bluuebunny/crossref_metadata_2025_split huggingface dataset:
Fifteen archaeological Estonian leather bags
Authors: Hirsik Mari-Lii 
Published: April 2022

This article provides an overview of medieval leather bags that have been found in archaeological excavations in Estonia and supplies information on their context and dating, as well as provides descriptions and typologies. This article analyses fifteen archaeological leather bags from Estonia, of which eight were found in Tallinn, six in Tartu and one in Pärnu.
Archaeological leather bags in Estonia can be divided into two main typological groups: drawstring pouches and girdle bags. The first group includes also a coin pocket and ram pouches. Out of fifteen leather bags, two thirds belong to the first group, that of drawstring pouches. These are: one coin pocket (AI 6332: nr-ta), two ram bags (TM A 45: 4275/2-3), one round-based pouch (AI 4061: 3016) and six square-based pouches (AI 4061: 4546; AI 6332: 309; AI 6332: N-517; TM A 40: 4389; TM A 45: 4578/1; TLM 27426: 1A). The second group consists of five girdle bags (AI 6166: 368; AI 7032: 1430/1; TM A 45:nr-ta; TM A 115: 817; PäMu A 2662: 563). The archaeological leather bags have been dated as being between the early thirteenth century and the early seventeenth century. Although fifteen is a small number of archaeological leather bags, they still give us a brief overview of the abundant medieval fashion of Estonian leather bags, and there are more to be found.
Keywords: archaeological leather, Middle Ages, leather bags, drawstring pouch, girdle bag
Tänusõnadega Meelis Kihulase vastselt ilmunud raamatule / To Kihulane and his book, with gratitude
Authors: Liiv Elo 
Published: April 2022

Estonian traditional woodwork varies widely in its technical and design aspects, but for recent generations this amazing wealth has been accessible only via museum displays. Fortunately, there are people who have dedicated themselvesto bringing heritage crafts back to life. Sooner or later the practitioners of traditional crafts arrive at an understanding that technical knowledge is not enough: at least half the quality of the final result depends on finding suitable materialto work with, and on how this material has been collected, stored, and prepared. The choice of good and appropriate tools is also key. As the author states in the introduction to this book, a good working knowlege of each tree species’ woodcharacteristics is the basis for all subsequent work.
Estonian traditional crafts have undergone a revival during the past decades. Meelis Kihulane is one of the guiding stars of this process, being skilled at making bentwood objects, one of the most complex areas of traditional crafts. Even more importantly he has now completed a book. This book is accompanied with videos which, with their easy-to-follow instructions, provide information for each stage of the work process of a kind that could not be conveyed by merely verbal descriptions.
This enables his fans and followers to embark upon making their own bentwood objects, guided through the most difficult phases of the work by the master’s peacefully narrated instructions. Some people may be more inclined to woodworking than others, but perhaps the trees themselves have taught master Kihulane such a meditative, yet very efficient, way of working and teaching.
Väikesed kirjad vööde veeres. Eesti kirivööde äärekirjade tüübid ja kihelkondlik levik Tartu- ja Võrumaa näitel / Small patterns at the edges of belts. Types of edge patterns used in Estonian pick-up woven belts and their distribution in Tartu and Võru Co
Authors: Rand Piia 
Published: April 2022

Pick-up woven belts form an important element of Estonian women’s folk dress. Belts make up one of the largest divisions of the Estonian National Museum’s item collection. Pick-up woven belts, and their large variety of patterns, provide ample avenues for research. Belt patterns can be studied on the basis of the large patterns in the middle of the belt, the usage of colour, the appearance and meaning of the patterns, etc. The focus of this article is on the small patterns at the edges of the belts. I will provide a typology of edge patterns and present an overview of the spread of different patterns in Estonia in general, as well as a more detailed account of their spread in Tartu and Võru County parishes.
Various parts can be distinguished in the patterns of pick-up woven belts (Photo 2): the widest section in the middle of the belt, called the centre pattern, which can include a row of different colour thread, the centre thread; small patterns at the edge of the belt, called the edge patterns; narrow bands separating different sections of the pattern, called the küü, and in some regions, a coloured edge – the edge thread.
The edge patterns were divided into two main types based on the technology used. The first main type is the block patterns (Figure 1), where an odd number of linen background threads are threaded between each woollen pattern thread, creating a variety of straight lines and boxes. Block edge patterns were further divided into five sub-types. The second main type includes patterns where two linen background threads are threaded between the woollen pattern threads (Figures 2 and 3), creating patterns with diagonal edges – crosses, rhombuses, triangles, diagonal lines, etc. This main type was further divided into nine subtypes along with a number of variations. The geographical spread of blocked edge patterns is show in Figure 4 and the spread of diagonal edge patterns in Figure 5. The edge patterns from Tartu and Võru Counties and their prevalence in belts from the parishes of these counties is studied in more detail. In the counties studied here, block edge patterns are preferred, especially the variants P4 and P3 (Figures 6 to 9).
The work carried out here represents just a small fraction of the study of pick-up woven belts. The edge patterns, as well as other parts of the patterns and the belts from other Estonian counties are still waiting to be analysed. By learning to know and see the details of different parts of folk costumes, we will also learn to see their regional characteristics and acquire a deeper understanding of our national culture.
Keywords: folk costumes, pick-up woven belts, belt patterns, pattern types, distribution maps
The production of rep weave floor coverings in Avinurme from the 1950s to the 1970s as a regional inherited skill
Authors: Västrik Veinika 
Published: April 2022

The making of rep weave floor coverings was an important source of income in Avinurme, a northern Estonian settlement, from the 1950s to the 1970s. Weaving began for commercial reasons after collective farms were established in 1949, when alternative sources of income were sought, as such farms only paid meagre wages. At the time, any sort of entrepreneurship was prohibited and punishable as “speculation”, and thus sales activities were banned, so the sellers sought to leave village council inspectors with the impression that the weaving was being done for their own families. A unique cultural phenomenon thus developed which was shaped (and eventually fell into decline) for the following period-specific reasons: cotton yarn which was suited to the rep weaving technique could be obtained from the Kreenholm Manufactory in Narva, floor rugs were not available in shops, all households had looms, and rep weave rugs were considered to be classier than rag rugs. Despite the illegality of the activity, commercial weaving persisted for decades. Due to the wide territorial range of the sales, the Avinurme rugs had an impact on home furnishing culture throughout most of Estonia.The special feature of the Avinurme practice was the use of a thinner and finer pattern warp (the so-called No. 10 thread) in conjunction with a thicker and coarser background warp; the dark weft is visible through the thin warp and is conducive to the formation of the pattern. Other features peculiar to the Avinurme rep woven rugs include composition featuring a double cross of rhombuses, which cannot be found in any printed source. In addition, the region in question had a rich array of patterns which combine squares and rectangles. Brown was often featured as the warp colour in combination with beige or orange tones; the background warp was frequently made up of brightly coloured lengthwise-striped patterns along the patterned edges. The tradition of weaving these types of rugs and mats started to decline in the late 1970s when industrially produced floor coverings became available in retail stores, leading to changes in interior furnishing fashions. Purchasing power had also improved over the decades, and handwoven traditional floor coverings were seen as old-fashioned in this context.
Keywords: traditional weaving, rep weave, rep rug, warp rep pattern, subsistence practices in Soviet Estonia
Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective
Authors: Kaljus Astri 
Published: April 2022

This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”.
The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
Traditional leather processing using domestic methods in Estonia
Authors: Uus Made 
Published: April 2022

This article provides an overview of the traditional domestic leather processing methods used in Estonia throughout history, as well as of the research papers on leather processing that have been published or have yet to be published in Estonian. There is also an overview of the main leather processing and tanning methods (vegetable tanning, alum tawing and flour tanning). Based on her own experience, the author gives a detailed description of traditional leather processing with a fermented flour mixture (flour tanning) as one of the oldest and most widespread methods of processing hides with fur. The article also gives an overview of the current situation of traditional leather processing using domestic methods in Estonia.
Keywords: animal hide, tanning, leather dressing methods
Printed-pattern headscarves in Kihnu cultural space
Authors: Pukk Mari 
Published: April 2022

This article provides an overview of the unique tradition of wearing headscarves as practiced by the islanders of Kihnu. I discuss the importance of cotton print headscarves in the traditional clothing of Kihnu women and explain the meaning of kallisseltsi headscarves as an intra-community phenomenon, giving an overview of the origin and characteristics thereof.
Printed cotton headscarves are considered an integral part of Kihnu traditional clothing, but as purchased goods they have, up to the present, remained beyond the scope of ethnographic studies. Headscarves are classified by material, origin and purpose. Even today, seven different types of headscarves are known ; names were assigned to the different types based on their patterns.
Headscarves must always be worn in harmony with the main item of clothing: the skirt. The colours and stripes of the skirt convey the events that take place in the course of a woman’s life. Adherence to the rules is supervised by the elders of the community and by the more knowledgeable members who look after the preservation of the island’s traditions. As with wearing, there are also specific unwritten rules concerning the care, storage and folding of headscarves.
In the Kihnu community, the most valuable cotton headscarves are those made of red printed cotton fabric that were produced in Russia, in the factories of Aleksandrov County in the Province of Vladimir in the late 19th century and the early 20th century. Elsewhere in the world, the headscarves are also known by their main colour – Turkish red. Owning kallisseltsi headscarves is, in a way, a status symbol in the Kihnu community: the owner of the largest number of headscarves is considered the proudest and richest. The circulation of headscarves is very carefully monitored, and the most valuable ones are only worn during important life events.
Keywords: Kihnu cultural space, folk costumes, headscarves, communal clothing norms
Argipäeva kirjamine – Muhu kirisukad ERMi osalussaalis / Everyday patterns – the exhibition of Muhu colourwork stockings in the participation hall of the Estonian National Museum
Authors: Alekand Katrin 
Published: April 2022

The fashion of knitting colourwork stockings lasted in Muhu for about 30 years – from the end of the 19th century to the first decades of the 20th century. This is a relatively short period and it is astonishing that such a beautiful and unique collection of stockings has been preserved from that time.
Evidently no one expected such a lavish party of colours, abundance of patterns and beauty, to be made by a hundred knitting women. No stocking at the exhibition is the same. And the members of the Knitters’ reproduction club have made exact copies only of some selected old stockings. A row of photos of knitters on the wall look down at the visitor – the body of each knitter belongs in fact to the lady of Tüi farm in Pallasmaa village, Muhu Island, who is sitting on the doorway of the storehouse and knitting a stocking; the knitters of the Knitters’ club call her Nänn. She has a stocking in between her fingers, but the faces looking at you over the knitting needles belong to the knitters. The stockings knitted for the exhibition have added personality, creativity and uniqueness to the heritage.
Muhu colourwork stockings were knitted individually for the right and the left foot and that can be clearly seen in the part of toes. The choice of foot had to be decided upon the beginning of knitting with the first pattern rows. The next row starts inside the shin part and it is recommended to hide it away and make it least visible. The thread ends are hidden in between the rows, which mean a lot of extra work after the stocking is ready.
It is nice to think that the Knitters’ club, besides keeping alive the tradition of colourwork knitted sock, has preserved another nice tradition – co-knitting. The symbolic one-family room is in the Facebook of the Knitters’ reproduction club, so the internet and a computer help to preserve the tradition of twilight practice called “vidussepidamine”. One additional value of the exhibition is knitting live, which means that during the entire time the exhibition is open the members of the Knitters’ club go and sit and knit at the exhibition on Saturdays, busily knitting their next stockings and answering any questions visitors may have. Another value added is the catalogue of the exhibition – comprehensive in coverage and good to look at.
A practical person would like to know how much a pair of stockings costs? How much do 160 or 200 hours of your life cost?
Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway
Authors: Kokko Sirpa , Almevik Gunnar , Bentz-Høgseth Harald C. , Seitamaa-Hakkarainen Pirita 
Published: April 2022

The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
Kangakudujate hääled / Voices of Weavers
Authors: Matsin Ave 
Published: April 2022

This review introduces a book titled „Voices of Weavers. Textile Cultures, Craftsmanship, and Identity in Contemporary Myanmar“ written by a German anthropologist Jella Fink and published by Waxmann publishing house in 2020. It is a lively piece of research that reveals the cultural and economic background of two strands of local weaving traditions in Myanmar. The book summarises author’s fieldwork that was carried out in Myanmar as part of her doctoral studies in the years 2014–2017. Focus on the makers’ perspective is the most important contribution of the present book to research in textiles. In the review, parallels are drawn with Estonian textile-making practices, where applicable.
Myanmar is geographially and ethnically considerably different from Estonia, but certain similarities can indeed be spotted in the matters of textile production, authorship, professionalisation, and the issues of commercialisation. The greatest value of the book lies in mapping the tradition and explaining the rationale behind alterations in the traditional practices of weaving in two different areas – Mandalaya region in the centre and Kengtung in the distant Western highlands of Myanmar – where the practice is still well alive. As the makers’ perspective is brought to the fore, it gives the voice to often-silenced female members of marginal ethnic groups, and also helps to provide new insights into the social and cultural relations that form the framework for producing intricate textiles, the making of which is very time-consuming and requires a great amount of skill and stamina. The study can well serve as a model for further research into Estonian textile traditions in the future.
Innovation and Investment Projects in the Modern Economy and Evolution of the Methodology of Their Evaluation
Authors: Malinovskaya Kristina , Nazarova Yuliya 
Published: April 2022

The presented article devoted to the development of the methodology for evaluating innovation and investment projects, taking into account their nature in the modern economy. The main goal of innovation and investment projects is to achieve advantages through the possession and use of innovative solutions in the activities of the subject of investment. In this case, one should take into account the importance of assessing both from the point of view of innovative efficiency (the degree of novelty and additional profit due to the introduction of innovation into the business processes of the subject of investment), and the overall investment efficiency (assessed by means of investment analysis tools).
In the modern economy, the achievement and retention of competitive advantages is a basic precondition for the successful functioning and development of any business. As for companies in the oil and gas sector, there is a certain industry specificity: with the depletion of easily accessible hydrocarbon reserves and during the period of parallel development of alternative energy, innovations (and often disruptive ones) ensure the survival of companies and the ability to remain in the energy market due to timely and relevant technological solutions. And building up competitive advantages requires even higher innovative efficiency. Therefore, the development of the methodology for evaluating innovation and investment projects is presented from the point of view of the outstripping rate of innovative activity of companies in the oil and gas industry.
Effect of dietary fats on endogenous oleic acid biosynthesis in rat liver
Authors: Levitsky A. , Velichko V. , Selivanskaya I. , Lapinskaya A. 
Published: April 2022

Aim: Determine the effect of dietary fats with different fatty acid composition on the biosynthesis of oleic acid and its metabolic precursors in the liver .
Methods: High linoleic sunflower oil (HLSO), high oleic sunflower oil (HOSO) and palm oil (PO) were used. Rats were fed a semi-synthetic fat-free diet (FFD) and fat diets containing 5 % of the above oils (instead of starch) for 30 days. Liver lipids were divided into 3 fractions: neutral lipids (NL), phospholipids (PL) and free fatty acids (FFA). The fatty acid composition of the fractions was determined by gas chromatography. The “activity” of fatty acid synthase was determined from the total content of the products of this reaction (C16:0 and C16:1). The “activity” of palmitic acid elongase was determined by the ratio С18:0/С16:0, as well as by the formula (С18:0+С18:1)/(С16:0–С16:1). The “activity” of stearic acid desaturase (SCD1) was determined by the ratio C16:1/C16:0 (SCD16) and by the ratio C18:1/C18:0 (SCD18).
Results: In rats treated with fat diets, the content of palmitic and oleic acids is reduced only in the NL fraction, and to the greatest extent when consuming the diet with HLSO. The “activity” of palmitic acid elongase increases significantly with the consumption of a diet with HLSO. SCD16 desaturase “activity” decreases with fat diet, while SCD18 desaturase “activity” increases. The level of SCD18 is significantly higher than the level of SCD16. Consumption of HLSO reduces the content of ω-3 PUFA in rat liver lipids, while the intake of HOSO increases it.
Conclusions: HLSO diet reduces the endogenous biosynthesis of oleic and palmitic acids, as determined by the analysis of the rat liver NL fraction. A fat diet reduces SCD16 “activity” but increases SCD18 “activity”, especially when fed a diet with HOSO. The diet with HLSO reduces the content of ω-3 PUFA in liver lipids.