Carving Art Research Articles

Jagad Raya: Representation of Flora and Fauna in Wooden Craft From A Cosmological Perspective

The art of teak wood carving was one of the leading export commodities, especially wood carvings with flora and fauna motifs. Javanese culture and Hindu mythology influenced the flora and fauna motifs, so they had their meanings. This research aimed to develop carvings of flora and fauna motifs inspired by classic batik motifs using wood media. The results showed that the media used was teak wood with a finishing process without painting to produce a natural color. It was adjusted to its function and use in creating teak wood carvings. Wood carving did not only function to be enjoyed for its aesthetic value but as a decorative and sacred medium where each motif influences one's beliefs when creating artwork. In addition, teak wood carvings were used as symbols of a culture, and the designed motifs often contained the meaning of teachings to humans in carrying out life. Based on the economic aspect, the teak woodcarving industry strategically improved the community's income, especially for craftsmen in tourism centers. By making woodcarving crafts with flora and fauna motifs, it hoped that woodcarving crafts would not only use as decorative objects, but it used as an educational media for fine art, history, and Javanese culture, which were full of meaning to the broader community so that they could increase knowledge and encourage people to behave following the concept of cosmology.

The landscape theme of Han bamboo carving art

This paper examines the correlation between the form and surface visual narrative of Han bamboo-carved stationery and painting, with the purpose of comprehending how bamboo carving articulates the material and cultural universe of the Han people. During the mid-Ming and Qing dynasties, the Han literati possessed a large number of exquisite bamboo-carved stationeries with landscape motifs. The relationship between bamboo carving landscape motifs and landscape painting is a manifestation of the fusion of Confucian religions in the Han literati culture. We combine a discussion of the decorative motifs in bamboo carving work together with the brushstrokes, techniques and composition of landscape painting in order to explore the expression of culture in bamboo carving. Although bamboo carving art mainly represents the interaction between bamboo carving artists and the material pursuit of literati, it also exhibits the development relationship between painting and craftsmanship. The landscape motif theme of bamboo carving is the representative of craftsmanship and innovation across materials. This is also a valid reason for investigating how Han craftsmanship gradually became professionalized and artistic. The paper argues that bamboo carvings as utensils created a new stage for Han literati culture and facilitated contact with the private market.

Imitations of ancient jade products of the Qing era (1636-1912) in the collections of Russian museums

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

Development and study of Chinese folk art of paper cutting

As a type of Chinese folk art, jianzhi paper carving expresses not only people's spiritual life, but also their aspirations for a better life. Chinese paper carving art is filled with simple life wisdom and good wishes, and the figurative symbols contain unique artistic value and national traits. However, in today's multifaceted development, the traditional art of paper carving with a thousand years of history is gradually fading away. Traditional folk art represented by paper cutting has also begun to be introduced into new fields, not only in graphic design, but also in installation design of public spaces, showing its rich expressiveness and deep artistic value. This paper will examine the characteristics of traditional national paper carving, highlight cultural differences between Eastern and Western paper carving art, combine traditional folk art of paper carving with modern artistic expressions, analyse symbolic and emotional imagery and explore new ideas for the development and innovation of Chinese national art.

Fujian Lacquer Art: Xiamen lacquer line carving art and inheritance protection research

Lacquer line carving is an excellent treasure of folk arts and crafts created in the long history of Chinese lacquer art culture. Xiamen lacquer line carving continues the excellent traditional spirit of China and is a specimen of folk culture history in southern Fujian. With the advent of the "intangible cultural heritage" upsurge, Xiamen lacquer line carving has gradually been paid attention to, and at the same time, it has promoted the spread of southern Fujian folk culture. The cultural value, historical value, economic value, artistic value, craft value, etc. reflected behind Xiamen lacquer line carving are all worthy of further in-depth study. Only the combination of inheritance, innovation and market is the most effective way of inheritance protection.

The Economic Potential of Wood Carving Art and Its Marketing Strategy in Sumenep

This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.

“Ceramic road” – seen from village communal house carving art

Inheriting the essence of traditional art has always been considered the fulcrum for the development of modern art. Pottery Road is the sketch for viewers of artworks re-enacting important historical events of the country, scenic spots along with the quintessence of traditional pottery villages. The image of “Ceramic Road” in close relationship with regions in the country is also simulated by a 100m-long ceramic painting piece, using ceramic coated with a colored glaze, fired at a temperature of 1,200 degrees Celsius, ensuring durability stands firm against time. The ceramic path with the application of traditional artistic elements, although not really a creative application, has also achieved certain successes.

ТВОРЧІСТЬ НАДІЇ ГУДИЛКО У КОНТЕКСТІ КРАЄЗНАВЧОЇ ПІДГОТОВКИ СТУДЕНТІВ МИСТЕЦЬКИХ СПЕЦІАЛЬНОСТЕЙ

The article examines the problem of local history training of future specialists in decorative and applied art and teachers of fine art in order to attract young people to the study of both the historical artistic heritage of their people and familiarization with modern trends in the work of leading artists of their region. The purpose of the study is to acquaint students with the work of the honored master of folk art of Ukraine, Nadia Stepanivna Gudylko, who is reviving the art of artistic painting, carving, embroidery, and pysankarya of Sumy region. To achieve the set goal, general theoretical methods of scientific knowledge were applied – analysis, synthesis, comparison, generalization. Of the specific scientific methods, we used: bibliographic, to study literary sources on the chosen topic; biographical, with the help of which the main milestones of the artist’s life and work are clarified. At the same time, the cultural approach was used to characterize the works of the master in the field of artistic painting, carving, and embroidery of pysankarstvo. The achievements of the craftswoman in the art of painting by N. Gudylko are considered, and their style is clarified: in the ornaments of the craftswoman, a graphic stylized drawing with baroque plant ornaments and polychrome colouring of the planes dominates. The use of traditional Ukrainian ornament in synthesis with poetic elements of one’s own worldview in carving works is shown. It was established that the dynamics of the lines, the colour, the harmony of the products embroidered with the vestibule seam, made in a peculiar manner, distinguish the works of Nadiya Gudylko from other embroidery masters. Conclusions were made regarding the fact that future artists of decorative arts and teachers of art disciplines should be introduced to such artists as Nadiya Gudylko in order to raise a generation capable of appreciating, preserving and multiplying traditional Ukrainian art.

Analysis of the Influence of Wei-Jin Style on Stone Carving Art in the Northern and Southern Dynasties

Wei Jin Southern and Northern Dynasties in Chinese history is a major turning point, regardless of economic, political, military, cultural and the entire ideology, including philosophy, religion and literature and so on, are undergoing tremendous changes. However, in this turbulent and changeable era, the three kingdoms, the decline of the empire, the rapid change of the north and south regimes, the literati were forced to deal with the ideological crisis, the introduction of Buddhism, the grotto art and so on. This series of changes will show what kind of state and characteristics of the times, and how to breed a series of magnificent and elegant stone carving art with its own characteristics of the times. Based on the analysis of the characteristics of the times in the Wei Jin Southern and Northern Dynasties, this paper extracts the characteristics of stone sculpture in the Wei Jin Southern and Northern Dynasties, and explores the reasons for the characteristics of stone sculpture in the Wei Jin Southern and Northern Dynasties and the influence of Wei-Jin style on the art of stone sculpture in the Wei Jin Dynasties, in order to provide some reference value for the study of the formation and development of stone sculpture art in this period.

Measurement of Wakarorosku Natural Program Implementation Impact PT. KPC with Social Return on Investment Approach

The variety of tribes in East Kalimantan also has various forms of motifs and carving patterns. Efforts to continue to preserve the local arts and culture of East Kalimantan, especially the Dayak Basap tribe, require the support of every stage holder/stakeholder. One of the efforts that have been implemented is community empowerment towards the introduction of batik culture and the ability to generate other income from batik activities. The Empowerment Program implemented by PT KPC is an investment. As a consequence of an investment, it is important for investors to know the results of the investment. In practice, many companies have not carried out an assessment process for the social investments that have been made, especially in terms of indirect results (outcomes) and related to the resulting impacts. This research was conducted in October 2021 in batik SMEs located in North Sangatta District, East Kutai Regency. The basic method used in this research is descriptive analysis, which is a problem-solving procedure that is investigated by describing or describing the current state of the object of research in accordance with the facts obtained in the field. The "Natural Wakakrorosku" program is a community empowerment program, especially batik SMEs by prioritizing cultural and environmental sustainability which raises the potential of the carving art of the East Kuti community into batik cloth and the concept of zero waste.

Unearthing my toki: The artist who found an adze

I had a dream once where I was walking along a beach or river. I often saw a taonga (treasure) as toki (adze) submerged between the sand and the water flow. I remember not wanting to acknowledge that the toki was there and I would pretend I didn’t see it. Coincidently in my waking life, I was drawn to the art of Māori carving, I took up a journey of reconnection and rediscovery through toi whakairo (the art of carving). During my whakairo journey, between 2010 to 2018 I discovered research gaps in knowledge, specifically about wahine Māori carving and examples. My research enquiry investigates the experiences and perspectives of wahine kaiwhakairo (women carver) from a distinctive Ngāti Awa mana takatāpui position. The study contemplates the role of wahine in whakairo from a Māori worldview and the impacts of colonisation on contemporary Māori women carvers. This presentation is drawn from a Kaupapa Māori and practice-led Doctoral inquiry, activated through a pūrākau methodology. Pouwhare (2020) describes how a pūrākau methodology can synchronise a way of being Māori and artistic practice that enables a process of working from a distinctive ontological and epistemological position that recognises the role of the seen and unseen. This poster presentation will discuss the pūrākau methodology used to capture the narratives of what it means to be a distinctive Māori carver. Traditional gender roles and fluidity will be considered with references to takatāpui (an umbrella term for Māori diverse gender identities) and traditional Māori narratives. There will be a discussion on the creative research methods used to explore notions of gender fluidity within the practice of carving and the art form itself.

А.Л. Горбунков и иконографические источники чукотско-эскимосского косторезного искусства первой трети ХХ века

This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.

Analysis of the Subjects of Chinese Carved Jade from the Collection of the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences

In a variety of cultural contexts, primitive ideas invariably corresponded to the socio-cultural background of the era, as a result of which many legends and religious rituals associated with jade were formed. The subjects of the Chinese art of jade carving are the fruit of centuries–old cultural and historical experience. They are an expression of the spirit of national culture in the form. Thus, the subject of this study is the Chinese carved jade from the collection of the Museum of Anthropology and Ethnography Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera). The subject of the study are objects of Chinese jade carving art, which are in the collection of the Kunstkamera. The main conclusion of this study is that the subjects made in jade carving were associated with mythology and religion, and their artistic expression reflected the jade culture of different historical periods and representations of different social strata. The novelty of the research lies in the fact that the article focuses on determining the age of jade products by analyzing their plots, and also confirms that ancient artists, through geometric shapes and dynamism of the pine tree image as one of the central images of plant plots, enhanced the transmission of spatial perspective in the art of jade carving. This may be of interest to researchers in related scientific fields.

NARRATIVE DECORATIVE MOTIVES ON TORAJA TRADITIONAL CARVING

This study aims to explain the format and techniques of non-sacred narrative carving in Toraja. This research is classified as a qualitative research carried out in the field, namely in Tana Toraja and North Toraja. Data sources (1) artifacts in the form of non-decorative motifs of Toraja carving, both found in Toraja and elsewhere; (2) human data sources, namely Toraja sculptors and Toraja community leaders; and (3) documents that are documents containing descriptions, drawings or photographs of non-sacred decorative motifs of Toraja carving. Data collection techniques used were observation, interviews, and documentation. The collected data was analyzed with an interactive analysis model from Miles and Huberman. The results showed that: (1) The format of narrative carving art which is non-sacred in Toraja is (a) the format of a single scene narrative, (b) the panoramic narrative format, (c) the format of the narrative silmultanate. (2) The technique of depicting narrative carving art in Toraja, namely: (a) a realistic depiction technique, (b) the technique of presenting space there are two ways: presenting two-dimensional and three-dimensional space, and (c) the technique of composing elements (composition) which applied is symmetrical composition, asymmetric, rhythm, protrusion of object, and unity.

WORKS OF ART PICTURED IN WOOD

About the stages of creation of wood carving, which is a type of applied art. This article gives an idea of where the art of wood carving has been used in our country since ancient times, the history of their development.

The Chinese jade carving art before the 3rd century AD

This work is devoted to the study of the development and evolution of ancient Chinese jade art up to the 3rd century A.D. In ancient Chinese society, jade served not just as a decorative element, it performed the function of personal identification and communication. This study analyzes the origin and technical characteristics of jade art, as well as the artistic characteristics of different themes in different periods (From a technical point of view, the most popular in the manufacturing of jade products was the deep engraving of yinke, used to create decorative elements of products, carving or relief), the development of jade art is evidence of the historical development of China, it is closely related to it is connected with the theocratic political regime of the ancient state. The main conclusion of this study is that the author confirmed that the Chinese jade culture has a profound influence on the artistic style of jade, analyzing the characteristics of jade in different periods, and ideology is one of the important factors influencing the development of jade. The novelty of the research lies in the article that the author emphasizes the culture of "funerary jade" in the development of Chinese jade art, and "funerary art" in Chinese jade culture. At the same time, author emphasizes the importance attached to "people", which may be of interest to specialists engaged in the relevant research areas.

Artistic Style Analysis of Root Carving Visual Image Based on Texture Synthesis

Texture synthesis is a hotspot of research in the field of realism and nonphotorealistic rendering, with applications in virtual reality, computer vision, and other areas. It has a wide application prospect in image editing, filling of defective images, data compression, rapid transmission of network data, generation of large-scale scenes, and rendering of realistic and nonrealistic images, and it is used to solve the problems of seam, distortion, and parameter adjustment of traditional methods. Root carving is a one-of-a-kind plastic art form that dates back to the Xia and Shang dynasties and peaked during the Ming and Qing dynasties. Texture synthesis uses existing texture data to create a large-area texture that looks similar. This technology detects matching points in the sample texture and copies them to the output image, resulting in a texture image that is similar to and continuous with the sample texture. Realistic and nonrealistic rendering, image restoration, and computer-aided design are just a few of the applications. Texture can describe a variety of natural phenomena with repeating features, as well as expressing the rich details of an object’s surface. Because of its characteristics of both practicality and artistry, as well as the coexistence of popularity and elegance, the art of root carving retains its unique charm despite its ups and downs as a more than 2,000-year-old art form. A genetic evolution search strategy is used to propose an optimization search algorithm in this paper. We further investigate the ecological aesthetic characteristics of root carving art, in accordance with the nature of its aesthetics. By using a genetic search strategy, you will be able to find what you are looking for faster. A better matching block can be quickly found to complete the search for the best matching block, speeding up the algorithm’s search process and ensuring better synthesis results.

ENHANCEMENT WOOD CARVING IN PRODUCING PREMIUM PRODUCT

Engraving is a process of sculpting, carving and scratching a pattern. In ancient times the art of wood carving became a symbol of status of noble and courtiers. According to Halim Nasir (1986) the courtiers and sultans became patrons to revive the glory of wood carving. This shows that wood carving is high dignity. The Malays emphasizes every work of art and is designed by the soul attempts to communicate with the public in feel, thinking and interpretations, (Nazzri, 2016). However, the price of traditional wood carving product is too high and difficult to educate the public to love wood carving products. The discrepancy between the two modern and traditional industries makes the development of sculpture difficult to compete with modern products. Besides that, wood carving is also used at will in its placement in the design. This study will lead to several main objectives among which is to know the issues faced by these two industries and know the correct placement of carving in the design so as not to violate its philosophy and ethics. Methodology of the study is using interview data and ethnography with master craft. This research and development will involve ten members of timber manufacturing company around Malaysia which is from modern and traditional timber product companies. This research was conducted for 5 days from 14th -18th October 2020 in Temerloh, Pahang. Through this research found three mains issue they facing in order to preserve the wood carving and culture in product and design. The traditional wood carving can be applied on furniture or equipment and preserve the philosophy trough educate the modern practitioner and involvement of ‘pandai kayu’. The application of heritage in the first phase is very important so that it reaches the community indirectly and is not considered outdated.

General features of the art of wood carving of the late XVIII – early XX century

It can be said that the traditional art of wood carving of the Kazakh people is the continuity of the subject and spiritual culture of our people. Among the people, masters of wood carving were called “household members”, “carts”, “blacksmiths”. In addition, carpenters were able to make household items, household equipment. The woodworkers used flat-relief geometric, two- and three-sided engraving when processing the product. In the course of the study, the general features of the art of wood carving of the late XVIII – early XX centuries are highlighted, they are considered as research artists in museums of Kazakhstan, schematic, engraved, ornamental images of wooden products preserved to this day are differentiated. Their creative heritage includes dwellings, household items, dishes, customs and rituals. The exhibits, which are the subject of special research, are the basis of scientific search. The objects of research are the museum, methods and techniques of engraving products available to some residents, equipment of used craftsmen. The article discusses the art of wood carving in general, the scale of the Kazakh traditional culture, the main areas of its development are embossing, processing, engraving of household products. Key words: housing, Russian-style housing, home furniture, wood, embossing, engraving, Kazakh handicrafts, relief carving.

SOSIALISASI PERLINDUNGAN HUKUM EKSPRESI BUDAYA TRADISIONAL SENI UKIR TULANG DI DESA TAMPAKSIRING KABUPATEN GIANYAR

The purpose of this service is to be able to realize legal awareness about the importance of legal protection for works of bone carving art in Tampaksiring Village as a hereditary creation idea that exists in the community. The results of local carving crafts have even become icons of the creative industry supporting Bali tourism. The target of the service is aimed at the group of bone carving artisans in Tampaksiring Village, Gianyar Regency, which is currently in the process of fostering creative economy efforts in the tourism sector by the government. An understanding of the importance of protecting a copyrighted work containing a hereditary heritage as a cultural expression of intellectual property rights must be known by craftsmen. The important target set is directed at legal awareness of copyrighted works to start immediately in order to avoid plagiarism and their unique bone carving art designs by irresponsible parties. The lecture, discussion and question and answer methods as well as direct coaching by providing concrete instructions in registering works are the core of this community service. The realization of the service received a positive response with the presence of craftsmen regarding the registration of their copyrighted works so as to facilitate follow-up in realizing the protection of intellectual property rights as stipulated in Law no. 28 of 2014 concerning Copyright.
 Keywords: Socialization, Legal Awareness, Legal Protection, Traditional Cultural Expression