The children's library of work and play

The Library of Work and Play: Guide and Index

ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN There was never a time in the history of the world when each race, each nation, each community unit, each family almost, did not possess its craftsmen and artists. In every instance, these so-called gifted members were by no means the least important citizens; their names appeared again and again in the stream of tradition as wonder workers and idols of the people. This is still true in the very midst of a materialistic age, when money and mechanics work hand in hand to produce the most in the least time for economic reasons, and when the individual worships "hand-made things." They may even be poorly made or bizarre, but "handwork" satisfies the untutored. Now it is quite possible for the machine to produce a bit of jewelry, textile, or woodworkeven carvingquite as pleasing as any made by hand alone, and it is being done every day. But the machine-made[4] article must be produced in large quantities (duplicates) for profit, whereas the work of hand alone is unique. There lies the reason for reverence of "handwork." It is always individual and characteristic of the workman in style or technique and has no duplicate; it is aristocratic. Among the primitives, the pot, necklace, or utensil was wrought by infinite labor, and, being valuable because unique, was embellished with all the wealth of current symbolism. It was preserved with care and became more valuable to succeeding generations as a tangible record of race culture and ideals. And so down to the present time, the handiwork of the craftsman and skilled artisan has always stood as the one imperishable record of racial development. The degree of finish, the intricacy of design and nicety of construction are evidences of skill and fine tools, well-organized processes, familiarity with material and careful apprenticeship: the pattern, color, ornament, and symbolism point to culture, learning, and standards of taste and beauty. A crude domestic economy, rude utensils, coarse, garish costume and of simple construction, are characteristic of an undeveloped social order. In fact, all the arts of both construction and expression exhibit at a given period the degree of civilization;[5] art products are true historical documents. Since then through their arts and crafts it is possible for one to know a people, does it not follow that one entrance to sympathy with the ideals and taste of the present time is through practice in the arts? Of course a considerable mass of information about them can be conveyed in words, especially to adults who have passed the formative period in life and have not the same work-incentive as have children. But even the adult never really secretes much real knowledge of the arts unless he has worked in them. He acquires rather a veneer or artistic polish which readily loses its lustre in even a moderately critical atmosphere: he learns artistry and the laws pertaining thereto as he would learn the length of the Brooklyn Bridge or the population of El Paso. He merely learns to talk about art. But children learn primarily and solely by doing, and the foundations of taste and culture need to be put down early that they may build upon them the best possible superstructure which time and opportunity permit. ......Buy Now (To Read More)

Product details

Ebook Number: 46445
Author: Boone, Cheshire Lowton
Release Date: Jul 29, 2014
Format: eBook
Language: English