Basket Weaving in Sinnai
The basket weaving tradition in Sinnai, older than that of Castelsardo, which is probably the most well-known, is already mentioned in the 1800s by Alberto Della Marmora, who likens the baskets of Sinnai to those recovered in Egyptian tombs, further stressing the strongly practical character of these baskets, though modestly decorated.
In Sinnai, and in Campidano in general, the main use of baskets was related to the domestic production of flour and bread, since the major economic activity of the region was agricultural.
The raw materials used are rush and wheat straw collected after harvest.  The most traditional shape is the upside down bell.
Traditionally, the baskets are weaved by coiling straw in a spiral over a small bundle of rush or straw, using needlepoint to tie the resulting braid together.  The decoration most typical to this village is with scarlet cloth.
With a profound sense of tradition, the women of Sinnai also use the straw’s natural colour to make the edge, creating a delicate decoration due only to the effect of slight variations of light.

Weaving
Over the centuries, weaving has been included in the knowledge and activities of every Sardinian family: most households have their own loom for the purpose of making various everyday articles as well as for trading for other goods and services.
In Sardinia traditional weaving and its cultural significance have been preserved in about forty or so villages, each with its own variety of method and decoration.
The fabric that the artisan weaves is like a canvass on which she expresses her creativity and imagination.  The advent of manufacturing and mass production have come to render these precious crafts invaluable, that bear witness to the preservation of local tradition.  Today many small communities owe their notoriety to the success that they have experienced, in Italy and abroad, with small rugs and tapestries made by the skilled hands of local artisans.

Ceramics
In Sardinia, the development of ceramic arts, prompted for the first time around 1920 with the efforts of painters and sculptors and the founding of the first art schools (Scuola d’arte decorativa di Oristano directed by Francesco Ciusa in 1920 – Bottega d’arte ceramica di Cagliari, founded by Federico Melis in 1927), continues to this day. 
For many centuries, in spite of influence of a diverse succession of rulers, the applied arts were limited to the production of household objects, such as water jugs, large pans, mixing bowls, and pots and jars for storing foodstuffs, while production of jugs and vases for purely decorative purposes was reserved for special occasions.
During the Middle Ages, the corporations of jug-makers (then known as gremi) prohibited production of vessels other than the traditional shapes and limited production to a few, select objects (1692, Statute of the Alfareros).  If on the one hand this ensured preserving the original traditional designs, on the other hand it limited considerably the artisan’s creative freedom and hindered any hopes of introducing his product to the commercial market.
Today the main ceramics-producing centers are concentrated in Assemini and the interior around Cagliari.  Among the towns that boast the oldest ceramics tradition are Oristano, Pabillonis, Dorgali, Sassari e Siniscola.

Jewelry
Sardinian jewelry is a traditional product, marked by an ethnic style, a sign of the deep-rooted culture of the people of Sardinia. Sardinian jewelry is closely related to the traditional dress of the region, an integral part of the costume that complements its decorative elements.
Historically, jewelry has held various meanings, and Sardinian women saved their pieces of jewelry and passed them on through generations like the most precious of sacred objects.  The most secret meaning of Sardinian jewelry (prendas) has its origin in a local legend that tells of fairies that, in their enchanted homes (Domus de Janas), weaved threads of silver and gold into fabrics embroidered with precious stones.
In antiquity precious stones served as a medium between men and gods, to invoke blessings or exorcise evil spirits; a black stone (obsidian) in a ring of silver (Sabeggia) served to protect newborn babies from the evil eye; a set of precious objects laid out next to the deceased protected the body and guaranteed rebirth; an exchange of gifts sanctified a pledge of marriage, for which the jewel symbolized alliance and bond.
Of all Sardinian jewelry production, goldsmithing is probably that which underwent the most influence by other peoples of the Mediterranean.
Gold production during the last few centuries has not been stylistically uniform and varies from one province to another; Sardinian goldsmiths have made use of eclectic elements to create some unique pieces.  Foreign influences (especially from Tuscany and Catalonia), contaminations and syncretisms can easily be traced and justified, given that the demand for gold production derived primarily from the ruling class and the clergy, the latter for religious objects.  Nonetheless, traces of an older formal folk tradition, more typical to some degree to the south of the island, are recognizable, especially in the products destined to use by the poorest members of society.
The major traditional jewelry-producing centers were Cagliari, Iglesias and Sassari, production later spreading to other minor producers.