Wood Carving Art Research Articles

Aesthetic Characters of Flora and Fauna Painting Art Pengosekan on Visual Objects Wood Carving Craft Arts in Singakerta Village, Ubud

Along with the heyday of Pengosekan flora and fauna painting in the 1990s, the aesthetic character of painting was attached to the art of wood crafts in Singakerta Village, Ubud. This aesthetic character can be seen from the visual style of creating flora and fauna objects as well as the finishing of wood carving crafts, which reveal images of typical Pengosekan flora and fauna paintings. This research specifically identifies the background and supporting factors for the visual language representation of Pengosekan flora and fauna painting objects in the art of wood carving that developed in Singakerta Village, Ubud. This research is qualitative research, using aesthetic theory and representation theory as analytical tools. The results of the research show that the aesthetic character of Pengosekan flora and fauna paintings is represented in wood carving craft products, in terms of theme, color, shape and visible lines. The representation that occurs is influenced by creativity in order to follow market trends that were developing at that time, as well as the economic motivation of the craftsmen to improve their welfare. The imagery of Pengosekan flora and fauna painting, which is attached to the art of wood carving, has indirectly helped the dynamic existence of this painting art. The representation of the art of painting in crafts is a dynamic that occurs in the development of the art of painting. The practice of indirect representation also shows something that is very important and positive in maintaining the existence of the art of painting itself, even though the visualization is slightly different because it is caused by several factors.

Research on Digital Virtual Interaction Technology for Intelligent Image Recognition in Woodcarving Protection

Abstract Advances in AI and VR have enhanced digital virtual interaction, crucial for preserving wood carving art. This study introduces an optimized system using intelligent image recognition, overcoming challenges in current systems. It involves image collection, noise reduction, feature extraction, normalization, and transfer learning-based model training. The system achieved a 93.34% recognition accuracy, surpassing traditional methods and improving overall performance.

Institutional analysis of the conservation management for Litsea leytensis Merr. in Laguna and Quezon, Philippines

This paper aims to analyze the institutions involved in the conservation management of Litsea leytensis Merr., with the trade name Medang, a wood species preferred by carvers in the Philippines, particularly in Paete, Laguna. The art of wood carving is thriving as a culture and as a wood-based industry for Filipinos, intertwined with natural resource management, where the seeds and wildlings are collected as planting materials for the nationwide greening program, while the wood as raw material is carefully selected from a list of Philippine native species. Litsea leytensis Merr. represents the many endemic trees in the country that need serious attention for conservation because of their continuing decline in habitat and population. The study highlights in situ and ex situ conservation of L. leytensis by institutions in Laguna and Quezon. The results suggest that the rules-in-form guided the institutions in conservation management, and their interactions in the action arena were in downward, upward, and horizontal patterns. The outcomes of their interventions for L. leytensis were relevant, coherent, effective, and efficient, while project impact and sustainability were implied by the participation and community ownership of conservation activities, government policies, and funding.

MAKNA FILOSOFIS MOTIF SENI UKIR REK PALEMBANG

The wood carving motifs of Palembang, known as “rek,” have been a traditional craft since the era
 of Srivijaya and continue to endure to this day. This craftsmanship holds high philosophical values
 influenced by Hindu-Buddhist and Islamic cultures. Its uniqueness lies in the predominant use of golden
 yellow color, and its carvings are exceptionally distinctive. The purpose of this writing is to unveil the
 philosophical meanings embedded in the motifs of Palembang’s wood carvings. The central issue is to
 explore the philosophical meanings of these motifs in Palembang’s wood carvings. This study employs a
 historical research method, with heuristic, source criticism, interpretation, and historiography steps. The
 tradition of wood carving art exhibits distinct characteristics and the uniqueness of various motifs, each
 carrying different philosophical values. The research findings indicate that the various motifs found in
 Palembang’s wood carvings hold profound philosophical meanings. For example, the motif of budding
 bamboo shoots symbolizes that humans should be beneficial to others, and the golden color represents
 triumph. Therefore, it is crucial to preserve this heritage for the younger generation so that they can
 develop an appreciation for their local culture, strengthen personal values, and enhance their identity,
 and self-awareness.
 
 Keywords: Philosophical Meaning, Motif, Wood Carving, Typical of Palembang

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.

Historical Evolution of Huizhou Woodcarving and Its Cultural Aesthetic Implication

Huizhou woodcarving, as one of the top ten folk woodcarving, has a unique historical development process and aesthetic implication, so it has been concerned by academic circles. In the previous research on Huizhou woodcarving, more attention was paid to its woodcarving art itself and carving art characteristics, but its most important cultural core was ignored. Therefore, the author takes a different approach to explore its historical evolution process and inherent aesthetic implication, and further analyzes the triple schema of painting art in Huizhou woodcarving, in order to benefit the development of Huizhou woodcarving and the protection of regional folk culture.

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.

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.

Innovative research on the animation image under the background of regional characteristics

Huizhou wood carving is a bright pearl of the Chinese folk wood carving art in the Ming and Qing Dynasties, and it is an important part of the fine traditional Chinese culture. This topic takes the connotation and characteristics of the characters in Huizhou wood carving as the starting point, analyzes the strong Hui cultural characteristics of its characters, combines the traditional Chinese cultural elements in the design of animation characters, and creates an animation image that meets the aesthetic needs of contemporary people, The analysis of the feasibility of inheriting Huizhou wood carving characters in the modern local animation character design shows that the dissemination of traditional Chinese culture in the animation works complies with the requirements of national policies and animation creation, and conforms to the trend of The Times .In view of this, the combination of Huizhou wood carving characters and animation design provides rich creative resources for the development of original animation, and its purpose is to help us to build a local Anhui animation brand with "Chinese style and popular with the masses", Will be in the new period of Chinese original animation rooted in the soil of traditional culture, strengthen the animation product audience identity of the national culture, make animation works carrier and go abroad, win the recognition of the world audience, is also for the Huizhou wood carving this regional excellent traditional culture heritage protection and reuse.

Craft and Legacy of the Traditional Woodcarvings of Adiguru Kraf, Allahyarham Wan Mustafa Wan Su

The art and craft of traditional Malay woodcarving may be forgotten by the modern generation. Consequently, it would gradually become an extinct craft in Malaysia if without effort to save its legacy. This paper aims to uncover traditional woodcarving's art and craft heritage and its visual attributes and craftsmanship in the works of a master craftsman, Allahyarham Wan Mustafa Wan Su, who was actively involved in the craft industry before he passed away in 2019. Traditional Malay wood carving is synonymous with the Malay heritage, especially in the Northern Eastern states of Peninsula Malaysia. Safeguarding of this intangible heritage is crucial after the departure of the master craftsman, who had contributed a lot to the woodcarving industry. Therefore, the main objective of this research is to analyse his works concerning his crafts and styles of craftsmanship. His opinions that served as inferential evidence were obtained through a face-to-face interview conducted within an informal setting. The semi-structured conversation focused on the craft and craftsmanship of woodcarving, with particular emphasis on the visual attributes and technique used. Observation and photographic documentation of his works were necessary measures to complement the interviews. Hence, this paper also addresses the examination of the woodcarvings produced by the master, which exemplifies his distinctive craftsmanship. The research founds that additional values, including artistic and design skills, further enrich the products of the master carver, which not only provide a stimulus for admiration but also serve as valuable references for the present and future generation of woodcarvers. Thus, from this research, the knowledge about woodcarving could spread for further research to ensure the future survival of the craft heritage.

ORNAMENTS ON TRADITIONAL WOODEN PRODUCTS – EMBOSSING PATTERN

This article examines the traditions of the Kazakh people in ancient woodcarving. It is about the semantic interpretation of the art of ornamentation and its significance in history. The composition of wooden interior furniture includes bed linen, pillows made of wood, dzhukayak, kebezhe, sandyk, abdire, yaglan, uldyryk, abazha, as well as a technique (method) for processing household utensils. Historical background, philosophical understanding of the symbolic meaning of each line of the ornament, indicated against the background of the object of artistic value of wooden products. This article is also important for understanding the genesis of the entire Kazakh traditional art of wood carving, as well as the evolution of ornaments, the general art of weaving (carpet weaving, jewelry made of wood, bone, etc.). It has been scientifically analyzed that home furniture and household appliances represent a holistic system entirely based on stylistic composition.

The Beauty of Malay Woodcarving Motif Ornamentation

Woodcarving art has been bequeathed throughout the generations until present time and is a hidden heritage gem. The aim of this research was to interpret the motif of Malay woodcarving ornamentation. This was done by scrutinizing the golden proportion in the structural design of Malay woodcarving and elucidating the Malay aesthetic elements and fundamental principles of the new motif design in contemporary artwork. This research revolved around a master carver who with his own eccentric style incorporates the Malay aesthetic elements and principles into his work. In order to understand the intricate motifs of woodcarving artwork, it is vital to look at the structural motifs. Referring to Malay Arts such as Nakula, Abdullah Mohamed and Awan Larat Philosophy, each motif interpretation has its own distinctive meaning. This can serve as a guideline for any associated artwork fields, especially for an artist to create a new design by implementing depth and meaning into the whole artwork, while keeping the distinct Malay identity.
 Keywords: motif, Malay woodcarving, meaning

Seni Ukir Kayu Khas Palembang di Home Industri Q Laquer Kota Palembang

This article is the result of a typical Palembang wood carving work. Starting from the increasingly few antiques in the antique gallery owned by Ibu Hj's family. Roswati made him intrigued to grow and develop his business since 1974 and to preserve the carving art furniture in the form of Palembang wood carving. Then continued by a similar craftsman in the Home Industry Q Laquer owned by Mr. Jaja is a typical Palembang wood carving art craftsmanship in Kelurahan 19 Ilir. The purpose of this research is to find out and describe the process of making Palembang's unique wood carving arts. The research method used is a qualitative descriptive method using data collection techniques of observation, interviews, and documentation. The types of decoration in the wood carving art are the decoration that characterizes the city of Palembang as from the motifs of plants with golden, black, and red patterns. The variety of wood carving that is applied to handicraft objects is basically a pure decoration, which functions solely to decorate or beautify. The results of typical Palembang carving crafts include decorative cabinets, chairs, tables, wardrobes, frames, and various kinds of furniture. Through this research by examining how Palembang wood carving art in particular the manufacturing process, is expected to contribute to the people of Palembang City in order to develop and preserve these cultural assets.

Methodological Basis Of Creation, Organization And Decoration Of Platter's Artistic Composition In Applied Art

The article contains all the patterns that have been used since ancient times in Applied Arts, although they are conditional representations of nature and reality, they have their own rules, and these rules are derived in a stylized way from nature itself. The article provides information on the artistic processing of the bowl, which is typical of the art of woodcarving.

ANALISIS STR ATEGI PEMASARAN KERAJINAN UKIR KAYU NANGKA UNTUK MEMASARKAN PRODUK DI PASAR DOMESTIK PADA UKIR KAYU RADHA

In the era of development, industrial competition will be increasingly fierce, competition of the cosmetic market will provide opportunities and threats for local companies, carving art is one of Indonesia's traditional arts that holds various values. This research was conducted at Radha wood carving located at Gmp3 Mustamindo. The method used is a SWOT analysis, SWOT analysis is one method for describing conditions and evaluating a project problem or business concept based on internal factors (inside) and external factors (outside) Namely strengths, weaknesses, opportunities and threats, Analysis used to compile the factors of the company's strategy, as a result of handicrafts, radha wood carving art is very influential on the supporting community both in interacting and communicating, because this craft takes the form of a variety of letters, names and so forth. wood crafts are also often viewed as home decorations and key chains that are unique and attract attention for teenagers and children. product excellence and good service to customers, so the opportunity creates customer loyalty to the product. Radha wood carvings also always try to make new design innovations so that customers remain interested and provide comfort to their customers. The obstacles facing the Radha wood carving are capital problems, scarcity of raw materials and competition from within the country.

Historiography of kazakh traditional wood carving

This article examines the main elements of the subject and spiritual culture of the Kazakh traditional wooden ornament. The study examines the primordially preserved original wood products and crafts of carpenters of the 18th – early 20th centuries. Review of the works of the peoples of Central Asia on the art of woodcarving, design and decoration. Including «Kazakh yurt» by M. S. Mukanov, voluminous research work of H. Argynbaev «Craft of the Kazakh people», «The culture of Kazakh crafts» by Zhanibekov, «Folk decorative and applied art of Kazakhs» which was written by ethnographer and researcher N.A. Orazbayeva, S. Kasimanova «Crafts of the Kazakh people» demonstrates the technology of processing wood and types of ornaments, «Kazakh ornament» by K. Ibraeva, «Kazakh folk ornament» by T.K. Basenova. In the significant work of U.Kydyralin “The traditional economy of the Mangistau Kazakhs” in the section «Handiwork related to home craft» male and female crafts are scientifically differentiated, the authors considered the techniques of craftsmen. Their creative heritage includes household items, dishes, carts, chariots, saddles and objects related to customs and traditions. These exhibits became the basis for special research and scientific analysis. In addition to important research objects, methods and techniques of wood carving, preserved in a certain form in products, are also the result of studying the tools of craftsmen. The study examines the art of woodcarving as a whole, in the context of traditional Kazakh culture, the main directions of its development from the point of view of every day and funeral customs. Key words: wood, ornamentation, carving, Kazakhs, handicrafts.

Carpentry in Ptolemaic Egypt

The art of wood carving and the crafts of the carpenter are of very ancient date in Egypt. Carpentry was an essential craft and played a vital role in the Ptolemaic Society through manufacturing furniture and different shapes of wood work. This paper aims to highlight the craft of carpentry in Ptolemaic Egypt. The aim of this study will be achieved by detecting Greek papyri which date to the Ptolemaic period and displaying the few representations of carpentry scenes depicted on the walls of the Tomb of Pet Osiris at Tuna El-Gable. This study will also specify types of wood used. It also shed light on the role of carpenters, their workshops, their tools, and their products. This study is depending on a historical and analytical methodology to achieve its aims.

Maroon Fashion History

Abstract Fashion has long been a dynamic aspect of Maroon culture in Suriname and French Guiana (Guyane). The textile arts that carry it through from one generation to the next were totally ignored by early writers, who lavished praise on the men’s art of woodcarving but said virtually nothing about the artistic gifts of women—most importantly in calabash carving (referred to by one of them as “doodling”) and clothing. This article, based on more than fifty years of ethnographic work with Maroons, focuses on textile arts and clothing fashions, running briefly through styles of the past before focusing on current directions. Today, with Maroons participating increasingly in life beyond the traditional villages of the rain forest, the women—like their mothers and grandmothers—have continued to enjoy adopting newly available materials and inventing novel techniques. In the process, they have been producing clothing that reflects both their cultural heritage of innovative artistry and their new place in the multicultural, commoditized society of the coast. The illustrations give an opening hint of the remarkable vibrancy of this aspect of Maroon life in the twenty-first century.

Bukhara wood carving

This article presents the historical methods of carving carved gates and doors in the art of wood carving in Bukhara, the pattern compositions used in it and their names. In collaboration with their students, these masters made four carved gates of Bukhara. Poles were made for the ancient arc castle and the Central dehkan market. The new columns of the mosque, built in the architectural monument of hasti Imam, are also polished in the hands of these masters. Master craftsmen used wood as a building and finishing material, and also made columns, bolors, trim, gates and doors from it. Using wet and geometric patterns, these items were elaborately carved into wood. In Bukhara, Gijduvan and Vobkent, many men and women were also engaged in wood carving.