Culture BlogA blog on all things cultural…

Used creatively for centuries, the ostrich feather has proved itself versatile when used artistically.  This article will explore how ostrich feathers have been used throughout the years.

In ancient times, the Pharaohs of Egypt used to carry fans made from ostrich feathers to protect them from the sun.  It has been documented that Roman Generals used ostrich feathers in their headgear to indicate rank.

Today, ostrich feathers are commonly used as a decoration during important ceremonies such as birthdays, weddings and anniversary parties.  Their versatile and elegant nature makes them a perfect choice for centrepieces.  The feathers can be dyed in a variety of different colours which can be used to create elaborate and eye-catching displays.

Fashion designers have also used ostrich feathers in their clothing and accessories for many years.  The versatility of the feathers allow for truly unique creations.  I know of a lady who creates Burlesque clothing for a living and uses many ostrich feathers in her designs.  And, only recently Sarah Jessica Parker could be seen with an ostrich feather handbag in the Sex and the City movie.

Whilst they have their creative uses, ostrich feathers can also have their practical advantages.  During the early 1900’s the natural oils contained within the feathers were discovered to attract dust particles.  This led to a demand for ostrich feather dusters which originally were viewed as a status symbol but have become a popular household item today.  Those who advocate the use of ostrich feather dusters cite their ability to attract the dust into them without scattering it around the room!

With demand so high for ostrich feathers many people are concerned with how the feathers are obtained.  In the past the ostrich was mainly hunted for its feathers but thankfully many are now farmed humanly.  There are many farms in India and China where the birds are kept until they are ready to shed their feathers and, when they are the feathers are gently plucked by the workers on the farms.  Of course, there are unfortunately some farms where conditions are poor but for the most part the birds are well looked after.

At HandcraftedUK we work closely with our overseas suppliers to ensure that the feathers we obtain are from farms where the birds live in humane conditions and are not harmed for their feathers.

Please visit the following link if you would like to view our ostrich feathers.

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Synonymous with Japanese culture, kokeshi dolls have been produced in Japan since the Japanese Edo period (1600-1868).  They were first made by Kiji-shi (wood artisans) in the Miyagi Prefecture in north Japan.  These artisans specialised in producing household utensils for the local people but began making small wooden dolls to sell to tourists who came to visit the hot springs in the country.  And thus, the kokeshi doll was born!

Over time these hot springs became popular with visitors and grew into spa resorts.  With this influx of tourists demand for Kokeshi dolls

An example of a traditional kokeshi doll

increased and production grew until they were eventually being made across other spa areas in the Tōhoku Region.

An interesting fact is that the dolls were originally known by many different names.  It wasn’t until the All-Japan Kokeshi Exhibition in Naruko Onsen, August 1939 that the term ‘kokeshi’ was agreed upon to become the official name of the dolls.

Kokeshi dolls are handmade from wood, have a simple trunk and an enlarged head.  Some are painted with fine lines to define facial features.  These simple designs have been passed down through many generations of kokeshi artisans and those familiar with the dolls are able to ascertain the towns and cities from where individual dolls are produced.

Originally the kokeshi dolls took a simple form and long cylindrical bodies.  Known as the traditional kokeshi, these dolls featured no arms or legs and had rounded heads.  Their kimonos were either carved or painted with an array of different designs which all tended to be simple.  They were covered with a layer of wax to help protect them from aging and also to give them a nice sheen.

Eventually the traditional kokeshi designs were an inspiration for a new breed of ‘creative kokeshi’.  Developed after the Second World War these dolls feature more complex designs.  Many of the dolls have hair, wear more elaborately designed kimonos, feature more expression on their faces and come in a wide variety of shapes and sizes.  The creative kokeshi dolls can be found in all Japanese cities however, the majority come from the Gunma Prefecture.

An example of a creative kokeshi doll

Kokeshi dolls are made from a variety of different woods but the majority are made from cherry or mizuko.  Cherry kokeshi dolls are distinguished for their dark appearance, whilst mizuko kokeshi dolls are lighter in colour.  Regardless of the wood the kokeshi dolls are made from the wood is left to season for up to five years before it is used to make the dolls.  This ensures the wood has matured and the kokeshi dolls will be made as perfect as possible by the artisan!

Today, the kokeshi doll is considered a folk art in Japan.  They are highly regarded around the country so much so that since 1954 the Prime Minister of Japan has awarded an annual prize for the best creative kokeshi design.

What started life as a small ornamental doll sold to the odd tourist has grown into a huge industry which now symbolises Japanese culture.  And, although the demand for the dolls has increased the craftsmanship that goes into making them has not deteriorated; the dolls are not mass produced on production lines but are still made by  hand from artisans that have learned the craft from past generations.

If you would like to see some creative kokeshi dolls please follow the link.

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For such a simple looking instrument there are numerous techniques that can be adopted when playing a bodhran. Starting with the most simple of playing methods, play can grow more complex when experience has been gained. This article will explain the basic technique that can be used for playing a bodhran. Many people mistakenly believe that to play a bodhran it simply involves hitting it at random to produce a sound. If only it were this easy! In fact, there are various strokes that need to be taken into account as well as rhythm, arrangement and sound dynamics.

An example of a bodhran drum

It is best to play a bodhran drum whilst seated. This enables you to keep it steady by balancing it on your knee and support it with you upper body and arm. Whilst the bodhran is balanced upon the knee it needs to be supported by placing one hand against the skin behind the drum. Some bodhran’s have a crossbar at the rear of them which can be used to support them. The pressure placed upon the skin by the hand controls the pitch and tone of the sound. Moving the hand from the centre of the drum towards the rim will also produce a higher pitch.

The free hand uses the tipper to strike the drum. Depending upon where in Ireland the Bodhran is being played, the style of the strike varies. The most common method of playing is the ‘Kerry’ style which will be the style we will explore below.

For the basic stroke only the smaller end of the tipper comes into contact with the bodhran. Hold the tipper the same way that you would hold a pen. Twist the arm gently from side to side (almost like you are shaking a tin) being careful not to bend the wrist. Make an arc movement with the tipper so that the head of the tipper hits the drum once on the way down and again on the way up. This is the basic stroke and, with practice you should be able to keep a regular rhythm, tone and volume.

With experience, the stroke can grow more complex so that during the ark movements the upper head can be used to add extra beats between the strokes. It may be beneficial to practice your playing with other musicians who can help you to keep in time with the music.

When using the bodhran to play along with music, the player must time their strikes to the rhythm of the beat. However, the make their playing more expressive the player can syncopate the weaker beats, add double pulses and take ‘rests’ between beats. There are many combinations that can be used for every song; it’s only limited by imagination!

To avoid risk of strain when playing the bodhran it is important that the wrist is kept straight when striking the drum. If it does start to hurt, stop playing and do some hand stretching exercises. If this still doesn’t relieve the pain then put the drum down for the remainder of the day and come back to it another time.

Please visit the following link if you are interested in viewing our bodhran.

You may find this tutorial of interest if you would like to advance your playing technique.

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I’ve finally done it….gone and done a tutorial video!  It’s something I’ve been meaning  to do for a while but have only just got around to doing.  Anyway, here is the first video titled ‘How to play a Singing Bowl’.  I hope you find it useful.  Gary.

As usual, here’s a shameless plug for my singing bowls!

Where it all started

Although no one can be sure as to when the singing bowl first came into use there is evidence to suggest that they did not originate, as many would assume, in Tibet. Countries on the Asian continent were using metal bowls to produce sounds as far back as 1100BC. Over the years that followed the study of sound and vibration had grown so advanced that by 500BC China was producing ‘fountain bowls’. These bronze bowls had two handles and could be filled with water. When the two handles were rubbed together a fountain of water would rise up and the bowl would produce a humming sound.

An example of a hand-beaten singing bowl

The knowledge of singing bowl production would have spread throughout Asia along established trade routes. Many believe that the Buddha, Padmasambhava, crossed the Himalaya mountains from India into Tibet. He bought the teachings of the Buddha into the country and also the knowledge of singing bowls. Contrary to popular belief, singing bowls were not used during any religious practices but were used instead as begging bowls and for food. During this period monasteries only used the singing bowl as a chalice.

Why were they produced?

If the singing bowl was not produced for religious practice then the obvious question is: what were they used for? There are accounts of travelling smiths who would make the bowls with materials gathered during their travels. Other theories suggest it was the monks themselves that produced the bowls. If so though, why were they used for eating and not meditation? What was the reason for having the bowls ’sing’? The fact is no one can be entirely sure who produced the earliest singing bowls as there is no concrete evidence to support either theory.

However, there are theories that the monks did in fact use the bowls for religious purposes. But, rather than being used during mediation the bowls were used instead as sacrificial dishes. The singing from the bowls was to reinforce them message that each sacrifice was being offered harmoniously. Therefore, even though the bowls would never be rung they still had to be pure in every respect.

How were they made?

Ancient singing bowls were traditionally made of seven various metals, each one symbolising a different planet in the solar system. The sound produced by the singing bowls would vary depending upon how the different quantities of metals were mixed together. The metals would be  combined to form an alloy which would be left to cool before being beaten into the familiar bowl shape. However, each of these ancient bowls varies and can have more or less than the seven traditionally used metals. This would support the theories that it was the travelling smiths who produced the bowls as, during their travels, not all the metals would have been available which explains why each bowl might be of a different composition.

Today’s singing bowls are either made by machine or are hand beaten into shape. Here is our collection of Tibetan singing bowls.

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Located around 45 miles from Moscow, Sergiev Posad is a beautiful city which is noted for, amongst other things, it’s beautiful buildings and as the birthplace of Russian Dolls (also known as Matryoshka). This article will explore two of the most important buildings in the city and also why the city is considered the toy-making capital of Russia.

Sergiev Posad is home to the most important of all the Russian monasteries. The Trinity Lavra of St. Sergius is a grand building which dates back to 1345 where it was built by one of the most respected Russian saints, Sergius of Randonezh. The monastery quickly became one of the most important in Russia and is now the spiritual centre of the Russian Orthodox Church. From its humble beginnings in 1345 the monastery was extended over the centuries with the most notable addition being the Assumption Cathedral which was commissioned by Ivan the Terrible in 1559. This Cathedral took over twenty-six years to construct and today houses over 300 monks.

View of the Trinity Lavra of St. Sergius

Another important building in Sergiev Posad is the Museum of Toys. This museum celebrates a city which has risen to become the largest wooden toy producer in Russia. The city has been producing wood carvings and toys for centuries and some of these toys are exhibited in the museum. Perhaps the most famous of the toys are Russian dolls. These dolls were invented by a painter who worked in a crafts workshop in the city. These very first Russian dolls can today be seen at the museum which first opened in 1918.

After the first Russian dolls were produced they became instantly popular and were in demand throughout the rest of the country. This saw production of all toys within Sergiev Posad boom during the nineteenth century with the city housing thousands of craftspeople producing all kinds of toys (including Russian dolls). Today, the dolls are as popular as ever and there are still thousands of craftspeople in the city who are involved with making the toys. In fact, there are still two working toy factories in the city and even special schools that train their students on the art of making Russian dolls.

Many of the toys are produced in these factories but, perhaps even more are made from those craftspeople that work in their own homes. One such lady is our friend, Elena Beytane. Working from her home in the city, Elena has been making her Russian dolls since she was a teenager. Like most of the craftspeople in the city, she lets her emotions guide the style of painting for each doll. For those craftspeople that create Russian dolls, they believe that by letting their emotions guide their work then each doll actually becomes an extension of themselves. This ensures that each Russian doll is unique to that artist and no two dolls are ever the same.

Sergiev Posad is an important city in Russia. It is not only the home of the Russian Orthodox Church but is also home to the largest toy producing city in the country, producing crafts that both young and old enjoy.

Please follow the link if you would like to see some of Elena’s Russian dolls.

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Many people often ask me how Russian matryoshka dolls are made. With their fascinating artwork and construction the dolls have intrigued many of my customers. So, I thought it was time to share how the matryoshka are produced. And, you may be surprised at just how much work goes into each set!

An artist at work on her dolls

The first preparations actually start years before the dolls are to be made. The tree from which the dolls are produced (usually lime, birch, aspen or larch) needs to be straight, without any knots and cut down in early autumn or winter, so it holds as little sap as possible. The trunk is then stored to allow it to dry which usually takes 2-3 years. During this drying the Russian dolls are carved to ensure that, once dry, the top and bottom half of each doll fit together perfectly.

When the drying process has been completed the Russian dolls are ready to be grained and primed. After this, all the fun creative things can happen! The artist will first draw with pencil the eyes, face and clothing on each doll. When the drawing has been completed the artist will check their work to ensure it meets their quality standards. If not, the doll is then redrawn until the artist is satisfied. After the drawings are finished the artist will then use acrylic paint to complete the doll and give it its individual character. Occasionally, a pattern is burned into the doll before it is painted.

A lacquer is then applied to each Russian doll to protect it from discolouration. This ensures that the doll will age well and the quality will not deteriorate over time. The lacquer also protects the dolls from dust and gives them a fine sheen.

When buying a Russian doll the quality of its craftsmanship should be examined. Each doll should fit into one another easily and each half of the doll should require a little force to separate them. If the dolls do this then they have been well made.

There are thousands of different Russian dolls available around the world. Each with its own unique artist, character and feel. Please follow the link if you would like to see some of Russian Dolls stocked at HandcraftedUK.

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The Beginning

During the 1890’s a painter of Russian folk crafts, Sergei Maliutin produced the world’s first matryoshka doll. He was inspired to make the dolls as, when visiting the Japanese island of Honsu he came into possession of the Japanese ‘fukuruma’ doll. These dolls depicted an old Japanese man doll which inside contained nesting dolls which decreased in size. Maliutin decided to draw a Russian version of the doll in his workplace ‘The Children’s Education Workshop’ on the Abramtsevo estate. This workshop was owned by Savva Mamontov. The name of the dolls comes from the Russian name ‘Matryona’ which was a popular name for peasant women in old Russia. After his death, Mamontov’s wife exhibited the first matryoshka dolls during the 1900 World Exhibition in Paris. The dolls were instantly popular and earned a bronze medal from the exhibition. This ensured that Russian dolls became well known throughout the world and demand for them increased.

An example of some Russian Dolls

After the World Exhibition

The Children’s Education Workshop was closed soon after the first matryoshka’s were made so production of the dolls moved to the city of Sergiev-Posad. Here the dolls were made in many different styles and the images on them can reflect a time in history. For example, during the Soviet Union era many Russian dolls were painted with images of Soviet leaders. The size of each doll would often correspond to how long each leader had been in power. After the collapse of the Soviet Union, many different images appeared on the dolls including people, animals and nature.

The dolls have become associated with fertility and motherhood. It is not uncommon to see a smiling mother-like figure as the large doll with her children contained inside her.

The dolls which started out in a small workshop in Russia have are now proving popular throughout the world. With their interesting history and varied styles the matryoshka doll has been embraced across different cultures.

Please check out our range of Russian Dolls.

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Ostrich feathers are very low maintenance and can last many years without the need for cleaning. However, there comes a time when every feather needs a bit of help to be returned to its former glory and, with this article we will show you how it’s done!

Storing Ostrich Feathers

Ostrich feathers will thrive if certain storage conditions are met. We have found that feathers stored between temperatures of 15-23°C (59-73°F) perform very well. In fact, the higher the temperature the better as it means there is less humidity in the air. Over time, humidity can damage the ostrich feathers which means their life span will be shortened. So, it is best to keep the room temperature as close to 23°C as possible. That’s the room temperature covered but, what should the ostrich feathers be stored in? Although standard card is often used for the storage of feathers this is not recommended because, over time, the acidity in the card can have an adverse affect on the feathers. The best way to store ostrich feathers is in an acid free cardboard box (PH neutral). These boxes not only prevent any acidity aging the ostrich feathers but also protects the feathers from other sources of damage; insects, dust, light exposure and over handling for example. These boxes are easily found on the internet and start from around £20.

White Ostrich Feathers

Cleaning Ostrich Feathers

Despite how well the ostrich feathers are stored they will eventually need to be cleaned. We will now outline a couple of methods as to how this can be achieved. If the feathers are carrying dust or other easily removable dirt then we would recommend brushing them. The best brushes to use would be a large artist’s paintbrush (dry!) with natural bristles or, a soft baby brush. A soft brush is needed so that the plumage isn’t damaged during the cleaning. Supporting the ostrich feather in one hand, brush in the direction of the plumage whilst applying a gentle pressure. After a few strokes the dust should be starting to clear from the feather. Take care not to apply too much pressure or brush against the plumage as this is likely to damage the feather.

Many people choose to clean their ostrich feathers using water. We would not recommend this unless it is really necessary. If it is necessary to wash the feathers then the following method should work. Clean each feather individually by rinsing it under lukewarm water, when the feather is damp apply a bit of baby shampoo to it and gently massage it into the ostrich feather by stroking in the direction of the plumage. With the shampoo rinsed from the feather, it can be left to dry overnight or a hairdryer can be used on its lowest setting. Using a hairdryer on the feather should take around 10 minutes. If the feather starts to lose any of its fullness, hold it over a pan of steaming water for a couple of minutes where the humidity should help get the feather back into great shape once more!

We hope this article has demonstrated how, by following a few easy maintenance tips, ostrich feathers can last for many years. If you are after some feathers for yourself then please take a look at our ostrich feathers.

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Who is the Green Man?

The Green Man is the representation of a face which is covered by leaves. These faces can take many forms but the most popular examples are to be found in sculptures and drawings. His leaves change colour depending upon the season he belongs to and from these leaves can sprout branches and/or other vegetation.

Roots of the Green Man

Trying to trace the origins of the Green Man is almost impossible to do. There are no records to show where he emerged from and so the original symbolism he held remains a mystery. The earliest records we have of the Green Man start somewhere around 100AD in the Roman Empire. By the year 500, the Green Man was beginning to be used by the Christian church after the Bishop, Nicetius, salvaged some Green Man ruins from a Roman temple to decorate his cathedral.

An example of a green man plaque.

During the Reformation when the Roman religion of multiple Gods worship was replaced with Christianity throughout the Roman Empire, the Green Man was not used. However, with time he made a reappearance and can now been seen on many churches and cathedrals where he is used for decoration.

In fact, nobody actually knows what the original name was for the Green Man. It was the scholar, Lady Raglan, who coined the term whilst writing an article on him. She struck on the name after likening the Green Man to other cultural figures and believed the Green Man deserved cultural status too!

The Green Man in Culture

Different cultures view the Green Man in wildly different ways. Whilst Pagan culture considers the Green Man a symbol of life, death and rebirth other faiths have not been so kind to him. For example, in Medieval Christian churches the Green Man takes on an autumnal appearance suggesting a nearness of death. He was considered a demon which represented the ‘fall’ of nature. Over time, the Christian churches began to adopt the Green Man as a symbol of life, death and rebirth also.

The Green Man today has a different meaning for most where he represents the cycle of nature. He is used to decorate many pubs and houses and, in fact, ‘The Green Man’ is one of the most popular pub names within the UK.

Gary Mullen from The Green Man.

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