Fars Handicraft Deputy: Artists Should Produce Products in Three Levels
Hashem Shaygh, the Deputy of Handicrafts in Fars, stated in an interview on Thursday that: “Handicrafts are one of the fields where employment and income generation can be achieved with minimal investment and within a limited space. What matters most is the artist’s skill and creativity.”
According to Good News Agency He added: “Many handicraft fields in Fars, such as inlay, carving, weaving, miniature painting, and several others, can be done in spaces smaller than 20 square meters.”
The Deputy Director of the Fars Cultural Heritage, Tourism, and Handicrafts Department noted the difficulties in export and foreign sales under current circumstances, but emphasized that the domestic market for handicrafts also holds good potential. He stated that whenever an artist focuses on creativity and meets the needs of society with a market-oriented approach, they can successfully create a market for their products.
Shaygh mentioned: “A handicraft artist should produce in three levels. First, they should create high-quality works to obtain authenticity certificates, promote the art, and showcase their artistic ability. Selling these products is possible, but it is difficult.”
He continued: “The second level involves producing intermediate-quality works that appeal to a segment of the population and are within their purchasing power. There is also potential for exporting these types of handicrafts.”
The Deputy Director added: “The third level of handicraft production is producing according to the purchasing power of a larger portion of the population. For example, a completely engraved sugar bowl costs several million, but this cost can be reduced by producing a combined version, made of wood with a layer of copper.”
Shaygh emphasized: “Handicraft production must be economically feasible, and we need to produce in line with people’s needs. In doing so, a market and sales opportunities will naturally arise.”
He further explained: “Artists should move away from the rigid focus on creating high-end works and, while still paying attention to such creations, should consider the market and produce accordingly.”
Making handicrafts more practical is one of the proven ways to secure sales. A successful example of this was seen in Fars’ booth at the Iranian Handicrafts Exhibition, where an artist from the province managed to sell all their felt products such as slippers, bags, shoe insoles, belts, and other everyday items, receiving much appreciation.
Shaygh reminded: “The domestic market for handicrafts is not bad, but attention must be paid to needs. Today, in one of the inlay workshops in Shiraz, eight young people are working. Moreover, the market for one of the sculptors in the province is so in demand that they have suggested training young people to assist and work alongside them.”
He emphasized that, despite this, it is not only necessary but also the artist’s responsibility to produce high-quality works annually to foster the growth of Fars’ fine arts and their own personal development.
The Deputy Director of Handicrafts at the Fars Cultural Heritage, Tourism, and Handicrafts Department concluded: “Despite these challenges, our department plays a supportive role in assisting handicraft artists. We have agreements with various organizations to purchase corporate gifts from handicraft artists, allocate historical spaces for artists to promote and create their works, and organize temporary exhibitions and sales booths throughout the province.”
Shaygh also highlighted Fars’ unique position in the handicraft sector, reminding that the province has two globally recognized cities and four nationally recognized cities and villages for handicrafts, with 89 handicraft fields actively practiced in the province.
Reporter: Fatemeh Mohagheghi
