brooches are made in the nålbidning of Northen Värmland with black wool yarn, and white wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mittens was made. Date A point or period of time associated with an event in the lifecycle of the resource 2020s (before 2025) Creator An entity primarily responsible for making the resource 1234 Language A language of the resource Swedish Extent The size or duration of the resource. 7cm 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 619 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Dalbyvantar broscher Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Elastic and metal ring. Natural Cultural Cultural Function Functions as a bow tie. Creation Purpose For sale Technique Made with nålbindning technique, see RV_CP_06 for further information. Material Source Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no Conecept The bow tie is inspired by the Dalby mitten. The concept is that a man can wear it to match a females decorating such as a e.g. hat, mittens or a bride crown. Production Quality About eight bow ties. External ID RV_AR_29 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts Tool Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. Place The town or city Sysslebäck, Sweden Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Bow_tie_in_nålbindning_inspired_by_Dalby_mitten 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 Bow tie in nålbindning inspired by Dalby mitten Type The nature or genre of the resource Physical Object Description An account of the resource Bow tie made in the made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mitten, but in this case the tie, were made. Date A point or period of time associated with an event in the lifecycle of the resource 2020s (before 2025) Creator An entity primarily responsible for making the resource 1234 Language A language of the resource Swedish Extent The size or duration of the resource. 13cm x 0.5cm x 5cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 620 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Nålbunden fluga insprierad från Dalbyvanten Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; 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. Material Trysil Garn Sportsgarn, three stranded 100% wool yarn. Uses leftover strans for embroidery. Elastic and metal ring. Natural Cultural Cultural Function Crown for wearing as a bride. Creation Purpose Bengtsson made a bridal crown during an education for a competition. She has shown it at exhibitions. She thinks about giving it or lending it to the church for weddings. Technique Made with nålbindning technique, see RV_CP_06 for further information. Material Source Bengtsson buys her yarn in Norway, at Europris. trysilgarn.europris.no Conecept The bridal crown is inspired by the Dalby mitten, and the usage of a bridal crown (usually made in metal) is a old tradition too in this region. Production Quality One External ID RV_AR_30 Field Worker Ulrika Jäger, Kajsa Stinnerbom Craft fibre and textile crafts Tool Needle made from moose bone, pattern templates, embroidery needle, pliers, chochet needle. Also uses a glass of water and ”såpa”, gel like (toilet) soap made from fat and potassium, to moist the fingers to help splice the threads and yarn. Saliva is also possible to use. Place The town or city Sysslebäck, Sweden Prim Media 1350 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 Bridal crown Type The nature or genre of the resource Physical Object Description An account of the resource The bridal crown is made in the nålbidning of Northen Värmland with black wool yarn with flower embroidery and decorated with borders of red wool yarn. The embroidery have the traditional flowers of the mittens such as: rose, viola/pansy and myosotis/forget-me-nots. The red border around is ”crows kicks”, and marks where the mitten, but in this case the crown, was made. Date A point or period of time associated with an event in the lifecycle of the resource 2020s (before 2025) Creator An entity primarily responsible for making the resource 1234 Language A language of the resource Swedish Extent The size or duration of the resource. 11.5cm x 0.6cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 621 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Brudkrona Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Cow's milk, rennet, salt Natural Cultural Cultural Function It is a food product and a traditional way to preserve domestic milk production Creation Purpose Retail sale Technique The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours Material Source The milk comes from pasture-based farms located in villages near the cheese factory. Conecept Fresh cheese" or "barreña con sal" is one of the traditional varieties of Afuega’l Pitu cheese, produced in the region where the cheese factory is located. It is made following traditional procedures Production Quality In batches of between 150-200 cheeses. External ID UNIOVI_AR_06 Field Worker Santiago Rodríguez Pérez Tool Milk pasteurizer, coagulation vat, ladle, cheese draining mold, curating chamber. Place The town or city Ambás, Grau/Grado, Asturias, Spain Prim Media 1351 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 Afuega'l Pitu Cheese. Fresh cheese with salt Type The nature or genre of the resource Physical Object Description An account of the resource Afuega’l pitu fresh cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. Fresh cheese has a maturation period of 24 hours, it has not been aged in a chamber, and is intended for consumption as fresh cheese, or blended with milk and sugar—a traditional Asturian dessert known as 'barreña' Date A point or period of time associated with an event in the lifecycle of the resource Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit Creator An entity primarily responsible for making the resource 1242 Language A language of the resource Asturian Extent The size or duration of the resource. cm x 5-12cm x 8-14cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 622 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7 González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz. López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)]. Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/ Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269 Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu de Afuega'l pitu. Queisu frescu con sal Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Cow's milk, rennet, salt Natural Cultural Cultural Function It is a food product and a traditional way to preserve domestic milk production Creation Purpose Retail sale Technique The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours Material Source The milk comes from pasture-based farms located in villages near the cheese factory Conecept The 'Atroncáu cheese' is one of the traditional varieties of Afuega’l Pitu cheese, produced in the region where the cheese factory is located. It is made following traditional procedures Production Quality In batches of between 150-200 cheeses. External ID UNIOVI_AR_07 Field Worker Santiago Rodríguez Pérez Tool Milk pasteurizer, coagulation vat, ladle, cheese draining mold, curating chamber. Place The town or city Ambás, Grau/Grado, Asturias, Spain Prim Media 1352 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 Afuega'l Pitu Cheese. 'Atroncáu blancu' variety Type The nature or genre of the resource Physical Object Description An account of the resource Afuega’l pitu ‘Atroncáu blancu’ cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry. Date A point or period of time associated with an event in the lifecycle of the resource Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit Creator An entity primarily responsible for making the resource 1242 Language A language of the resource Asturian Extent The size or duration of the resource. cm x 5-12cm x 8-14cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 623 Source A related resource from which the described resource is derived asturiasmap,craftedobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7 González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz. López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)]. Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/ Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269 Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM 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). 02/09/2025 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Date Modified Date on which the resource was changed. 08/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu de Afuega'l pitu. Variedá Atroncáu blancu 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. Material Cow's milk, rennet, salt Natural Cultural Cultural Function It is a food product and a traditional way to preserve domestic milk production Creation Purpose Retail sale Technique The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours Material Source The milk comes from pasture-based farms located in villages near the cheese factory. Conecept The 'Atroncáu cheese-queisu del horro' is one of the traditional varieties of Afuega’l Pitu cheese, produced in the region where the cheese factory is located. It is made following traditional procedures. In this case, it is a cheese very similar to the traditional cheeses that were stored in elevated granaries. Production Quality In batches of between 150-200 cheeses. External ID UNIOVI_AR_08 Field Worker Santiago Rodríguez Pérez Tool Milk pasteurizer, coagulation vat, ladle, cheese draining mold, curating chamber. Place The town or city Ambás, Grau/Grado, Asturias, Spain Prim Media 1353 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 Afuega'l Pitu Cheese. 'Atroncáu blancu - queisu del horro' variety Type The nature or genre of the resource Physical Object Description An account of the resource Afuega’l pitu ‘Atroncáu blancu - queisu del horro’ cheese is made from pasteurized cow's milk. Its conical shape is due to the mold used in its production, called ‘barreña’. The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry. Date A point or period of time associated with an event in the lifecycle of the resource Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit Creator An entity primarily responsible for making the resource 1242 Language A language of the resource Asturian Extent The size or duration of the resource. cm x 5–12cm x 8–14cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 624 Source A related resource from which the described resource is derived asturiasmap,craftedobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7 González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz. López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)]. Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/ Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269 Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu de Afuega'l pitu. Variedá Atroncáu blancu 'queisu del horro' Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Cow's milk, rennet, salt Natural Cultural Cultural Function It is a food product and a traditional way to preserve domestic milk production Creation Purpose Retail sale Technique The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours Material Source The milk comes from pasture-based farms located in villages near the cheese factory. Conecept The 'Trapu blancu' is one of the traditional varieties of Afuega’l Pitu cheese, produced in the region where the cheese factory is located. It is made following traditional procedures. Production Quality In batches of between 150-200 cheeses. External ID UNIOVI_AR_09 Field Worker Santiago Rodríguez Pérez Tool Milk pasteurizer, coagulation vat, ladle, cheese draining mold, curating chamber. Place The town or city Ambás, Grau/Grado, Asturias, Spain Prim Media 1354 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 Afuega'l Pitu Cheese. 'Trapu blancu' variety Type The nature or genre of the resource Physical Object Description An account of the resource Afuega’l pitu ‘Trapu blancu’ cheese is made from pasteurized cow's milk. Its shape, resembling that of a small pumpkin, is a result of the production process. To achieve this, the fresh cheese is kneaded and wrapped in a cloth (Trapu), tied at the top to allow the whey to drain, and then placed in the maturation chamber.The cheese's consistency varies depending on its degree of maturation, as does its color, which changes from white to yellowish over time. Its rind is natural, and as it matures, after 30 days, the mold ‘geotricum candida’ appears, originating from the milk itself. It has a slightly acidic and mildly salty taste, is creamy, and quite dry. Date A point or period of time associated with an event in the lifecycle of the resource Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit Creator An entity primarily responsible for making the resource 1242 Language A language of the resource Asturian Extent The size or duration of the resource. cm x 5–12cm x 8–14cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 625 Source A related resource from which the described resource is derived asturiasmap,craftedobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7 González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz. López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)]. Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/ Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269 Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu de Afuega'l pitu. Variedá Atroncáu blancu 'queisu del horro' Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Cow's milk, rennet, salt Natural Cultural Cultural Function It is a food product and a traditional way to preserve domestic milk production Creation Purpose Retail sale Technique The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours Material Source The milk comes from pasture-based farms located in villages near the cheese factory Conecept The 'Trapu roxu' is one of the traditional varieties of Afuega’l Pitu cheese, produced in the region where the cheese factory is located. It is made following traditional procedures. Production Quality In batches of between 150-200 cheeses External ID UNIOVI_AR_10 Field Worker Santiago Rodríguez Pérez Tool Milk pasteurizer, coagulation vat, ladle, cheese draining mold, curating chamber Place The town or city Ambás, Grau/Grado, Asturias, Spain Prim Media 1357 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 Afuega'l Pitu Cheese. 'Trapu roxu' variety Type The nature or genre of the resource Physical Object Description An account of the resource Afuega’l pitu ‘Trapu blancu’ cheese is made from pasteurized cow's milk. Its shape, resembling that of a small pumpkin, is a result of the production process. The "Trapu roxu" cheese is made by kneading fresh cheese. It has a spicy and acidic flavor, slightly dry and doughy in texture. The red color comes from the use of paprika during its production. Date A point or period of time associated with an event in the lifecycle of the resource Cheeses are produced daily at the cheese factory. The documented piece was made days before our visit Creator An entity primarily responsible for making the resource 1242 Language A language of the resource Asturian Extent The size or duration of the resource. cm x 5–12cm x 8–14cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 626 Source A related resource from which the described resource is derived asturiasmap,craftedobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7 González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz. López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)]. Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/ Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269 Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu de Afuega'l pitu. Variedá Atroncáu blancu 'queisu del horro' Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Wool yarn, wool textile, metal, sisti (tanned reindeer skin) Natural Cultural Cultural Function Belt on a dress/gákti Creation Purpose Own needs Technique Rigid heddle weaving, sewing Material Source The shop, the sisti is homemade Conecept Imporant part of the traditional sámi dress/gákti Production Quality One External ID MN_AR_21 Field Worker Kjersti Robertsen Craft fibre and textile crafts Tool Njiskun/rigid heddle, needle, thread Place The town or city Ramavuolle, Tjeldsund, Troms, Norway Prim Media 1328 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 Woven womens belt Type The nature or genre of the resource Physical Object Description An account of the resource Woven belt Language A language of the resource Norwegian,Sami Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 604 Source A related resource from which the described resource is derived lofotenmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Njiskonnavvie (Sámi), belte (Norwegian) Spatial Coverage Spatial characteristics of the resource. current,68.5850376463434,16.7049237984686; Creator An entity primarily responsible for making the resource 1283 Date Modified Date on which the resource was changed. 08/09/2025 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. Material Wool Natural Cultural Cultural Function Wearing Creation Purpose Made for someone else Technique Sewing Material Source The shops Conecept Traditional clothes Production Quality One External ID MN_AR_22 Field Worker Kjersti Robertsen Craft fibre and textile crafts Tool Sewing machine, needle and thread Place The town or city Ramavuolle, Tjeldsund, Troms, Norge Prim Media 1329 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 Sámi traditional mens dress Type The nature or genre of the resource Physical Object Description An account of the resource Traditional mens sámi dress made from wool, here pictured with a woven belt Language A language of the resource Norwegian,Sami Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 605 Source A related resource from which the described resource is derived lofotenmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Gákti/gáktie/herrekofte Spatial Coverage Spatial characteristics of the resource. current,68.5850624043893,16.7063251642566; Creator An entity primarily responsible for making the resource 1283 Date Modified Date on which the resource was changed. 08/09/2025 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. Material Sisti / tanned reindeer skins, wool textile Natural Cultural Cultural Function To carry coffe grounds of beans when on the move Creation Purpose Own needs Technique Hand sewing Material Source The sisti/reindeer skin is homemade, the textile is bought from the shops Conecept Traditional way to carry coffee when on hikes, or when moving with the reindeer herds from the winter grazing areas to summer areas. Production Quality One External ID MN_AR_23 Field Worker Kjersti Robertsen Craft fibre and textile crafts,leatherwork Tool Leather needle Place The town or city Ramavuolle, Tjeldsund, Troms, Norway Prim Media 1330 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 Coffee bag Type The nature or genre of the resource Physical Object Description An account of the resource Bag made from sisti/tanned reindeer skin and wool fabric, used to carry coffee grounds or beans. Creator An entity primarily responsible for making the resource 1283 Language A language of the resource Norwegian,Sami Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 607 Source A related resource from which the described resource is derived lofotenmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Gafeseahkka, kaffepose Spatial Coverage Spatial characteristics of the resource. current,68.5849716247542,16.7055792760146; Date Modified Date on which the resource was changed. 08/09/2025 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. Material Reindeer skin with hair, wool Natural Cultural Cultural Function For wearing, but now in exhibition Creation Purpose Exhibition Technique Leather tanning, sewing, weaving Material Source Handmade, self produced Conecept This is a try at a reconstruction of a piece of clothing mentioned by Snorre Sturluson in the sagas, worn by Tore Hund in the Battle of Stiklestad. Production Quality 2 External ID MN_AR_24 Field Worker Kjersti Robertsen Craft fibre and textile crafts,leatherwork Tool Njiskun/rigid heddle loom, needle Place The town or city Evenskjer, Tjeldsund, Troms, Norway Prim Media 1331 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 Tore Hunds reindeer skin collar Type The nature or genre of the resource Physical Object Description An account of the resource A collar made from reindeer skin and woven wool bands. The object was made in a project in collaboration with Várdobáiki samisk senter to explore how Tore hunds clothing mentioned in the sagas could have been Creator An entity primarily responsible for making the resource 1283 Language A language of the resource Norwegian,Sami Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 608 Source A related resource from which the described resource is derived lofotenmap 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tore Hunds cehporis/reinskinnskrage Spatial Coverage Spatial characteristics of the resource. current,68.5831779449447,16.5726814220077; Date Modified Date on which the resource was changed. 08/09/2025 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 1740 External ID MN_AR_25 Place The town or city Ramavuolle, Tjeldsund, Troms, Norway Craft fibre and textile crafts Material Wool, cotton Material Source The shop Technique Weaving, sewing Tool Sewing machine, needle, rigid heddle loom Function Wearing, part of the traditional dress Creation Purpose Own needs Production Quality One Conecept Important part of the womens traditional dress in the Tjeldsund area 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 Sami women's hat Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Kjersti Robertsen Identifier An unambiguous reference to the resource within a given context 713 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Devttatgahpir / kvinnelue Language A language of the resource Northern Sámi, Norwegian Spatial Coverage Spatial characteristics of the resource. current,68.5849716247542,16.7055792760146; Extent The size or duration of the resource. cm x cm x cm Description An account of the resource Sami women's hat with a woven band Creator An entity primarily responsible for making the resource 1459 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Intangible External ID MN_CP_08 Place The town or city Ramavuolle, Reinåsen, Tjeldsund, Troms, Norway Place Description Markasámi village Domains fibre and textile crafts Knowledge How to make the warp, how to put the threads through the rigid heddle loom for the wanted pattern. How to do regular weaving, and how to "pick" different patterns. Knowledge Transfer Between people, courses/classes, duodji societies/clubs Practitioners Mainly women, though some men do it too. Function Traditional bands are made for use on the gákti / Sámi traditional dress, as well as for other purposes. Origins and change The technique is very old. The production of the heddles/looms/njiskun themselves has been modernised and mass-produced. Organisations Local Sámi Duodjilag (Sámi handicrafts clubs), Duodjeinstituhtta, Sámij åhpadusguovdásj/Samernas utbildningscentrum in Jokkmokk (Sweden) Places In this area: Várdobáiki samiske senter, Stuornjargga samiid duodji Artefacts Gákti/traditional Sámi clothes and children's crib (Komse), but also used for other cultures, including the bunad traditions in Norway. Climate Threats Deterioration of material Technological Threats Industrial production,Surge of new technologies,Use of modern materials Decontextualization Touristification,Misappropriation Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Haltered transmission between generations,Reduced practice Loss Threats Loss of ancestral language,Loss of cultural spaces,Loss of knowledge SDG Decent work and economic growth Climate Threats Description If the practitioner cannot get a hold of material, they cannot do the cultural practice Technological Threats Description Use of industrial production, new technologies and modern (for example, synthetic materials) can make the products cheaper and more popular, and might contribute to threatening the cultural practice if there are fewer and fewer buyers of the products/users of the products made by the cultural practice Decontextualization Description Touristification and the misappropriation of woven objects can lead to reduced use of the cultural practice if users/buyers of the products no longer want to use traditionally made products, instead opting for "fake" products. Weakened Practice Description If fewer and fewer people are interested in learning the practice and using the products, the practice might disappear. If the transmission between generations stops and the aged practitioners disappear, it will be much harder to keep the cultural practice alive. Loss Threats Description Words and terms explaining how to weave, and also the parts of the loom/parts of the yarn, techniques, etc., disappear, and a lot of knowledge can disappear with them, as some of the Sámi terms might be more descriptive and explanatory than the Norwegian or English ones. Safeguarding activities Duodjeinstituhtta has practitioners who hold workshops and courses in different areas where there are interested participants. Different Sámi duodjilag (handicrafts clubs) also do courses. State of the practice declining Social sustainability Inclusivity - anyone can learn the cultural practice. Environmental sustainability Use of natural materials, mainly wool and cotton. Economic sustainability Diversifying income sources - practitioners can make and sell products while still managing to work normally. 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 Weaving bands with njiskun/ rigid heddle Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Båndveving med njuskun/grindvev Type The nature or genre of the resource Intangible Contributor An entity responsible for making contributions to the resource Kjersti Robertsen Language A language of the resource Norweigan and northern Sámi Description An account of the resource Weaving bands for traditional clothes or other purposes on a rigid heddle. The heddle is traditionally made from wood or antler, but modern ones are also made with modern materials like plastic. Creator An entity primarily responsible for making the resource 1459 Identifier An unambiguous reference to the resource within a given context 941 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway 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 1641 External ID LAPONTE_AR_13 Place The town or city San Salvador, Quirós, Asturias Craft ceramics Material Clay Material Source The artisan primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. Technique Crafted using modelling techniques, hand-painted, and fired at high temperature. Tool Potter’s hand tools Function It is a decorative piece Creation Purpose For sale Production Quality 1 Conecept It depicts a window in a traditional, old Spanish rural house. 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 Ceramics piece. Window with metal bars Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 674 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ventana con reja Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. 31cm x 22cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2024 Description An account of the resource Medium-sized barred window, featuring wrought-style detailing and a ring, made from ceramic. Fired at a high temperature of 1250°C and hand-painted. It was the first grille created in their ceramics workshop in Asturias. It is a wall-hanging object, so the back is flat. Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1643 External ID LAPONTE_AR_14 Place The town or city San Salvador, Quirós, Asturias Craft ceramics Material Clay Material Source The artisan primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. Technique Crafted using modelling techniques, hand-painted, and fired at high temperature (1250ºC) Tool Potter’s hand tools Function It is a decorative piece Creation Purpose For sale Production Quality 1 Conecept A representation of an architectural scene from a town in a rural area of Spain 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 Ceramics piece. Silver Route and streets with arcades Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 675 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Camino de la Plata y calles con soportales Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. 33cm x 21cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2020s Description An account of the resource A ceramic piece made in high relief on the visible side and flat on the back, designed to be hung on a wall. It depicts medieval architecture in sand, cream and blue tones, with wooden doors, windows, roofs and small roof sections featuring miniature slate tiles crafted and placed one by one, as well as arches along the arcaded walkways Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1645 External ID LAPONTE_AR_15 Place The town or city San Salvador, Quirós, Asturias Craft ceramics Material Clay Material Source The artisan primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. Technique Crafted using modelling techniques, hand-painted, and fired at high temperature. Tool Potter’s hand tools Function It is a decorative piece Creation Purpose For sale Production Quality 1 Conecept A representation of ruined architecture in a rural area of Asturias. 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 Ceramics piece. Marvellous window Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 676 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ventana maravilla Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. 20cm x 16cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2020s Description An account of the resource A ceramic piece with high relief on the front and a flat back. It depicts a closed window whose shutters feature the typical solid panels found in the homes of well-to-do neighbours. Around it, the chipped plaster reveals the brickwork beneath. Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1647 External ID LAPONTE_AR_16 Place The town or city San Salvador, Quirós, Asturias Craft ceramics Material Clay Material Source The artisan primarily use clays of Spanish origin, sourced from the regions of Tarragona and Alicante. Technique Crafted using modelling techniques, hand-painted, and fired at high temperature. Tool Potter’s hand tools Function It is a decorative piece Creation Purpose For sale Production Quality 1 Conecept A representation of Spain’s rural architecture 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 Ceramics piece. Wooden door with a small bell and a metal latch Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 677 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Puerta de madera con campanita y cierre de metal Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. 35cm x 27cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2020s Description An account of the resource A ceramic piece with high relief on the front and a flat back. The piece depicts a fragment of an old door and wooden hinge, incorporating metal elements such as a small bell, nails, a lock, and a door knocker. Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1649 External ID LAPONTE_AR_17 Place The town or city San Salvador, Quirós, Asturias Craft ceramics,glasswork Material Clay, glass Material Source The artisan primarily uses clays of Spanish origin, sourced from the regions of Tarragona and Alicante. The glass used for the surface glaze is sourced from recycled glass from cider, beer, wine and mead bottles. Technique Crafted using modelling techniques and fired at high temperature. The crushed glass disperses over the modelled surface of the piece and is fired into the ceramic, becoming gel-like during firing. Upon cooling over the subsequent hours, it presents a visible crackled finish. Tool Potter’s hand tools Function It is a decorative piece Creation Purpose For sale Production Quality 3 Conecept - 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 Three ceramic incense burners Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 678 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Conjunto de incensiarios Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2020s Description An account of the resource A set of three incense burners of different shapes and sizes, with coloured glazed surfaces. Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1651 External ID LAPONTE_AR_18 Place The town or city San Salvador, Quirós, Asturias Craft ceramics,glasswork Material Clay, glass Material Source The artisan primarily uses clays of Spanish origin, sourced from the regions of Tarragona and Alicante. The glass used for the surface glaze is sourced from recycled glass from cider, beer, wine and mead bottles. Technique Crafted using modelling techniques and fired at high temperature. The crushed glass disperses over the modelled surface of the piece and is fired into the ceramic, becoming gel-like during firing. Upon cooling over the subsequent hours, it presents a visible crackled finish. Tool Potter’s hand tools Function Intended for decorating a Christmas tree Creation Purpose For sale Production Quality 6 Conecept - 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 Ceramic Christmas decorations Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 679 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Adornos de Navidad Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.1642031567794,-5.97880474556343; Extent The size or duration of the resource. 4–8cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2020s Description An account of the resource A set of six small ornaments intended for a Christmas tree, featuring various shapes (leaves, stars and lobed circles) and colours created through glazing. Each piece includes a hole for hanging. Creator An entity primarily responsible for making the resource 1492 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1770 Material Sheepskin from Xalda breed Natural Cultural Cultural Function Decoration, rug, baby cradle base, cushion lining, bag material, among others. Creation Purpose Direct sale to customers. Technique To create this piece, the lamb must be slaughtered at around six months of age, or once it reaches the appropriate size. After slaughter, the hide is removed through a series of precise cuts along the animal’s body. The tanning process is carried out naturally using salt. This traditional method removes excess moisture and preserves the fleece. Unlike industrial tanning, which involves harsh chemical treatments, salt tanning maintains the wool’s original properties. If conventional chemicals used in the leather industry were applied, the fleece would detach completely, resulting in the loss of one of the material’s key qualities. Once tanned and dehydrated with salt, the hide is hung to dry. Traditionally, in rural villages, hides were hung on the outer walls of hórreos—elevated granaries typical of northern Spain—where they were protected from direct sunlight to prevent damage to the fleece. Marina and Rodrigo use drying frames for this process, which allows for even drying. Once dry, the hide becomes stiff and cardboard-like in texture, but gradually softens with use. To accelerate this process, moisturizing creams can be applied to improve its flexibility. Lambs of the Xalda breed, native to Asturias, produce small-sized hides that are highly valued for their quality and unique characteristics. Today, this activity represents a promising business opportunity, as it allows for the reuse of a by-product that is typically discarded in the meat industry. In Spain, there are factories dedicated to hide production, although most operate on an industrial scale, and even large multinational furniture companies use this type of material. On a semi-artisanal level, there are tanneries that produce conventional hides without fleece, especially in the neighboring region of Galicia, where small factories still exist. However, in Asturias, there are no traditional tanneries available to process the hides. Marina and Rodrigo could increase their production if they had acce Material Source These sheepskins originate from lambs raised and processed at Marina and Rodrigo’s livestock farm. Conecept This object has practically disappeared in Asturias, as it is rarely used today for cradles or saddles. Nevertheless, for many people it holds a value beyond decoration, as it is made from the hide of a native sheep breed and serves as a way to connect with rural life through an item that, although now primarily decorative, carries strong cultural and symbolic significance. Production Quality Produced in batches of 40 to 50 units, depending on the flock size and slaughter schedule. External ID UNIOVI_AR_41 Field Worker Rodríguez Pérez, Santiago Craft leatherwork Tool Containers for salt tanning, and drying frames. Place The town or city Tene, Quirós, Asturias, Spain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Sheepskin_with_fleece 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 Sheepskin with fleece Type The nature or genre of the resource Physical Object Description An account of the resource This product is a sheepskin tanned naturally using salt, which preserves both the hide and the animal’s original fleece. Salt tanning is a traditional technique that avoids the use of harsh chemicals, maintaining the natural properties of the wool, such as its softness, durability, and thermal insulation capacity. Historically, these fleeces were used as a base in cradles for babies due to their waterproof and insulating qualities. The structure of the wool repels moisture and allows for good air circulation, helping to maintain a stable body temperature. Additionally, its softness and natural texture provided a comfortable and safe surface for newborns. They were also used as padding in saddles, offering comfort and thermal protection for the rider. In rainy regions of northern Spain, it was common to cover the foreheads of oxen and cows yoked for agricultural work with skins from dogs, sheep, goats, or badgers, to prevent moisture from weakening the leather straps (corniales), thus ensuring the effectiveness of the draft. Today, sheepskin fleeces have found new uses in home decor. They are highly valued as rugs, sofa or armchair covers, and decorative elements in interior spaces, thanks to their rustic and cozy aesthetic. They are also used in fashion and accessories, such as bags or outerwear. In addition to their functionality, naturally tanned sheepskins are a sustainable option, as they make use of a by-product of livestock farming and avoid polluting industrial processes. This makes them an environmentally friendly alternative, aligned with current trends in responsible consumption. Date A point or period of time associated with an event in the lifecycle of the resource Sheepskins are produced throughout the year, depending on lambing dates and the age of the animals. The documented piece was made a few months prior to our visit. Creator An entity primarily responsible for making the resource 1616 Language A language of the resource Spanish Extent The size or duration of the resource. 90cm x cm x 50cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 723 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. La piel de las ovejas, ardi-larrua. Atlas Etnográfico de Vasconia. Disponible en: https://atlasetnografico.labayru.eus/index.php/La_piel_de_las_ovejas_ardi-larrua Fajardo Hernández, R. M. (2020, enero 23). Más de un Siglo de Carneros en El Hierro, 1920-2020. Gaceta del Meridiano. https://www.gacetadelmeridiano.com/index.php/la-isla/156-cultura/6209-mas-de-un-siglo-de-carneros-en-el-hierro-1920-2020 Rodríguez Rodríguez, A. (1997). La tecnología de la piel y el cuero en la prehistoria de Canarias. Una aproximación etnoarqueológica. El Museo Canario, 52, 11-31. https://accedacris.ulpgc.es/jspui/handle/10553/24250 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). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Piel de cordero con pelo natural, zalea (spa..) Spatial Coverage Spatial characteristics of the resource. current,43.204933648779495,-5.993876638159771; 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 1775 Material Virgin wool from Xalda sheep, available in three natural shades: black, grey, and white — the original colors of the animal. Natural Cultural Cultural Function Unisex knitwear Creation Purpose Direct sale to customers. Technique The wool comes from local farms in Asturias, where native sheep breeds are raised. Marina personally selects the raw material, respecting the natural colors of the wool and avoiding the use of dyes, which adds authenticity and sustainability to the process. Once collected, the wool is sent to a specialized spinning mill, where it undergoes washing, carding, and spinning using traditional methods that preserve the quality of the material. The prepared yarn is then returned to Marina, who carefully selects the wool cones before sending them to a knitting workshop located in Béjar (Salamanca). This workshop is run by a small family business and is equipped with specific knitting machinery (tricotosa), allowing for the creation of uniquely handcrafted knitwear. Each garment is designed by Marina, who blends tradition, respect for materials, and a contemporary aesthetic. The entire process is carried out without the use of dyes, maintaining the natural tones of the wool and reducing environmental impact. Material Source The wool comes from Xalda sheep raised on farms in Asturias. The buttons are made from Spanish olive wood and have been manufactured in Spain. Conecept Knitted fabrics began to gain popularity in Spain during the 20th century. Prior to that, women knitted wool socks, stockings, and other garments at home using four needles. With the invention of knitting machines and the rise of hand knitting with needles, domestic production expanded to include sweaters and jackets. These jackets, simple in design and intended for warmth, were widely worn in the rural areas of northern Spain, although they have gradually been replaced by synthetic garments. The use of wool from native sheep breeds aims to reconnect clothing traditions with local identity and landscape. Production Quality Limited-run production External ID UNIOVI_AR_42 Field Worker Rodríguez Pérez, Santiago Craft fibre and textile crafts Tool Machinery for washing, carding, and spinning wool; knitting machinery. Occasional finishing touches with knitting needles. Place The town or city Tene, Quirós, Asturias, Spain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Knitted_wool_jacket_/_cardigan 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 Knitted wool jacket / cardigan Type The nature or genre of the resource Physical Object Description An account of the resource This jacket is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias known for the quality of its fiber and its adaptation to rural environments. The design is simple and functional, featuring two front pockets, long sleeves, and an open front without lapels. The buttons are crafted from Spanish olive wood, adding a natural and artisanal touch that reinforces the garment’s sustainable character. The jacket follows a classic rural style, reinterpreted by Marina with a focus on comfort and versatility. Her goal was to create an open garment suitable for all seasons, and especially practical for breastfeeding, without compromising on aesthetics or functionality. The result is a practical, adaptable piece with a strong identity. Although originally conceived as a unisex jacket, experience showed that many potential customers were unable to purchase it due to sizing limitations. As a result, Marina has begun developing a men’s version in a larger size, expanding its market potential while maintaining the essence of the original design. The jacket was launched recently, but is not yet available for purchase on her website. It represents a proposal that blends tradition, sustainability, and contemporary design, highlighting local resources through artisanal fashion. Date A point or period of time associated with an event in the lifecycle of the resource The jackets are produced continuously, depending on the availability of raw materials and demand. This particular piece was made in 2025 and is currently stored in stock, ready for commercial distribution. Creator An entity primarily responsible for making the resource 1616 Language A language of the resource Spanish Extent The size or duration of the resource. 60cm x cm x 50cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 724 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kensington, S. (2024, septiembre 1). The Evolution and Impact of the Cardigan: A Knitted Icon. Paul James Knitwear. https://www.pauljamesknitwear.com/blogs/guide/history-of-cardigans Llorente, L. (2022). Los tejidos de entreguerras, 1920-1939. Modelos del mes. Museo del Traje, 4. https://www.cultura.gob.es/dam/jcr:b414b4b1-0da1-44bb-937a-90b2f4c4e331/mdm11-2022-tejidos-digital.pdf R., B. (2013, junio 19). Imagesa—Industria Madrileña de Géneros de Punto—Pueblo Nuevo. Historias matritenses. https://historias-matritenses.blogspot.com/2013/06/imagesa-industria-madrilena-de-generos.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). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Chaqueta de punto de lana Spatial Coverage Spatial characteristics of the resource. current,43.204933648779495,-5.993876638159771; 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 1786 Material Virgin wool from Xalda sheep, available in three natural shades: black, grey, and white — the original colors of the animal. Natural Cultural Cultural Function Warm headwear for babies and young children Creation Purpose Direct sale to customers. Technique The wool comes from local farms in Asturias and has been carefully selected by Marina, preserving the natural colors of the Xalda sheep breed (black, grey, and white). The raw material is sent to a specialized spinning mill, where it undergoes washing, carding, and spinning processes. Marina crafts these headscarves by hand, knitting with needles. At times, to speed up production, she collaborates with another artisan who uses a knitting machine (tricotosa), while maintaining the handcrafted nature of each piece. Material Source The wool comes from Xalda sheep raised on farms in Asturias. Conecept Knitted fabrics began to gain popularity in Spain during the 20th century. Before that, women knitted wool socks, stockings, and other garments at home using four needles. With the invention of knitting machines and the rise of hand knitting, domestic production expanded to include a wide range of garments such as jackets and sweaters, as well as accessories like gloves, hats, and scarves. The baby bonnet is not part of traditional Asturian attire, but it has been adopted in modern times thanks to the growing popularity of knitted fabrics. This particular model, made from native sheep’s wool, aims to be a contemporary garment that also evokes the past. Its purpose is to reconnect clothing traditions with cultural identity and the surrounding landscape. Production Quality Limited-run production External ID UNIOVI_AR_44 Field Worker Rodríguez Pérez, Santiago Craft fibre and textile crafts Tool Machinery for washing, carding, and spinning wool; knitting needles; machines for knitted fabrics (tricotosa). Place The town or city Tene, Quirós, Asturias, Spain 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 Baby Bonnet Type The nature or genre of the resource Physical Object Description An account of the resource This baby bonnet is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias. The design is very simple: a cap that fully covers the head, with two woolen ties to fasten it at the front. It is a practical and versatile garment, designed to keep little ones warm during the winter. It originated from Marina’s personal need for a warm accessory, and is now part of her handcrafted collection, available for purchase. Date A point or period of time associated with an event in the lifecycle of the resource The baby bonnets are produced continuously, depending on the availability of raw materials and demand. The piece in question was made in 2025 and is currently stored in stock, ready for sale. Creator An entity primarily responsible for making the resource 1616 Language A language of the resource Spanish Extent The size or duration of the resource. 50cm x cm x 30cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 726 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Joicey, C. (2025). History of Fashion for children. Thames & Hudson. 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). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Capota Spatial Coverage Spatial characteristics of the resource. current,43.204933648779495,-5.993876638159771; Date Modified Date on which the resource was changed. 13/10/2025 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 1788 Material Virgin wool from Xalda sheep, available in three natural shades: black, grey, and white — the original colors of the animal. Natural Cultural Cultural Function Garment providing warmth for the feet. Creation Purpose Direct sale to customers. Technique Traditionally, women carried out the entire wool process at home —shearing, washing, carding, and spinning— and continuously knitted socks and stockings for family members using the resulting yarn. Typically, the socks are knitted with undyed sheep’s wool, using four wooden needles. The wool comes from local farms in Asturias and has been selected by Marina in the natural colors of Xalda sheep: black, grey, and white. The raw material is sent to a spinning mill, where it undergoes washing, carding, and spinning. Marina handcrafts these socks herself. Material Source The wool comes from Xalda sheep raised on farms in Asturias. Conecept Wool socks are one of the most iconic garments of traditional Asturian attire, and their use has endured almost to the present day. Originally, women knitted them at home for the entire family, using four wooden needles. With the industrialization of sock production and the decline of traditional rural life, this typically female craft ceased to be practiced domestically. Nevertheless, these socks remain in demand—not only for historical reenactments or traditional folklore groups. The natural properties of wool make them especially suitable for everyday use, and in fact, merino wool is beginning to reappear in sportswear due to its beneficial qualities. This piece aims to be a contemporary garment rooted in tradition, reconnecting clothing with local identity and landscape. Production Quality Limited-run production. External ID UNIOVI_AR_45 Field Worker Rodríguez Pérez, Santiago Craft fibre and textile crafts Tool Machinery for washing, carding, and spinning wool; knitting needles. Place The town or city Tene, Quirós, Asturias, Spain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wool_socks 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 Wool socks Type The nature or genre of the resource Physical Object Description An account of the resource These socks are made from pure virgin wool sourced from Xalda sheep. Hand-knitted wool socks —known as calcetos in Asturian— have long been part of traditional Asturian attire, and they remain one of the few garments that have endured to the present day. While traditionally they were monochrome, usually white or black, more recent designs have introduced a variety of patterns and colors. In this case, the socks are made from undyed raw wool, and by combining naturally colored wool, decorative motifs are also created. Date A point or period of time associated with an event in the lifecycle of the resource The socks are produced continuously, depending on the availability of raw materials and demand. This particular item was crafted in 2025 and is currently held in stock, ready for sale. Creator An entity primarily responsible for making the resource 1616 Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. 25-40cm x cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 727 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Argüelles Sánchez, L. (1986). Indumentaria popular en Asturias. GH Ed. Roza, G. (2006). La indumentaria tradicional asturiana: Guía práctica. Gloria Roza Cuesta. Santoveña Zapatero, F. (2018). Traje tradicional, indumentaria popular y construcción del cuerpo en Asturias (1860-1920). Muséu del Pueblu d’Asturies; Fundación Municipal de Cultura, Educación y Universidad Popular; Ayto. de Gijón / Xixón. https://sedeelectronica.gijon.es/publicacions/show/8549-traje-tradicional-indumentaria-popular-y-construccion-del-cuerpo-en-asturias-1860-1920/ 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). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Calcetines de lana, calcetos Spatial Coverage Spatial characteristics of the resource. current,43.204933648779495,-5.993876638159771; 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 1680 External ID LAPONTE_AR_34 Place The town or city Lavares, Santo Adriano, Asturias, Spain Material Wicker Material Source Local Technique Harvesting and peeling wicker rods, which are then moistened and interwoven. The weaving process begins with the making of a radial base. Tool A knife or a pocket knife Function For carrying lunch or for transporting small fruits Creation Purpose Personal use Production Quality Unknown Conecept Peasant or rural life 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 Handled wicker basket Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 693 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cesta de mimbre con asa Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.2898403161615,-5.96106075532155; Extent The size or duration of the resource. 38cm x 22cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2025 Description An account of the resource Piece made of peeled wicker, with a circular, flat base and flared sides curving towards the rim, which is finished with a plaited edge. It features a central plaited handle. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Fanjul, J. A., Rodriguez del Cueto, F., y Expósito, D. (2024). La cestería en Asturias: Una técnica milenaria. Gijón: Museo del pueblo de Asturias, Principado de Asturias. Creator An entity primarily responsible for making the resource 1640 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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: Applied Arts Scotland Identifier An unambiguous reference to the resource within a given context 13 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. Natural Cultural Cultural Prim Media 19 Material Porcelain 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 Strata Curved Bottle Type The nature or genre of the resource Physical Object Description An account of the resource A hand made white porcelain bottle decorated with inlaid coloured porcelain in blue, grey and orange. Making Process: A series of thin slabs of porcelain are rolled out and decorated with bands of coloured porcelain that is inlaid into the top surface. The pattern is then cut into smaller sections and the slabs are reformed into the shape of the bottle. While still soft the bottle is hand formed by wrapping the slab around a porcelain base. Contributor An entity responsible for making contributions to the resource sp259 Identifier An unambiguous reference to the resource within a given context 18 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). 04/04/2024 Date A point or period of time associated with an event in the lifecycle of the resource May 2022 Creator An entity primarily responsible for making the resource 18 Source A related resource from which the described resource is derived craftedobjects,exampleobjects,examples Date Modified Date on which the resource was changed. 24/07/2025 Spatial Coverage Spatial characteristics of the resource. current,56.6375362749563,-2.883023774009411; Language A language of the resource English Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT 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: Applied Arts Scotland Identifier An unambiguous reference to the resource within a given context 13 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 63 Material Porcelain 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 Snowscape Vessel Type The nature or genre of the resource Physical Object Description An account of the resource A hand made white porcelain vessel decorated with inlaid coloured porcelain tree motifs in black and blue, with matt black glaze on the inside. Making Process: A thin slab of porcelain is rolled out and decorated with coloured porcelain that is inlaid into the top surface. While still soft the vessel is hand formed by wrapping the slab around a porcelain base. Black matt glaze is hand painted on the inner surface and the external unglazed porcelain is lightly polished. Date A point or period of time associated with an event in the lifecycle of the resource Oct 2022 Creator An entity primarily responsible for making the resource 18 Language A language of the resource English Contributor An entity responsible for making contributions to the resource sp259 Identifier An unambiguous reference to the resource within a given context 44 Source A related resource from which the described resource is derived craftedobjects,exampleobjects,examples,highlandandislands,scotlandobjects 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). 08/04/2024 Spatial Coverage Spatial characteristics of the resource. current,56.6376365773433,-2.88304523168153; Date Modified Date on which the resource was changed. 10/06/2025 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. Applied Arts Scotland 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: Applied Arts Scotland Identifier An unambiguous reference to the resource within a given context 13 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. Natural Cultural Cultural Prim Media 1145 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 YB18 Wooden Light 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 114 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). 11/10/2024 Creator An entity primarily responsible for making the resource 181 Source A related resource from which the described resource is derived craftedobjects,harrisitems,highlandandislands Date Modified Date on which the resource was changed. 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,57.330745069024466,-3.613629900938202; Description An account of the resource Wooden hanging light, titled YB18, created by Yellow Broom. Single pendent light hand turned in Sycamore with natural Tan leather and a pastel braided fabric flex. Inspired from a traditional industrial inspection lamp this tactile simple light can be presented in several ways. See our wall pegs for a bespoke twist. H370mm W100mm. 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. Natural Cultural Cultural Craft woodwork Prim Media 1361 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 Table Lamp Type The nature or genre of the resource Physical Object Description An account of the resource A table lamp created by Yellow Broom Creator An entity primarily responsible for making the resource 181 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 556 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). 19/08/2025 Date Modified Date on which the resource was changed. 10/09/2025 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 1147 Natural Cultural Cultural Craft woodwork 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 White Cube 1 Type The nature or genre of the resource Physical Object Creator An entity primarily responsible for making the resource 181 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 557 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). 19/08/2025 Date Modified Date on which the resource was changed. 19/08/2025 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 1149 Natural Cultural Cultural Craft woodwork 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 White Cube 2 Type The nature or genre of the resource Physical Object Creator An entity primarily responsible for making the resource 181 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 558 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). 19/08/2025 Date Modified Date on which the resource was changed. 19/08/2025 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 1151 Natural Cultural Cultural Craft woodwork Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wood_Loop 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 Wood Loop Type The nature or genre of the resource Physical Object Creator An entity primarily responsible for making the resource 181 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 559 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). 19/08/2025 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 1153 Natural Cultural Cultural Craft woodwork Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wooden_Cube 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 Cube Type The nature or genre of the resource Physical Object Creator An entity primarily responsible for making the resource 181 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 560 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). 19/08/2025 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. Material Black clay of Molelos Natural Cultural Cultural Function It is used to drink liquids in such a way that does not leak through the holes around the artifact. It is necessary to discover the secret of drinking without spilling the liquid. Creation Purpose The jar of secrets is an emblematic piece of pottery, handmade especially in the art of black pottery from Bisalhães and black clay from Molelos. Technique The jar of secrets is made from black clay from Molelos and its shape is achieved using special molds. The clay is molded by hand and the jar is fired in open ovens in the earth (SOENGA), where a reduction firing technique is used to obtain the characteristic black color. The secret of the jar lies in the presence of hidden openings, which allow the liquid to escape unexpectedly. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept In the countryside, rural workers used these jugs because they kept the water relatively cool, especially in summer. Production Quality The artisan actively continues to produce this piece, as it is one of the most sought-after items by customers. External ID UAVEIRO_AR_07 Craft ceramics Tool The pitcher of secrets is made with black ckay from Molelos with molds to give it the shape. 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 Pitchers of secrets Type The nature or genre of the resource Physical Object Description An account of the resource It is a decorative clay jug with a trick for drinking water without getting wet. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 10cm x 10cm x 25cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 736 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bilha dos segredos Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; Date Modified Date on which the resource was changed. 27/10/2025 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. Material Black clay of Molelos Natural Cultural Cultural Function For decoration. Creation Purpose For sale. Technique The flower pot is made from black clay from Molelos and its shape is achieved using special molds. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_08 Craft ceramics Tool The potter places a ball of clay in the centre of a spinning wheel. Using the appropriate speed and his hands, the potter guides the clay, shaping it into the desired form for the flower pot. The potter decides on the final shape of the piece. Once moulded, the pot is left to dry. The pot is then placed in a kiln and subjected to high temperatures. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Flower_pot 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 Flower pot Type The nature or genre of the resource Physical Object Description An account of the resource It is a cylinder with a closed base and textured outer walls. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 15cm x 15cm x 40cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 737 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Vaso de flor Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function To place the sugar to be used on the tea or coffee table. Creation Purpose For sale. Technique Round sugar bowl and the lid are made with a potter's wheel. The handles and the spoon are moulded by the craftsman. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_09 Craft ceramics Tool The potter places a ball of clay in the centre of a spinning wheel. Using the appropriate speed and his hands, the potter guides the clay, shaping it into the desired form for the sugar bowl. The potter decides on the final shape of the piece. Once moulded, the pot is left to dry. The pot is then placed in a kiln and subjected to high temperatures. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. Place The town or city Molelos, Tondela, Portugal 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 Sugar bowl Type The nature or genre of the resource Physical Object Description An account of the resource Round sugar bowl with handles, a lid with a notch for the spoon, and a spoon, all made of black clay. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 15cm x 15cm x 40cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 738 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Açucareiro Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; Date Modified Date on which the resource was changed. 27/10/2025 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. Material Black clay of Molelos Natural Cultural Cultural Function To drink wine Creation Purpose For sale. Technique The cup is made with a potter's wheel. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept Clay cup used for drinking wine in local taverns. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_10 Craft ceramics Tool The potter places a ball of clay in the centre of a spinning wheel. Using the appropriate speed and his hands, the potter guides the clay, shaping it into the desired form for the wine cup. The potter decides on the final shape of the piece. Once moulded, the pot is left to dry. The pot is then placed in a kiln and subjected to high temperatures. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/black_clay_wine_cup 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 black clay wine cup Type The nature or genre of the resource Physical Object Description An account of the resource Black clay cup to drink wine. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 7cm x 7cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 739 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Copo de vinho de barro negro Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function Used for roasting kid in the oven. A typical dish of the region, made in black earthenware. Creation Purpose For sale. Technique The artefact is made from moulds that the craftsman created so that they all have the same thickness and size. The finish is done in such a way as to ensure that the tray can be used in the oven with food. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The use of this baking tray and the preparation of roast kid are linked to the cultural and gastronomic identity of the Serra do Caramulo, and are considered part of Portugal's Intangible Cultural Heritage. Production Quality The artisan produces baking trays, which are one of the best-selling items, for individual customers and local restaurants. External ID UAVEIRO_AR_11 Craft ceramics Tool The baking trays in particular are manufactured on a board, in various sizes, depending on the dimensions of the piece. The artefact is made from moulds. The finish is done in such a way as to ensure that the tray can be used in the oven with food. Once moulded, the baking tray is left to dry. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Baking_tray 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 Baking tray Type The nature or genre of the resource Physical Object Description An account of the resource Black clay baking dish or tray, designed to withstand high oven temperatures. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 30cm x 50cm x 7cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 740 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Assadeira de ir ao forno Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function Used for storing liquids. It is also used for decoration. Creation Purpose For sale. Technique The artefact is made with a potter's wheel. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept An earthnware mug is a small vessel, usually with a handle, used for drinking or collecting liquids. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_12 Craft ceramics Tool The potter places a ball of clay in the centre of a spinning wheel. Using the appropriate speed and his hands, the potter guides the clay, shaping it into the desired form for the piece. The potter decides on the final shape of the piece. Once moulded, the pot is left to dry. The pot is then placed in a kiln and subjected to high temperatures. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Earthnware_mug 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 Earthnware mug Type The nature or genre of the resource Physical Object Description An account of the resource It is a type of vessel with a handle designed for storing liquids. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 20cm x 20cm x 35cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 741 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Púcaro Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function It is a versatile utensil, suitable for cooking on different types of stoves (wood, electric or gas), as well as for serving directly at the table. Creation Purpose For sale. Technique The artefact is made from a mould. The manufacturing process is artisanal and manual. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept "Chanfana de cabrito" is a traditional Portuguese dish, especially from the Central region, which consists of goat or kid goat meat marinated in red wine, garlic and other seasonings. The meat is cooked slowly, for hours, in a black clay pot (caçoilo). This long process and the use of black clay allow for slow cooking, resulting in an intense flavour and very tender meat, which is traditionally served with boiled potatoes and sautéed cabbage. This type of tableware plays an important role in the culture and tradition of many Portuguese villages, and is sometimes used in festivities and celebrations. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_28 Craft ceramics Tool The clay is moulded into the desired shape of the pot. After moulding, before the piece dries completely, the surface is polished with river pebbles to smooth it and give it more shine, also removing finger marks. The piece is left to dry for a period that can take several weeks, depending on its size. Once dry, the piece is fired in professional kilns or in a soenga (reducing kiln). Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Caçoila_without_lid_for_cooking_chanfana_(kid_goat_cooked_in_wine) 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 Caçoila without lid for cooking chanfana (kid goat cooked in wine) Type The nature or genre of the resource Physical Object Description An account of the resource Kitchen utensil, such as a pot or casserole dish, made of dark clay using a traditional reduction firing process that gives it its characteristic colour. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 30cm x 30cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 742 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Caçoila Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function A black clay pot serves as a kitchen utensil, as the waterproof material is suitable for culinary use, and also as a decorative piece due to its unique aesthetics and traditional craftsmanship. The characteristic black colour is the result of the ancient soenga firing technique, in which the clay is covered with earth, creating a reducing atmosphere that gives it the colour and impermeability necessary for use in the kitchen. The terrine is used to make oven-baked rice. Creation Purpose For sale. Technique To make a terrine, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the terrine the desired shape. After shaping the piece, it is left to dry slowly, before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The terrine is used to make oven-baked rice. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_29 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Terrine_or_Casserole_dish_with_lid 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 Terrine or Casserole dish with lid Type The nature or genre of the resource Physical Object Description An account of the resource Kitchen utensil, such as a pot or casserole dish, made of dark clay using a traditional reduction firing process that gives it its characteristic colour. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 30cm x 30cm x 18cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 743 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Terrina ou Caçarola com tampa Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function To roast portuguese chestnuts directly on the embers. Creation Purpose For sale. Technique To make a portuguese chesnut roaster, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the chesnut roaster the desired shape. After shaping the piece, it is left to dry slowly, before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept For over a thousand years, shepherds and woodcutters have used bonfires to keep warm and roast chestnuts. In northern Portugal, between All Saints' Day (1 November) and St. Martin's Day, traditional magustos are held, festivals where roasted portuguese chestnuts are eaten and jeropiga (sweet wine), new wine or água-pé are drunk. In autumn, it is common to see chestnut sellers roasting them in iron or clay machines and selling them in paper cones, spreading a characteristic and irresistible aroma. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_30 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Portuguese_chesnut_roaster 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 Portuguese chesnut roaster Type The nature or genre of the resource Physical Object Description An account of the resource Round clay pot with high sides and handles on both sides. The bottom of the pot is perforated so that the embers remain in close contact with the chestnuts without burning them. These black clay roasters are highly resistant and retain heat for longer, allowing you to roast chestnuts to perfection. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 4cm x 40cm x 25cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 744 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Assador de castanhas Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function A black clay pot se Creation Purpose For sale. Technique To make a wine jug, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the wine jug the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The wine jug is used to serve wine. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_31 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wine_jug 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 Wine jug Type The nature or genre of the resource Physical Object Description An account of the resource Black clay jug. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 14cm x 14cm x 25cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 745 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Pichel de vinho (jarra para servir o vinho) Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function The use of black clay bowls to serve "caldo verde" is a traditional and popular choice. Creation Purpose For sale. Technique To make a bowl, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the bowl the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The use of black clay bowls to serve caldo verde is a traditional and valued choice, as black clay, which gives the crockery a rustic and authentic look, is associated with everyday items in Portugal, conveying a sense of connection to the land and the cultural heritage of traditional Portuguese cuisine. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_32 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Soup_bowl 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 Soup bowl Type The nature or genre of the resource Physical Object Description An account of the resource A soup bowl is a small, deep dish. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 10cm x 10cm x 6cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 746 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tigela (caldo verde) Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function The black clay teapot has functional and decorative uses, its main function being to serve teas, infusions or coffee, taking advantage of its porous nature and the good preservation of beverages. Creation Purpose For sale. Technique To make a black clay teapot, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the teapot the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The black clay teapot is a piece of craftsmanship with great cultural value, especially those from Molelos, which can be decorative or used for other purposes such as storing liquids or food. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_33 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Black_clay_teapot 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 Black clay teapot Type The nature or genre of the resource Physical Object Description An account of the resource The description of the shape of a black clay teapot is not unique, as there are several styles and sizes, but it is usually a handmade, unglazed piece made from clay that can vary from 18 to 30 cm in height. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 20cm x 20cm x 15cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 747 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bule de barro negro Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function The black clay bowl is used for oven cooking, such as oven-baked rice. Creation Purpose For sale. Technique To make a black clay bowl, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the bowl the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The black clay bowl is traditionally used for cooking, especially for preparing rice in the oven. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_34 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Bowl 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 Bowl Type The nature or genre of the resource Physical Object Description An account of the resource A black clay bowl has a truncated cone shape with a circular base, a wide mouth and a rim that usually has four ‘spouts’ (or ‘ears’) that make it easier to handle and hold. Creator An entity primarily responsible for making the resource 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 30cm x 19cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 748 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Alguidar Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; 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. Material Black clay of Molelos Natural Cultural Cultural Function The black clay bowl is used for oven cooking, such as oven-baked rice. Creation Purpose For sale. Technique To make a black clay bowl, the potter first prepares the clay, a process that includes kneading the clay to remove bubbles and impurities and leave it with a smooth consistency. Next, the clay is shaped on the potter's wheel, using the hands to give the bowl the desired shape. After shaping the piece, it is left to dry slowly before being placed in the kiln. Material Source The potter collects black clay from a local plot of land designated for the extraction of the material. Conecept The black clay bowl is traditionally used for cooking, especially for preparing rice in the oven. Production Quality The artisan actively continues to produce this piece. External ID UAVEIRO_AR_35 Craft ceramics Tool Potter's wheel and finishing tools. Place The town or city Molelos, Tondela, Portugal Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Black_Clay_Chandelier 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 Black Clay Chandelier Type The nature or genre of the resource Physical Object Description An account of the resource The clay is moulded into the desired shape, which can range from a simple structure to an elaborate chandelier with various details and decorations. 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 1858 Language A language of the resource Portuguese Extent The size or duration of the resource. 60cm x 60cm x 80cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 749 Source A related resource from which the described resource is derived craftedobjects,portugalobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/ https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf https://www.youtube.com/watch?v=W3FS07QYpD0 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). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Candelabro de barro negro Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT 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 The knife-making tradition of Taramundi is embedded in a broader cultural framework that includes complementary crafts, social practices, and oral traditions. Historically, the craft developed alongside blacksmithing and metalwork (UNIOVI_CP_04), as rural households produced agricultural tools, horseshoes, and hardware essential for farming. These activities share technical knowledge and workshop spaces, forming an integrated artisanal economy. Woodworking is another closely related practice. The production of knife handles relies on skills traditionally used in carpentry and decorative woodcraft, which remain significant in the region. Techniques such as carving and pyrography link knife-making to a wider repertoire of decorative arts, reinforcing aesthetic continuity across different objects. The craft also intersects with oral traditions, particularly narratives about family workshops, local inventiveness, and the symbolic value of handmade knives. These stories circulate within the community and are often shared during fairs and demonstrations, contributing to the transmission of intangible heritage. Social practices such as craft fairs and rural festivals provide spaces where knife-making interacts with gastronomy, music, and other artisanal displays. These events create a cultural ecosystem that situates the craft within collective celebrations of identity and heritage. Finally, contemporary initiatives connect knife-making with heritage tourism and educational programmes, integrating it into thematic routes that include traditional architecture, textile crafts, and culinary experiences. This network of related practices underscores the multifunctional role of Taramundi’s artisanal heritage, where technical skills, symbolic meanings, and social rituals converge. Field Worker Pérez Fernández, Lucía Rodríguez Pérez, Santiago Climate Threats Deforestation,Mining,Deterioration of material,Deterioration of space Economic Threats Insufficient financial resources,Insufficient renumeration,Rapid economic transformation,Poor transport connections Technological Threats Industrial production,Surge of new technologies,Use of modern materials Policy Threats Lack of conservation policy,Deficient policy implementation,Threatening regional planning policies,Inadequate management plans Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration,Degraded habitat Decontextualization Touristification,Overcommercialisation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Material shortage,Loss of cultural significance,Loss of protective status Climate Actions Community Engagement,Educational programs,Collaboration with other organisations ,Governance management and green policies SDG Quality Education,Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Peace Justice and Strong Institutions,Partnerships for the Goals External ID UNIOVI_CP_03 Knowledge Knife-making in Taramundi is a craft that combines technical precision with cultural understanding. At its foundation, artisans need metallurgical expertise: the ability to forge, temper, and sharpen steel so that the blade achieves the right balance between hardness and flexibility. This requires not only manual skill but also an intuitive sense of temperature control and material behaviour. Equally essential is woodworking knowledge, as handles are traditionally carved from local hardwoods such as boxwood. Crafting a handle involves selecting and preparing the wood, shaping it for comfort and durability, and often adding decorative details that reflect regional aesthetics. The practice also demands familiarity with traditional tools and processes, including forges, anvils, and hydraulic hammers historically powered by water. While modern equipment is now common, artisans maintain techniques passed down through generations, ensuring continuity with the past. Beyond technical ability, knife-making calls for design awareness and cultural sensitivity. Each piece must meet functional needs while embodying the identity of Taramundi’s craft tradition. This includes understanding historical forms and adapting them to contemporary markets without losing authenticity. Finally, in today’s context, artisans often develop entrepreneurial skills, engaging with tourism and global distribution. This blend of technical mastery and adaptive knowledge sustains the craft as both a cultural heritage and an economic resource Knowledge Transfer Today, the transmission of knife-making knowledge in Taramundi occurs through a combination of family-based apprenticeship, formal training initiatives, and cultural tourism programmes. Traditionally, skills were passed down within households, where younger generations learned by observing and assisting experienced artisans. This model persists, ensuring continuity of techniques and values, although it now coexists with more institutionalised forms of learning. Several local workshops and craft cooperatives offer structured courses for aspiring artisans and enthusiasts. These programs often include practical demonstrations and hands-on sessions, allowing participants to engage directly with forging, tempering, and handle-making processes. Museums and interpretation centres in Taramundi also play a key role, presenting the historical evolution of the craft and organising educational activities aimed at preserving intangible heritage. Transmission is not limited to physical spaces. Digital platforms and social media have become complementary tools, enabling artisans to share tutorials, showcase techniques, and connect with global audiences. This online presence broadens access to knowledge while reinforcing the cultural significance of the practice. The timing of transmission is continuous but often intensifies during festivals and craft fairs, where artisans demonstrate their skills publicly. These events serve as both educational and promotional spaces, fostering intergenerational dialogue and community engagement. Practitioners The primary bearers of the Taramundi knife-making tradition are local artisans, many of whom belong to families with a long history in the craft. These practitioners often operate small workshops where production combines traditional techniques with the selective modernisation of some processes. Their role is not only technical but also cultural, as they safeguard the authenticity of the craft and transmit its values to future generations. Historically, knife-making was a male-dominated activity, reflecting the gendered division of labour in rural Asturias. Men typically handled forging and assembly, while women contributed to complementary tasks such as preparing wooden handles or managing household economies linked to craft production. Although this division persists in some cases, contemporary practice shows greater flexibility, with women increasingly involved in both technical and managerial aspects of the trade. Within the community, certain individuals assume special responsibilities as cultural mediators. Master artisans, often widely recognised for their expertise and reputation, play a key role in teaching apprentices and maintaining quality standards. They also participate in public demonstrations, fairs, and educational programs, reinforcing the visibility of the craft beyond local boundaries. Additionally, institutional actors (such as museums, craft cooperatives, and tourism initiatives) support transmission and promotion, but the core responsibility remains with the artisans themselves. Their work embodies both material skill and intangible heritage, positioning them as custodians of a tradition that continues to adapt while preserving its cultural essence. Function Today, Taramundi knife-making serves as both an economic resource and a cultural emblem for the local community. Its primary social function lies in sustaining rural livelihoods through artisanal production and tourism. Workshops and craft stores attract visitors seeking authentic handmade goods, creating employment and reinforcing the viability of small-scale economies in an area historically marked by depopulation. Culturally, the practice operates as a symbol of identity and continuity. Knives are not merely utilitarian objects, as they embody values of craftsmanship, resilience, and adaptation to environmental constraints. For residents, the tradition affirms a sense of belonging and pride in local heritage, while for outsiders it represents an image of authenticity associated with Asturias’ rural culture. The craft also fosters intergenerational dialogue, as older artisans transmit knowledge to younger practitioners and to visitors through demonstrations and educational programmes. This interaction strengthens community cohesion and positions the practice as a living heritage. In contemporary discourse, Taramundi knives have acquired a broader meaning as markers of sustainable production and cultural tourism. They exemplify how traditional skills can coexist with modern market dynamics, offering a narrative of heritage preservation aligned with economic innovation. Origins and change The origins of knife-making in Taramundi date back to at least the eighteenth century, when rural households began to complement subsistence farming with small-scale metalworking. Historical records indicate that the availability of iron ore and abundant water streams enabled the installation of hydraulic hammers and forges, creating the technological basis for the craft. Initially, production was highly localised and oriented toward practical needs: knives and cutting tools for domestic and agricultural use. Over time, the practice evolved in response to social and economic changes. During the nineteenth century, Taramundi artisans consolidated their reputation for quality, expanding distribution to regional markets. The craft remained family-based, with transmission occurring through apprenticeship within the household. Gender roles were clearly defined: men managed forging and assembly, while women contributed to auxiliary tasks and trade. The twentieth century brought significant transformations. Industrialisation in Asturias bypassed Taramundi, but modernization affected the craft through the introduction of new materials such as stainless steel and mechanized tools. These changes improved efficiency without erasing traditional techniques, which continued to define the identity of the product. In recent decades, the function of knife-making has shifted from purely utilitarian to symbolic and economic. The rise of cultural tourism and heritage valorisation positioned Taramundi knives as artisanal goods associated with authenticity and sustainability. Transmission now occurs not only within families but also through workshops, museums, and digital platforms, reflecting a hybrid model that combines tradition with institutional and global outreach. Thus, the practice illustrates a dynamic trajectory: from a rural survival strategy to a heritage-based economic resource, adapting to technological, social, and cultural transformations while preserving its core art Organisations The knife-making tradition of Taramundi is supported by a diverse network of organisations that combine heritage preservation, economic development, and cultural promotion. At the local level, family-run workshops and artisan cooperatives remain the backbone of the craft, ensuring continuity of production and knowledge transmission. These entities often collaborate with tourism initiatives and participate in fairs to showcase their work. Among public institutions, the Municipality of Taramundi actively promotes the craft as part of its rural development strategy, while the Principality of Asturias includes knife-making in programmes for safeguarding intangible cultural heritage. These bodies provide logistical and financial support for events, training, and infrastructure as much as they can. A key cultural institution is the Museo de la Cuchillería de Taramundi, which preserves historical artefacts, documents the evolution of techniques, and offers live demonstrations in its museum-workshop. This space functions as an educational hub, reinforcing the craft’s visibility and cultural significance. In addition, craft cooperatives and artisan associations facilitate collective marketing and quality control. Historically, Taramundi artisans were also linked to a nation-wide association of traditional blacksmiths, an organisation that promoted traditional metalworking and included knife-makers among its members. For several years, this association was directed by a master blacksmith from Santalla d’Ozcos, highlighting the area’s leadership in the field. Places The practice of knife-making in Taramundi is closely linked to a network of spaces that combine production, heritage interpretation, and tourism. Artisan workshops remain the primary sites where the craft is actively performed. These small-scale facilities, often family-run, are scattered throughout the municipality and serve as both workplaces and points of sale, allowing visitors to observe traditional techniques in real time. A key institutional space is the Museo de la Cuchillería de Taramundi, which plays a central role in safeguarding and promoting the craft. The museum houses a collection of historical pieces and tools, illustrating the evolution of knife-making from its origins to the present. It also includes a musealised traditional workshop. This setting functions as an educational platform, reinforcing the transmission of knowledge and raising awareness of the craft’s cultural significance. In addition to the museum, interpretation centres and craft cooperatives contribute to the visibility of the practice, organising exhibitions, training sessions, and thematic routes that integrate knife-making into broader narratives of rural heritage. Public spaces such as local fairs and festivals also serve as venues for showcasing the craft, strengthening its social and economic role within the community. Artefacts The tradition encompasses a rich material culture that includes both the produced objects and the tools and machinery required for their fabrication. The most iconic products are folding knives (navajas/navayas) and fixed-blade knives, distinguished by their steel blades and wooden handles, often crafted from local hardwoods. Handles may feature decorative carvings, pyrography, or metal inlays, adding aesthetic value to functional objects. In addition to knives, artisans produce scissors, small axes, and specialised cutting tools, reflecting the craft’s historical link to domestic and agricultural needs. The production process relies on a set of traditional tools that remain central despite technological modernisation. These include forges and anvils for shaping steel, tongs and hammers for manual manipulation, and grinding wheels for sharpening and finishing blades. Historically, workshops employed hydraulic hammers powered by water mills, a distinctive feature of Taramundi’s technological heritage that enabled efficient forging in a rural setting. Today, electric hammers and mechanized grinders complement these traditional implements, but manual techniques continue to define the craft’s authenticity. Woodworking requires its own set of artefacts: carving knives, chisels, and lathes for shaping and smoothing handles, as well as clamps and templates to ensure precision. Decorative work may involve burning tools for pyrography or fine chisels for engraving. Some more advanced workshops use laser engravers. Finally, auxiliary artefacts such as branding stamps (used to imprint the maker’s mark) play a symbolic role, guaranteeing origin and quality. Climate Threats Description The tradition faces several environmental challenges that affect its sustainability. Deterioration of material refers to the increasing difficulty of sourcing high-quality steel and suitable hardwoods for handles, which raises production costs and limits artisanal standards. Deterioration of space is linked to rural depopulation and the abandonment of traditional workshops, reducing the physical infrastructure necessary for transmission and practice. While deforestation is not occurring in the form of large-scale forest loss, a significant risk lies in the replacement of native hardwood species (such as boxwood) with fast-growing invasive species. These alternatives do not provide the same quality for knife handles, compromising both durability and aesthetic value. This ecological shift directly impacts the material culture of the craft. Finally, mining, although less active today, historically altered landscapes and water systems. Any resurgence of extractive activities could further degrade the environment and affect resources essential for artisanal production. These factors highlight the need for proactive measures to ensure resource management, maintain traditional species, and preserve the spaces where the craft is practiced. Economic Threats Description Knife-making in Taramundi faces economic vulnerabilities. Insufficient financial resources and low remuneration make it difficult for artisans to sustain production and invest in modern equipment without compromising traditional methods. Rapid economic transformation, including the shift toward service-based economies and tourism, creates uncertainty for crafts that rely on niche markets. Additionally, poor transport connections in rural Asturias limit distribution and access to broader markets, reducing competitiveness compared to industrial producers. Technological Threats Description The knife-making tradition of Taramundi faces technological pressures that challenge its artisanal character. Industrial production introduces mass-produced knives at lower prices, reducing the competitiveness of handcrafted pieces and shifting consumer preferences toward standardized products. The surge of new technologies, including automated forging and digital design, risks eroding traditional skills if artisans adopt mechanization excessively or if younger generations perceive manual techniques as obsolete. Similarly, the use of modern materials, such as plastics or synthetic composites for handles, threatens the integrity of the craft by replacing native hardwoods and altering the aesthetic and functional qualities that define Taramundi knives. These factors collectively create tension between innovation and heritage, requiring strategies that balance adaptation with authenticity. Policy Threats Description It lacks a robust conservation policy at national or regional levels, and existing measures often suffer from deficient implementation. Regional planning policies that prioritise urban development or large-scale infrastructure can indirectly threaten rural heritage spaces. Furthermore, inadequate management plans for cultural tourism and craft promotion risk overcommercialisation or neglect, leaving artisans without clear frameworks for sustainable growth. Conflicts Description Knife-making in Taramundi is not exposed to war or political intolerance. However, human encroachment on boundaries can indirectly impact the craft. This refers to changes in land use and rural transformation, such as urban expansion or infrastructure projects that alter traditional spaces and disrupt the ecological balance needed for raw materials (e.g., hardwood species for handles). While the risk is moderate compared to other threats, it underscores the vulnerability of artisanal practices to broader territorial and environmental pressures. Demographic Threats Description Taramundi faces rural-urban migration, which accelerates depopulation and reduces the pool of potential artisans. This demographic shift weakens intergenerational transmission and limits the viability of workshops. Degraded habitat, linked to changes in land use and forestry practices, affects access to traditional materials such as native hardwoods, indirectly impacting production quality. Decontextualization Description The knife-making tradition of Taramundi faces risks linked to cultural decontextualisation. Touristification can lead to prioritising quick demonstrations for visitors over authentic production processes, reducing the depth of artisanal knowledge. Overcommercialisation threatens the integrity of the practice by encouraging mass production or simplified designs to meet market demand, compromising quality and heritage values. Globalisation Description Globalisation introduces rapid socio-cultural changes that alter consumption patterns and values, reducing interest in traditional crafts among younger generations. The rise of new pastimes and digital entertainment competes with artisanal learning, making knife-making less attractive as a career or hobby. Weakened Practice Description The knife-making tradition of Taramundi faces demographic and social challenges that weaken its continuity. Many current practitioners are aged artisans, and the number of active workshops has declined over recent decades. This situation is compounded by diminishing youth interest, as younger generations often seek employment outside rural areas or in sectors perceived as more profitable and modern. Consequently, transmission between generations is increasingly interrupted, reducing opportunities for experiential learning and apprenticeship. These factors lead to a reduction in practice, limiting production capacity and the visibility of the craft. While some artisans show willingness to adapt through innovation and tourism, the overall trend reflects a fragile balance between heritage preservation and generational renewal. Loss Threats Description The craft risks loss of knowledge due to declining transmission and aging practitioners. Material shortages, especially of high-quality steel and native hardwoods, compromise production standards. Over time, the practice may suffer loss of cultural significance, becoming perceived as a tourist attraction rather than a living tradition. Finally, the loss of productive status (as artisanal work becomes economically marginal) threatens its sustainability. Safeguarding activities Several initiatives have been implemented to protect and promote Taramundi’s knife-making tradition. These include the creation of artisan cooperatives that support collective marketing and quality standards, and the establishment of training programs and workshops aimed at transmitting skills to younger generations and craft enthusiasts. Cultural tourism strategies have integrated knife-making into heritage routes and fairs, increasing visibility and economic viability. Additionally, the Museo de la Cuchillería plays a key role in safeguarding knowledge through exhibitions and live demonstrations, ensuring that the craft remains accessible and valued as part of Asturias’ intangible heritage. The mayor of Taramundi also told the UNIOVI team in a meeting that for years they have had a centre available in the town with workspaces that artisans can rent, but many other external factors (such as the price of housing or the lack of public services in the area) cause that the few people who settle there with that plan do not stay for long. State of the practice declining Social sustainability This craft contributes significantly to social sustainability through multiple dimensions. First, it strengthens community development and social cohesion, as the practice is deeply rooted in family workshops and local networks that share knowledge and collaborate in production and marketing. This fosters intergenerational solidarity, with skills transmitted from parents to children and increasingly through training programs and craft schools, ensuring quality education linked to cultural heritage. Regarding gender equality and inclusivity, although traditionally a male-dominated activity, recent decades have seen growing participation of women in design, management, and sales roles, promoting equal opportunities. There are also some female artisans, although it remains a predominantly male activity. The integration of knife-making into cultural tourism and local entrepreneurship also creates jobs and helps prevent rural depopulation, supporting community resilience. The craft reinforces social cohesion by nurturing a strong sense of identity and pride in local traditions, which reduces social fragmentation and strengthens belonging. Additionally, its connection to sustainable tourism and cultural initiatives positions knife-making as a driver of rural vitality, ensuring that communities remain active and socially balanced. Environmental sustainability The knife-making tradition in Taramundi shows a moderate but growing commitment to environmental sustainability. One of its main contributions lies in the use of locally sourced materials: artisans often work with regional woods for handles and rely on nearby suppliers for steel, reducing transportation-related emissions and supporting short supply chains. This local approach not only minimises the carbon footprint but also strengthens the link between craft and territory. In terms of waste management, the production process is relatively low-impact, as workshops operate on a small scale and reuse materials whenever possible. Metal scraps and wood offcuts are often repurposed or recycled, and the absence of mass production limits industrial waste. Energy consumption remains modest, with many artisans using traditional manual techniques combined with small electric tools, which are more efficient than large-scale machinery. Pollution prevention is inherent to the craft’s artisanal nature: chemical treatments are minimal, and finishes tend to favor natural oils or varnishes. However, challenges persist regarding the sourcing of steel, which depends on external industrial processes. Recent initiatives, such as promoting eco-design and integrating renewable energy in workshops, indicate a growing awareness of sustainability, ensuring that this heritage adapts responsibly to contemporary environmental concerns. Economic sustainability Taramundi’s knife-making tradition supports economic sustainability by linking heritage to diversified income streams. Artisans sell directly in local workshops, at craft fairs, and increasingly through digital platforms, which broadens market access and reduces dependence on seasonal tourism. This adaptability strengthens resilience in a rural economy. The craft also generates complementary activities (such as guided visits, demonstrations, and museum exhibitions) creating synergies with hospitality and gastronomy. These connections help distribute income across the community and prevent rural depopulation. Place The town or city Municipality of Taramundi and other villages, such as Abraído, Aguillón, Bres, Cabaniñas, Esquíos, Llan, Loutima, Mousende, Nogueira, Río del Louro, Vega de Llan, Santa Eulalia de Oscos and Vilanova. Place Description Asturias, located in the north of Spain along the Cantabrian coast, is a region characterised by its rugged mountainous terrain, abundant rainfalls all year round, and lush vegetation. Its geography is dominated by the Cantabrian Mountains, which historically shaped settlement patterns and economic activities. The region’s natural environment fostered a mixed economy based on agriculture, livestock, and artisanal production, complemented by mining and, later, industrial development in coastal areas. Asturias has long maintained a strong cultural identity rooted in rural traditions, communal practices, and a distinctive linguistic heritage, including Asturian (bable) and Eo-naviego (a western variant deeply influenced by Galician). Within this broader context, Taramundi occupies a unique position in the westernmost part of Asturias, near the border with Galicia. It is a small, mountainous municipality characterised by steep valleys, dense forests, and a network of rivers that historically provided energy for hydraulic systems. These natural resources were crucial for the development of local crafts, particularly metalworking. The isolation of Taramundi, combined with its access to iron ore and waterpower, enabled the emergence of a specialized economy centred on blacksmithing and knife-making from at least the eighteenth century. This artisanal tradition coexisted with subsistence farming, creating a distinctive socio-economic structure where households combined agricultural labour with craft production. Socially, Taramundi was organised around extended family units and small hamlets, fostering strong kinship ties and cooperative labour systems. Cultural practices reflected this rural organisation, with seasonal rhythms and communal festivities reinforcing local identity. The craft of knife-making became not only an economic activity but also a cultural marker, symbolizing skill, resilience, and adaptation to environmental constraints. Over time, these practices co Prim Media 1965 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 Taramundi traditional knifemaking Type The nature or genre of the resource Intangible Description An account of the resource The Taramundi knife-making tradition is an artisanal practice rooted in the rural economy of western Asturias, Spain. It consists of the handcrafted production of knives, folding blades, and other cutting tools, combining metalworking with woodcraft. This practice is distinguished by its integration of functional design and aesthetic refinement, resulting in objects that are both utilitarian and symbolic of local identity. Historically, knife-making in Taramundi emerged as a complementary activity to subsistence farming during the eighteenth century, when access to iron ore and abundant water resources enabled the development of small-scale metallurgy. Artisans employed hydraulic hammers and forges powered by local streams, creating a distinctive technological landscape that shaped the craft’s evolution. The knives produced were primarily intended for domestic and agricultural use, reflecting the practical needs of rural households. The process involves several stages: forging and tempering steel blades, shaping wooden handles (often from native species such as boxwood) and assembling the components with meticulous attention to durability and balance. Traditional knives are characterized by their simplicity, ergonomic design, and decorative elements such as hand-carved motifs or inlaid metal details. Over time, the craft incorporated innovations, including stainless steel and modern tools, while preserving core artisanal techniques transmitted through generations. Beyond its technical dimension, Taramundi knife-making embodies cultural values of resilience, adaptability, and craftsmanship. It represents a form of intangible heritage that connects material culture with social identity, as the craft historically reinforced household economies and community cohesion. Today, it functions as a marker of authenticity and local pride, attracting collectors and tourists who seek objects that symbolise continuity with the past. In contemporary contexts, the practice has b 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 776 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. García Grinda, J. L. (2011). Turismo y rehabilitación del patrimonio natural y sociocultural en zonas del interior: potencialidad y riesgos. Revista Universitaria de Turismo y Patrimonio, 2(1), 45–62. Pérez de Castro, R. (1985). Artesanía de Taramundi: Cuchillos y navajas. Narria: Estudios de artes y costumbres populares, (39–40), 24–30. Universidad Autónoma de Madrid. ISSN 0210-9441 Quintana López, P. (2005). La labranza y transformación artesanal del hierro en Taramundi y los Oscos. Siglos XVI-XXI. Aportación a su conocimiento (2 volumes, 848 pp.). Asociación “Os Castros” de Taramundi. Quintana, J. C., & Muñiz, I. G. (2025, July 8). Juan Carlos Quintana, Museo de la Cuchillería: “Queremos contar cómo se utilizaba la madera”. Revista FusionAsturias. Retrieved from https://fusionasturias.com/concejos/taramundi/juan-carlos-quintana-museo-de-la-cuchilleria-queremos-contar-como-se-utilizaba-la-madera.htm 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). 01/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cuchillería o navajas (navayas) de Taramundi Spatial Coverage Spatial characteristics of the resource. current,43.3603936,-7.1083458; Date Modified Date on which the resource was changed. 02/12/2025 Creator An entity primarily responsible for making the resource 2004 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 All of this intricate system—the high mountain livestock culture, the relationship between human beings and their natural environment expressed through culture—ultimately materializes in each and every wheel of cheese. Around the making of Gamoneu cheeses, a whole set of unique elements has taken shape over the decades and across generations: aging in natural caves, traditional architecture of the majadas, the social structures that developed within them, the shaping of the vegas (highland meadows), the coexistence of humans, domestic animals, and wild fauna, and even a distinct culinary tradition. Era também um alimento asociado a festividades importantes da comunidade: “En las bodas […] el postre era queso de Gamonéu […] cuñas de queso de Gamonéu. Field Worker Carmen Pérez Maestro Policy Threats Lack of conservation policy,Threatening regional planning policies Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Clean Water and Sanitation,Affordable and Clean Energy,Life On Land External ID LAPONTE_CP_03 Knowledge Raising and grazing (of cows, goats, and sheep), milking, and the production of cheese itself Knowledge Transfer The entire process is a tradition passed down through families. Practitioners Currently, within the DOP (Protected Designation of Origin), there are 4 producers of queso del Puerto and 18 producers of queso del Valle. In the past, the entire family was involved in the process: the men (fathers, grandfathers, children) in the grazing and cheese-making, and the women (grandmothers, mothers, and girls) in the maintenance tasks and, to a lesser extent, in cheese production. Today, it is mainly couples, as young people study outside rural areas. Women have increasingly joined in the cheese-making process as well as its distribution and sale at markets. Regarding the decline in the number of shepherds, the Picos de Europa Shepherd School was created in 2004, reflecting the concerns voiced by shepherds from the Asturian municipalities within the National Park’s sphere of influence. Its core initiative has been an Introductory Course in Alpine Shepherding, designed to encourage a new generation to take up the profession. By showcasing the value of this role, the school seeks to reinvigorate the region, curb the pressing depopulation trend, stimulate the local economy, and help preserve the traditional landscape (Prieto, 2019). The coexistence of extensive livestock farming and large predators is one of the most important social conflicts now affecting this tradition. In this context, we highlight an initiative created by three biologists, Les Mastines, a solidarity project aimed at promoting practical solutions with an effective and positive impact both on livestock farming and on the local wildlife. It focuses on assisting through surveillance and protection of herds that are vulnerable to attacks by large predators. Function Traditional practices, such as livestock farming, which have long been known as short-distance transhumance, involve moving herds and shepherds every year from the valleys to the highlands in search of prized high mountain pastures for the livestock. This process also results in the production of artisanal cheeses, which are the livelihood of the families dedicated to this work. Associated with this tradition and aimed at tourists, there is a festival declared a 'tourist attraction' called 'The Shepherd's Day,' celebrated as a tribute to the shepherds of the Picos de Europa. It brings together people dedicated to this tradition and tourists Origins and change The management of high-altitude pastures in the Asturian mountains has been documented since the late prehistoric period (Polledo, 2024). Although no archaeological evidence specifically documenting the production of cheese (ceramic cheese-making vessels) has been found in this area, as has been documented in other locations since the Neolithic period, it is assumed that cheese was one of the products made by the high mountain shepherds. Since the 17th century, this cheese has served as a basic sustenance 'for the poor of the council,' as expressed in records from the 18th century. The name 'Gamonéu,' which seems to be recent, refers to two homonymous villages: Gamonéu de Cangas and Gamonéu de Onís. The most significant changes in land management, and consequently in the production of dairy products in this area, occurred in the early 20th century with the creation of the 'Picos de Europa National Park,' which intersected with the social history of shepherd-cheesemakers, breaking the integrity of the community management system and the way of life that was inseparable from it. The conservationist ideas of the landscape in the established national parks in Spain, in this case, made the shepherding community vulnerable by assuming official entities took over the management of the land. It is estimated that from the mid-1950s to 2018, the number of shepherds in the region decreased from 100 to 11 (Prieto, 2019). The main factors behind the decline in Gamonéu‑cheese production have been: wolf attacks; the shrinking of grazing land inside the National Park because controlled burning to renew pastures is now forbidden; the drop in goat and sheep numbers; and the lack of generational succession to keep the shepherd‑cheesemaker trade alive. In 2003 the Asturian regional government created the Gamonéu PDO (Protected Designation of Origin) to valorize and safeguard this cheese and to stimulate the area’s production sector—an initiative that has especially benefited the valle Organisations The Association of Artisan Cheesemakers of the Principality of Asturias is a non-profit, regionally based organization founded in 1991. There are eight producers of Gamoneu cheese who are members of this association. The Brotherhood of Friends of Gamoneu Cheese is made up of a group of friends who, without any profit motive, support, promote, and take pleasure in sharing everything related to the world of Gamoneu cheese. Places Gamoneu cheese is produced in two distinct zones: Gamoneu del Puertu, which preserves the ancestral cheesemaking tradition of the Picos de Europa region, and Gamoneu del Valle, which is made in small dairies located in the lower areas of the municipalities of Onís and Cangas de Onís. Gamoneu del Valle cheeses are smaller in size than those from the Puertu, but they are produced year-round. In autumn, the cheeses reach their optimal point of maturity, which is why producers attend fairs held in the capitals of their respective municipalities. Cangas de Onís celebrates the Feria del Pilar on October 12th, featuring the Exhibition and Contest of Picos de Europa Cheeses. In Benia de Onís, the Annual Gamoneu Cheese Festival takes place on the third Sunday of October. Artefacts "Arnios" or molds made of plastic or metal are used, although wooden ones are still in use as well. The "artesa" is a wooden piece designed to collect the whey released by the cheese. The "presugo" is a thin board that allows the cheese to be easily flipped. The "talameras" are shelves placed inside the cabin above the hearth or fire, where the heat and smoke slowly dry the cheeses. Policy Threats Description An overly conservationist policy applied to a territory whose landscape has been shaped by humans since prehistoric times Demographic Threats Description The sons and daughters of the families devoted to this tradition no longer wish to carry it on because of its harshness; they move away to study in the cities Weakened Practice Description The number of high‑mountain (‘puerto’) cheese producers has fallen because the area where they work was declared a national park and because of wolf predation. Loss Threats Description Again, this is largely due to strict environmental conservation policies State of the practice declining Social sustainability It contributes to community development, since this activity provides a livelihood for several families in a rural mountain area Environmental sustainability It contributes to sustainable environmental stewardship thanks to traditional livestock husbandry and the handcrafted cheese‑making process. Economic sustainability It is an economically sustainable activity for the families who practice it. Place The town or city Onís y Cangas de Onís, Asturias, Spain. Place Description Gamoneu cheese is traditionally made by seasonal transhumant shepherds on the maritime slope of the Picos de Europa, a region that currently forms part of the political territory of the autonomous community of the Principality of Asturias, specifically in the municipalities of Onís and Cangas de Onís. It is a high mountain landscape characterized not only by its steepness, but also by its majadas—places where pastures have traditionally been used for cows, goats, and sheep. These meadows or valleys have also been shaped by human activity through stone constructions used for livestock and shepherds during the summer season. This cheese holds great importance for the local community. Its production involves a mixture of three types of milk: goat, cow, and sheep. There are two varieties: Gamoneu del Valle and Gamoneu del Puerto. The different types of milk used in the production of Gamoneu del Puerto come from herds that graze in the vegas or majadas of the northwestern areas of the Picos de Europa National Park. The livestock feeds exclusively by grazing in the highest mountain pastures of these territories. To produce Gamoneu del Puerto cheese, at least two types of milk from the three—cow, sheep, and goat—must be mixed, with a minimum of 10% being sheep and/or goat milk. The production of Gamoneu del Puerto is seasonal due to the weather conditions and the difficulty of grazing in winter, so its production is limited to the spring and summer months. For this reason, the production volume of this variety is lower compared to Gamoneu del Valle. This variety, like Gamoneu del Puerto, is made following the eight essential steps for Gamoneu cheese production: mixing the milk, letting it rest and curdle to form a solid mass, cutting and draining the whey, molding, salting, slow drying and smoking, and finally aging in a cave, where the cheeses mature for a month and acquire their final flavor thanks to the action of fungi and yeasts. Another difference from Gamoneu del 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 Gamoneu Cheese Type The nature or genre of the resource Intangible Description An account of the resource It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor 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 790 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. González-Álvarez, M. (2015). Denominaciones de Origen y Parques Nacionales: actividad quesera en Picos de Europa. Revista de humanidades (25), 57-84. Monesma, E. (2003). La vida de los pastores de los Picos de Europa y el queso de Gamoneu. Oficios Perdidos. Documental. https://www.youtube.com/watch?v=RTFXabGx6Ro Oliveira e Oliveira, T. C. D. (2023). Revalorização de alimentos símbolo de comunidades-território. Os casos do mel virgem de abelhas Pisilnekmej no território maseual (México) e do queijo Gamonéu de pastores de Picos de Europa (Espanha). Prieto, D. (2019). La Escuela de Pastores de Picos de Europa: revitalizando la cultura de pastoreo quesero. PH: Boletín del Instituto Andaluz del Patrimonio Histórico, 27(98), 298-307. Polledo, M. (2024). Evidencias arqueológicas de actividad humana en áreas de alta montaña: los Picos de Europa y su entorno durante la prehistoria. En RUIZ-FERNÁNDEZ, J., LUELMO-LAUTENSCHLAEGER, R., PÉREZ-DÍAZ, S., GARCÍA-HERNÁNDEZ, C., LÓPEZ-SÁEZ, J.A., ALBA-SÁNCHEZ, F., GALLINAR, D., RUIZ-ALONSO, M., GARCÍA, A., GONZÁLEZDÍAZ, B., (Eds.) Socio-ecología, arqueología y geohistoria de los paisajes de montaña ibéricos: una mirada multidisciplinar. Oviedo: CeCodet (Universidad de Oviedo) – Ed. Trabe. págs. 491–507. Valle, F. (2007). Quesos artesanos de la comarca oriente de Asturias. Llanes: Consorcio del Oriente de Asturias. 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). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso Gamoneu Spatial Coverage Spatial characteristics of the resource. current,43.314444,-5.066667; Creator An entity primarily responsible for making the resource 2057,2054 Date Modified Date on which the resource was changed. 19/12/2025 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 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 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 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 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 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. 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 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 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 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 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. 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 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 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 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 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 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 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 1653 External ID LAPONTE_AR_22 Place The town or city Camino de LLusiella 33696 Oviedo, Asturias Material Granite and iron Material Source Unknown Technique Unknown Tool Unknown Function It is a tool used for sharpening metal. It is associated with LAPONTE_PR_09, as this craftsman has used it to sharpen the tools he uses for woodworking. Creation Purpose Unknown Production Quality Unknown 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 wheel Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 680 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Rueda de afilar Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.311381,-5.852013; Extent The size or duration of the resource. cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource Unknown Description An account of the resource A manual granite sharpening wheel is a traditional tool used to sharpen and maintain the cutting edge of tools through a simple mechanical system. It consists of a circular granite disc mounted on an axle, supported by an iron frame with a hand crank to rotate the wheel. The entire mechanism is currently fixed to a rectangular concrete base, providing stability during use. Creator An entity primarily responsible for making the resource 2272 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1656 External ID LAPONTE_AR_23 Place The town or city Camino de LLusiella 33696 Oviedo, Asturias Craft woodwork Material Wood and iron Material Source Unknown Technique Unknown Tool Unknown Function The function of a carpenter’s hand plane is to smooth, level, and shape wood by removing thin layers of material as it is pushed across the surface. It is used to correct irregularities, adjust pieces so they fit properly, and leave the wood smooth before further finishing, such as sanding. It is an old manual tool used by LAPONTE_PR_09. Creation Purpose Unknown Production Quality Unknown 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 Carpenter’s hand plane Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 681 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cepillo manual de carpintero Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.311381,-5.852013; Extent The size or duration of the resource. 48cm x 6,5cm x 18cm Date A point or period of time associated with an event in the lifecycle of the resource Unknown Description An account of the resource The object is an antique hand plane used in carpentry, made primarily of wood with a metal blade. It has a long, flat wooden base that slides over the surface, with a slanted blade projecting from the centre that is responsible for cutting thin layers of wood. The blade is secured by a wooden wedge that holds it in place, and at the rear, there is an ergonomically shaped wooden handle designed for gripping and applying pressure. It is a simply designed, functional tool typical of traditional woodworking, used to smooth, level, or adjust pieces of wood by removing thin shavings as it is pushed across the surface. Creator An entity primarily responsible for making the resource 2272 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1658 External ID LAPONTE_AR_24 Place The town or city Camino de LLusiella 33696 Oviedo, Asturias Craft woodwork,metalwork Material Iron and wood Material Source Unknown Technique Forged and hammered iron and turned wood for the handles. Tool Unknown Function The object's function is to remove thin layers of wood, shape surfaces, and smooth or level pieces, allowing the carpenter to work the material with precision and control using both hands. It is used by LAPONTE_PR_09. Creation Purpose Unknown Production Quality Unknown 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 Carpenter’s hand plane with two handles Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 682 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cepillo Carpintero Pelador de Mangos Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.311381,-5.852013; Extent The size or duration of the resource. 60cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource Unknown Description An account of the resource It is a forged and hammered iron piece consisting of a large central blade and lateral extensions that form the handles, which are covered with wooden grips to make it easier to hold and use. Creator An entity primarily responsible for making the resource 2272 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1660 External ID LAPONTE_AR_25 Place The town or city Camino de LLusiella 33696 Oviedo, Asturias Craft woodwork,metalwork Material Iron and wood Material Source Unknown Technique Forged and hammered iron and turned wood for the handles. Tool Unknown Function The function of a carpenter’s gouge is to carve, hollow out, and shape wood. It is used by LAPONTE_PR_09. Creation Purpose Unknown Production Quality Unknown 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 Gouges Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 683 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Gubias Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.311381,-5.852013; Extent The size or duration of the resource. 30cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource Unknown Description An account of the resource Two gouges: manual tools used to carve and shape wood. They consist of a curved steel blade, one U-shaped and the other V-shaped, which allows for making concave cuts, grooves, and decorative details. They are fitted with an ergonomic wooden handle, making them easier to hold and control during use. Creator An entity primarily responsible for making the resource 2272 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain 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 1663 External ID LAPONTE_AR_26 Place The town or city Camino de LLusiella 33696 Oviedo, Asturias Craft woodwork,metalwork Material Steel and wood Material Source Local ash Technique The artisan has only made the handle, which has been cut, carved, and polished by hand. Tool To make the handle, an axe and a saw were used, along with carpenter’s hand planes and sandpaper. Function Handle for a wood-cutting axe Creation Purpose For sale Production Quality The artisan has made several, but each piece is unique. 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 with a wooden handle Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource Carmen Pérez Maestro Identifier An unambiguous reference to the resource within a given context 685 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Hacha con mango de madera Language A language of the resource Spanish Spatial Coverage Spatial characteristics of the resource. current,43.311381,-5.852013; Extent The size or duration of the resource. 80cm x cm x cm Date A point or period of time associated with an event in the lifecycle of the resource 2024 Description An account of the resource It is composed of a metal head that includes a sharp cutting edge, and a wooden handle designed to provide a firm grip and absorb part of the impact during use. The wooden handle is pyrographed with the artisan’s logo, and in the central part of the handle the name of the brand, Tayu. Creator An entity primarily responsible for making the resource 2272 Europeana Specific elements of the Europeana Semantic Elements. Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain