Traditional Wood Carving Research Articles

An Environmentally Friendly Alternative Method of Producing Religious Images for Philippine Holy Week Tableaus

This paper presents a proposed process of making Philippine Holy Week sacred images from clay, plaster, and paper fiber instead of the more precious wood from the country's shrinking forests. This paper theoretically established the durability of the product and environmental soundness of this alternative process compared to the traditional wood carving or the more recent resin casting by thoroughly describing this alternative process by understanding the notion of durability based on the traditionally preferred woods among santeros, by understanding the conservation status of these preferred woods, and by undertaking comparative calculations of the environmental impacts of the productions of the three current alternatives. This paper is significant because it proposes a sustainable way of assuring the continued existence of the Filipino cultural tradition of making and presenting Holy Week images.

Traditional Wood Carving and Contemporary Wood Sculpture in Ghana

Traditional wood carving and contemporary wood sculpture are amicable in the world of art and have coordinated their working ways in shaping the wood art traditions. The study, comparatively, assesses Ahwiaa traditional wood carving and contemporary wood sculpture in Kwame Nkrumah University of Science and Technology (KNUST) in Ghana based on their materiality, forms and functions. The study adopts descriptive research design using observation, interviews and photography to gather data from twenty (20) purposively sampled experts in the study area. Data collected for the study were transcribed and analysed using thematic analysis tool. The outcome of the study shows that Ahwiaa carvers used locally produced tools for carving while KNUST contemporary carvers employ sophisticated equipment in their carving activities. However, both traditional and contemporary wood practices in the study area used wood as the common material to produce carvings that impact Ghanaian cultural heritage, social progress and artistic practices. The study therefore concludes that traditional and contemporary woodcarving practices in the study area are two interconnected forms of wood art that have the potential to inspire, challenge, and complement each other when collaboration and interdependence exist between them. The study calls for collaboration and interdependence between Ahwiaa traditional wood carvers and KNUST contemporary wood sculptors to inspire and open up exciting opportunities for artistic exploration, adventure, innovation, cross-pollination of ideas and expertise for the growth of wood art in the study area.

Historical Overview of the Traditional Ghanaian Seats

Traditional Ghanaian seats have existed for centuries. As of now, there is no complete research material detailing its history, nature, types, functions, appropriate materials for production, and the symbolic designs conveyed in the craft making it incomplete to tell the rich culture of Ghana. The paper aims at providing a more detailed overview of the craft to serve as complete and reliable reference material to learners. This qualitative study employed the narrative research design. The study was conducted at Ahwiaa and Bomani Tyehimba traditional wood carving communities in the Ashanti and Eastern regions of Ghana respectively. Two historians; one each, and ten traditional stool carvers; five each from the visited carving communities were purposively selected and interviewed. The craft was initiated by the Ashantis and traveled to other regions. The craft has a flat rectangular base, a center section, and a crescent-shaped top. The center section contains distinctive motifs and symbolic meanings that are the source of the numerous stools' names. Some symbolic wisdom conveyed in the craft includes; Gye Nyame, Bi nka bi, Akofena, Sankofa, etc. Ahemmaa dwa, Mmarima dwa, Mmaa dwa, Osram dwa, Kotoko dwa, Esono dwa, etc. are some common types of the craft. It functions as practical items in every home, as a connection to rites of passage, as religious artifacts, and as a political allegory. Wood like Osese (Funtumia sp.), Nyame dua (Alstonia gongensis), Cedrela (Cedrela odorata), Mahogany (Swietenia mahagoni), teak (Tectona grandis), etc. are used for the production. The study will add up to the Ghanaian citizens, foreigners, and researchers’ knowledge to know much about the craft and the cultural heritage of the country.

Preserving Culture and Heritage of the Yoruba of Southwest Nigeria: An Ethnographic Study of the Twin Figure (Ere Ibeji)

Ere Ibeji is the carved wooden figure used to commemorate the death of twin(s) among the Yoruba people of Southwest, Nigeria. Existing literature focuses on myth, sacred and artistic values of this traditional wood carving while issues of protection and preservation of its tangible as well as intangible belief system are gradually fading out. This study aimed at sustaining the twin’s figuring carving tradition, which seems to be winding out due to civilization. The study examined available data surrounding twins’ birth, thereby advocating the preservation of the surviving ere ibejis. The findings of the study show a reasonable number of ere ibejis that have been taken outside Nigeria while others are in the national museums. The study recommends the retrieval of the ones taken abroad, the use of improved conservation methods in the museums as well as the promotion of cultural heritage management in Nigeria.

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.

Experience of studying ornaments on kiselnitsa from the collection of the Nizhny Novgorod State Reserve Museum of History and Architecture

The article presents the experience of studying one of the types of peasant pottery — kiselnitsa. In the collection of Nizhny Novgorod Museum-Reserve there are kiselnitsy of the 19th — early 20th centuries with relief ornaments that were imprinted on the kissel. This ritual dish was served in the Nizhny Novgorod Region at commemorations and weddings, so the kiselnitsa’s ornament is of particular importance. Researchers from different fields study ornament as an anthropological and cultural-historical phenomenon and come to the conclusion that it can indicate both the belonging of an object to a certain ritual and demonstrate a universal sign system adopted in a particular society. This is especially true for ethnographic objects. Numer ous works on ornaments on traditional Russian embroidery and wood carving have already been written, but clay is little explored in this regard. However, kiselnitsy provide ample op portunities, since the ornaments on them are very diverse: geometric, vegetable, zoomorphic. The author examined eight objects with different ornamentation, divided the ornaments into types, and through universal signs characteristic of Slavic paganism as well as displayed in other types of Russian crafts, tried to reveal the meaning of the ornament and its belonging to a particular ritual. Only such an in-depth study of the object will allow us to better understand its cultural and historical significance and thereby expand its exposition possibilities in the museum. Communication with the object will be built in a new way: kiselnitsy can broadcast information not only about life, crafts and aesthetics of our ancestors, but about their ideas about the world and the rituals, traces of which are found in modern society.

ISLAMIC INFLUENCE ON WOODCARVING MOTIFS IN JOHOR TRADITIONAL MALAY HOUSES

Woodcarving motifs can be influenced by various aspects, including religions and beliefs. Malaysia is known for its cultural diversity and is rich with traditional heritage. Malay is one of the major ethnic groups in Malaysia and is considered as the majority of the country's population, contributing to the significant heritage, including art, decoration, and even architecture. Traditional woodcarving is an intricate Malay heritage and is the symbol of Malay art. A study on Malay woodcarvings is critically needed in order to know the influence that occurs on the selection of the motifs. It is such a waste to see our woodcarving heritage destroyed unappreciated and undocumented, especially on Johor woodcarvings, as many studies in other states have done. More and more traditional Johor Malay houses are being demolished day by day before we know the historical influence on the existence. The objective of this paper was to identify the woodcarving motifs found in Johor Malay houses and to identify their influence. Site visits were conducted in which the woodcarvings of 50 houses were examined, photographed, and documented. Interviews were also conducted with the house owners and the woodcarvers. The samples were analyzed, and the results were verified by experts. The results show that floral motifs lead the statistic, and the pumpkin motif, known as 'labu maya', takes the highest percentage of the overall motifs. It is concluded that the Islamic religion is the biggest influence that contributes to the findings. The findings also show that the 'labu maya' motif is the identity of the Johor woodcarving motifs. It is hoped that this study can bring recognition to Johor woodcarvings, and contribute valuable guides for woodcarvers to apply these motif typologies into their future works to sustain and cherish the Johor local identity.

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.

The Wood Carvings of Two Traditional Timber Mosques in Kelantan and Terengganu

Wood carving has a long history in Malaysia. It is greatly influenced by the rich landscape of tropical forest in the living environment of the locals. The motifs of the carving are primarily derived from the images of flora and fauna. It mimics the intricate nature of leaves and flowers of the plants. The craftsmen initially use the bas-relief design consisting also of animal imageries on the boat’s sides or sometimes on the house components and even the dagger handle. However, with Islam’s arrival in the early 15th century, due to its teachings, contributed to the ban of animal images on art form. While most of the carvings are done on wood, there is no ample evidence of records available due to time and tides of the decaying process of the artwork. Likewise, there is no extensive research and documentation produced by academics to record the traditional wood carving of the Malays. Although few collections had documented the contemporary Malay houses produced by local scholars, sadly, there was no recount on the importance of housing elements and the technique of construction neither on wood carving. Hence, this paper attempts to examine the influence and pattern of wood carving on traditional mosques in Kelantan and Terengganu. The research conducted case studies, to seek the signs of the features and elements of wood carving on the traditional mosque in Kelantan and Terengganu, disclosing the influence of patterns and motifs on the selected images of its architecture. A measured drawing technique commonly used in conservation works guided the research operation which comprised of hand-drawn sketches to capture the details, measurement of building components, as well as transferring the images using tracing paper, while the other methods in gathering the information extended to direct interviews and photography. Then, the data collected were analyzed to determine the differences of each carving patterns and motifs in the two mosques in Kelantan and Terengganu. The result of the research established the future records on the variety of motifs and patterns of the Malay wood carving. Subsequently, it further elaborates the extensive techniques of wood carvings system and records the patterns found at Kelantan and Terengganu’s mosques for future inventory and recorded history.

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.

Influence of Education on Practice of Contemporary Wood Carving in Awka Town, Anambra State

Informal and formal education systems have played very important role in the Educational development of Africa. Even formal educational system which characterized the present system of education, did not only develop from non – formal education but has consistently shown influence of non – formal education. It is regrettable that most scholars show little interest on the relevance of non-formal education in formal educational system, hence there is a dearth of scholarly Literature on the subject. In view of this problem this study examined the influence of the education system on the Awka wood carving industry. The study employed a survey design, while a descriptive method was used in data analysis. Sources of data include both primary and secondary sources. The primary sources are mainly Oral, while secondary sources are written materials, both published and unpublished. The result of the study showed that Western education has influence on wood carving training in Awka. It therefore recommends that traditional wood carving methods should be introduced to the curriculum for teaching academic art in Nigeria to acquaint students with knowledge of their indigenous arts and culture and to draw inspirations from them for modern art productions.

Study on the Development of Wood Carving Industry in the Process of Urbanization Under the Background of Innovation and Entrepreneurship Reform

Urbanization is a process in which the population is concentrated in cities and towns and thus promotes the development of cities and towns. The process of urbanization has brought about changes in rural social and economic structure, culture and values in China. These changes have a profound impact on the management status, development path, and inheritance form of wood carving. Traditional wood carving is mainly plane relief, which can be divided into thin relief, shallow relief, deep relief, high relief, multi-layer overlapping, double-sided hollow carving, sawn hollow carving, full ground carving, color wood inlaid carving, round wood relief, etc. From the farming era to the modern society, the business model of wood carving has changed from household system, factory system, and studio system. From the perspective of inheritance mechanism, the key elements of wood carving inheritance are cultural factors, industry background and family environment; the impact of urbanization on traditional wood carving is mainly reflected in the inheritance object, production mode, sales market, product attributes, and so on. Under the background of new urbanization, and innovation and entrepreneurship, this paper discusses the protection and inheritance of traditional wood carving technology, and at the same time, it should use its core value as local resources to shape and promote the sustainable development of rural society. This study also will provide important information for the innovation and entrepreneurship reform of related forestry majors.

Terminologies That Characterize the Visual and Physical Properties of Wood Carving as Cultural Heritage

This study aims to investigate the physical and visual properties of the traditional Malay wood carving as cultural heritage component, which has been inherited from the old generation of carvers since 16th century. The objectives of this study are: 1) to identify the tangible and intangible attributes of the wood carving components that denote its cultural heritage value, and 2) to analyse the characteristics and physical properties of the wood components. Personal interview with Malay carvers, field observation, visual and laboratory analyses were conducted to determine the physical and chemical properties of the selected wood carving components from Terengganu and Kelantan. The result of analyses characterized the traditional concepts of carving into transfiguration, transformation, translation, transference, transcendence, transmission, translocation, and transition. Also, the result of laboratory test shows that different types of wood especially Meranti and Cengal were used for the fabrication of carving components. The study found that Cengal-based wood carving has distinctive physical and chemical characteristics thus distinguished it from those found in Meranti-based wood carving. The study suggests the visual and physical characteristics of the carving components characterize their heritage values. These characteristics determine the distinctiveness of the carved components that has become the key determinants to their heritage attributes resulting to significant pieces of work. Future research could be conducted to determine the suitable method for preserving the wood carving as cultural heritage. The Malay traditional wood carving need to be protected to ensure its cultural heritage values are maintained in good condition.

Seeing the forest for its multiple ecosystem services: Indicators for cultural services in heterogeneous forests

The ecosystem service (ES) framework is gaining traction in ecosystem management as a means to recognize the multiple benefits that ecosystems provide. In forested ecosystems, many structural attributes (trees, understory plants and woody debris) create heterogeneous ecosystems that provide numerous ecosystem services, including many that are culturally important. However, application of the ES framework to forest management is challenged by difficulties measuring and comparing multiple ES across diverse and heterogeneous forest conditions. Indicators can help bring the ES approach to forest management by providing a means for accurate ES inventory and mapping. We measured 10 forest ES in contrasting forest types to investigate the effects of past forest harvesting in coastal temperate rainforest of Vancouver Island, BC, Canada. Our objectives were to build a systematic set of ES indicators for coastal temperate forests based on forest structural features, including trees, coarse woody debris, and understory plants. To achieve this, we 1) analyzed field data to compare the effects of forest age (old-growth vs. second-growth) and ecological site conditions (riparian vs. upland forest) on the bundle of ES provided by different forest types; and 2) worked with a local indigenous wood carver to identify attributes of cedar trees (Thuja plicata) essential for traditional uses, including canoe carving. Forest age and forest type had significant and major effects on bundles of ES. Old-growth forests provided three times higher carbon storage, nine times higher wood volume, and eighteen times higher canopy habitat services than recovering forests. Within old-growth forests, the proportion of trees suitable for traditional indigenous wood carving was significantly higher in riparian stands. Yet of 456 trees measured, only 17 were cedar with potential traditional uses. Of those, trees for canoe carving were the least frequent (n=3), which we identified as large (>110cm DBH) trees of exceptional quality. In general, old-growth riparian forests were a hotspot of ES, providing for example nearly three times as much carbon storage as old-growth forests on upland sites and 12 times the amount of carbon storage as found in second-growth forests on upland sites. These results indicate that typical inventories of forest ES, which usually generalize across heterogeneity, may oversimplify dramatic variations in ES bundles in forested landscapes. Our novel set of stand-level ES indicators can improve the accuracy of ES assessments, incorporate important cultural ES, and help address the role of landscape heterogeneity in influencing ES.

Sarawak Culture: A Study on the Cosmic Influence on the Bidayuh Traditional Woodcarving (‘Rasang’)

Sarawak Culture: A Study on the Cosmic Influence on the Bidayuh Traditional Woodcarving (‘Rasang’)

Tradition and Transformation: The Structure of Malay Woodcarving Motifs in Craft Education

Abstract Malay traditional woodcarving is one of the Malays’ most intricate and amazing heritages. It is also a symbol, representing our beloved Malay arts, and thus acts as an identifier to our country. The legacy of woodcarving inheritance is passed through many generations until today- therefore, it is only logic to preserve and uphold such traditions. An aim to study the structure of Terengganu Malay traditional woodcarving motif based on interpretations of Malay Aesthetic principles and elements is being applied to new motifs design to contemporary artwork, namely, painting and installation art. The artist's statement is related to a master carver to create the new motif design with interpreting Malay aesthetic principles and elements in their work. Based on collective information, it can be said that the structure of Terengganu Malay traditional woodcarving motif is determined by three steps of structural motif. The findings of these three steps to structure motif are vital in understanding the intricate artworks of woodcarving motifs. It should be used as guidelines by those who are related in the artwork field such as artists creating new designs, thus giving meaning and depth to overall work, without sacrificing the unique Malay aesthetics and identity. The topic of creating motifs and patterns according to culture, tradition and heritage should also be introduced in the syllabus of Visual Art Education (Craft Education Topic) in secondary schools and also in the Department of Art and Design Education, Faculty of Education, UiTM.

台灣漢系木雕傳統的變遷與「現代性」的探索

In Taiwan, the Folk Woodcarving development which is rooted among people lives reflects civic cultures and becomes a kind of artistic aspect. With the variation of society status under interlaced cultural connotations, the ”traditional woodcarving” and the ”modern woodcarving” are gradually departed in the contemporary art today. The ”traditional aesthetic value” of Folk Woodcarving is conversed to form the ”modernization”, while traditional woodcarving skills and conceptions are converted into extrinsic formalization of ”modern woodcarving.” The major discourse of contemporary woodcarvings in Taiwan consists of materials, art cross sections, and pursuits of mental consciousness. It is the ”all new pattern” transformed from the ”modern woodcarving” that is still created by the modern ways. Styles of manufacturers may be more vivid, exhibiting the responses of emotion and reflecting the raises of manufacturers' self-esteems. The creators reconstruct their know ledge and traditional beliefs, and then produce works that represent more ”selfness” and ”freedom” by rigorous processes. We can rind different period s and phenotypes of ”historic progress” in the Folk Woodcarving with gradual developments of ideology and time.In this study, we used modern aesthetic theories to recollect the convention and the connotation of modernity on traditional woodcarvings. In addition, the Folk Woodcarving in Taiwan was taken as examples to conduct the research on transformation and convention. We wanted to explore why modern woodcarvings have presented a phenomenon of ”metamorphism?” or why they decreased from traditional factors and how they convened into so-called the ”modern woodcarving?” With analyses and investigations on contemporary woodcarving styles, we categorize d the manifestations and the connotation characteristics of contemporary woodcarvings. Moreover, the ”discourse of modern woodcarvings” in Taiwan was elaborated to witness the diversities and creativities of woodcarvings in Taiwan nowadays.

The Iconology of the Yoruba Edan Ogboni

IntroductionThe anthropomorphic brass staff of the Yoruba Ogboni Society—the edan Ogboni—holds a position of isolation and aesthetic distinction within the Yoruba plastic. Whereas traditional wood-carving is humanistic in its identification with life, is spontaneous, descriptive, and experimental in idiom, Ogboni art is iconic—archetypal, hieratic, and conservative, a manifestation of eternal principle. Where the formal theme of Yoruba carving is abstract, dynamic, architectonic, Ogboni art is absolute, static, and linear. Frequently the edan Ogboni is little more than high relief—a non-sculptural projection of drawing in wax. Though art associated with Orisha is often religious it is not generally held to contain a spirit, and is never worshipped as a spirit. Orisha art is most typically symbolic of the spirit, where Ogboni art, in contrast, is sacred and worshipped as the actual vessel of the spirit. This difference in function, besides affecting the resulting form, determines the attitude of the artist to the object rendered. Yoruba wood-carving is therefore free to be naturalistic and spontaneous, where Ogboni art is rigidly traditional and conservative.

Wood-Carving in the Yoruba Country To-day

Opening ParagraphIn no other part of West Africa has the art of wood-carving flourished to such an extent as in the Yoruba country in south-western Nigeria. Even to this day, this part of Africa is still the richest field for traditional wood-carving of all descriptions, although there are signs that this art is rapidly dying out. Nevertheless, orders can still be given to carvers in some districts for the richly carved posts, the beautifully carved doors, stools, masks, and all the different items connected with the various rituals. There are, for instance, little figures or heads, trays, casks, and wooden staves for the Ifa worship, statuettes called Ibeji used in the cult of the God of the Twins, wooden stands, dancing-clubs, double axes, and other symbols used in the Shango cult, quite apart from figures depicting Shango or more frequently his priests and worshippers decorated with his emblems.