Wood Carving Research Articles

The Creation of Value-added on Wood Carving Handicraft in Luang Prabang city, Luang Prabang Province

The study aims to investigate: the purchasing behavior of customers in Luang Prabang district and province, the perspectives of entrepreneurs and consumers who purchase goods to enhance the value of wood carving craft products in Luang Prabang district and province and Adding value to wood carving craft items that influences customers' decisions to buy in Luang Prabang district and province. employing interviews as a method to gather information from 3 merchants of wood carving craft products and 385 respondents' questionnaires. The frequency, percentage, average, standard deviation, and multiple regression equation. The study's findings revealed: Customer behavior in choosing to buy wood carving craft products as a gift or souvenir, ordering them from the store, and recognizing that information from online advertising media influences his decision to buy. Products that the customer may choose from include wood carving handicrafts for other people's daily lives, low-image elephant products, fish and gold fish products, high-image elephant products, and horse products. The product has the same features as before, but price is a deciding factor when making a purchase, so there's no need to mark the product with a purchase value of between 500,001 and 1,000,000 kip and require a cash payment. Entrepreneurs' thoughts on adding value to handcrafted wood-carving goods. Three Entrepreneurs believe that adding value to wood carving craft goods is important in six areas: designing the product, using wood as a raw material, branding, design, service, and production. Customers' perceptions of the entrepreneur's ability to create added value across six dimensions are influenced in part by the following factors: product quality; service quality; design and production; and modeling. Three factors creating additional value in terms of products, design, and production were involved in the manufacture of wood carving craft products that influence customers' purchase decisions.

The Cultural Significance of Malay Woodcarving Motifs: A Case Study of Rumah Warisan Hajah Kundur

This study examined the Malay woodcarving motifs displayed at Rumah Warisan Hajah Kundur, a distinguished Malay heritage house currently located in Politeknik Port Dickson, Negeri Sembilan, Malaysia. The study utilised qualitative research methods such as site observations, photographic recording, and analysis of secondary data to document and assess the wood carving motifs found on the wooden structure. The house had been moved and restored in order to preserve its cultural significance. The investigation uncovered that the woodcarvings of Rumah Warisan Hajah Kundur prominently featured floral motifs, with geometric and combination designs also being prominent. This study not only recorded the visual qualities of the carvings but also analysed their symbolic meaning, revealing the interdependent relationship between artistic representation and cultural heritage in the practice of Malay woodcarving. Concentrating on this singular, historically significant residence of Rumah Warisan Hajah Kundur, the study underscored the significance of Malay woodcarving in vernacular architecture in Negeri Sembilan. It emphasised the imperative for continuous documentation and conservation of the intangible cultural heritage represented by Malay woodcarving motifs and Malay traditional houses.

BRINGING CULTURE TO LIFE: UTILIZING WOOD CARVING IN SPEAKING CLASS

Sentani tribe in Papua had diverse cultural heritages that have now been neglected. One of them is wood carving. Despite its aesthetic and socio-cultural values, wood carving (ohomo) has not been acknowledged by most of the young Sentani generation. Thus, preservation is needed so that wood carving can be acknowledged, appreciated, and disseminated. One way of preserving this unique wisdom is by using it as a medium for teaching the English language. This will also help the learning process to be more contextual and challenging. By focusing on learning to speak, the objective of this study is to explore the strategies for teaching speaking using wood carving. This descriptive-qualitative study was conducted in Jayapura Regency Papua between May and July 2022. Data on wood carvings were collected between May and July 2022 from several informants, namely tribal chiefs, wood carvers, Sentani elders, and parents in East Sentani (Waena and Asei Island) and Central Sentani (Hobong and Yoboi). Teaching materials of wood carvings were tried out to 20 students of Senior High School Grade X from 4 different schools in Jayapura Regency via formal class and field trip. By infusing wood carving in learning to speak, the study found two important things, namely (1) the students were enthusiastic and motivated in speaking, and their confidence, as well as self-esteem, were improved; (2) the students appreciated wood carving as their cultural heritage and proud of their identity. Teachers’ creativity in infusing culture and their commitment to teaching played a significant role in reinforcing students’ appreciation of their culture and improvement in their speaking ability.

Wood Carving Motifs in Masjid Lama Tanjung Beringin, Seri Menanti, Negeri Sembilan

The sustainability of Malay wood carving motifs in the present era is at stake. The lack of effort to identify and document the motifs led to the weak preservation of this national heritage. This indirectly poses a threat to the Malay identity that has existed since a long time ago. Thus, this research aims to provide additional documentation on Malay wood carving motifs through the observation in Masjid Lama Tanjung Beringin, Seri Menanti, Negeri Sembilan. This mosque was chosen because there is minimal research on wood carving motifs in the southwest coast states of Malaysia. The study's objective is to identify the motifs of wood carving and its categories. This research employed a qualitative method that involved data collection from site observation, in-depth interviews with six selected respondents, and library research. As a result, the findings have identified 16 motifs, 12 inspired by the element of flora, one from fauna, one from calligraphy, one from geometry, and one from still life. This research recommended that more in-depth wood carving studies should be carried out especially in the southwest coast states of Malaysia to promote the Malay identity and to prevent this national heritage from being overwhelmed by contemporary trends.

When trees become art – wood carving in Romania

When trees become art – wood carving in Romania

Improving digitalization and financial literacy in wood carving craftsmen in Siangan Village, Gianyar

Community service activities in Siangan Village, Gianyar aim to improve the quality of digitalization and financial understanding for wood carving craftsmen. The methods used include outreach, training and group discussions (FGD) involving the PKM team, Sentir Foundation and craftsmen. The results show an increase in understanding and practice of digitalization using Instagram and Google to inform business biodata. Apart from that, craftsmen are also able to increase social media content that is more interesting and informative. There is increased understanding of simple financial records and awareness of the importance of financial reports for business development. To evaluate the craftsmen's understanding, a pre-test and post-test were carried out using the Wilcoxon Test, resulting in a significant difference between the pre-test and post-test (Z = -2.820, Asymp. Sig. (2-tailed) = 0.005 < 0.05).

Expressing the Spatial Concepts of Interior Spaces in Residential Buildings of Huizhou, China: Narrative Methods of Wood-Carving Imagery

Expressing the Spatial Concepts of Interior Spaces in Residential Buildings of Huizhou, China: Narrative Methods of Wood-Carving Imagery

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.

Tools and Machines for Carving in Wood

In this article, the properties and working methods of the tools and machines for wood carving are analyzed, starting with the simplest and primitive tools for processing materials up to the most complex machines. Wood is one of the oldest materials practiced in sculpture, and the following traditional tools are used for its processing: chisels, hammers, saws, abrasives. Along with the development of the industrial era, tools and machines for processing materials also developed. Therefore, it is found that the use of both traditional and modern utensils provides an opportunity to bring out the shape, texture, color and beauty of the sculpture. The working tools chosen by the artist, whether simple or complex, depend on the material used to make the work. This dependence has contributed to the development and modernisation tools and machinery for processing the materials used in sculpture, with the discovery and increasing knowledge of the ideational value offered by the material, be it clay, wood, stone, metal or unconventional materials.

Arts and Crafts Management Model of Baan Huai Ta Community, Utttaradit Province

Purpose: The objectives of the present research on the arts and crafts management model of Baan Huai Ta community, Uttaradit province were to analyze the community arts and crafts management model; develop the community arts and crafts management model; and evaluate the community arts and crafts management model of Baan Huai Ta, Uttaradit Province. Theoretical Framework: This study employs the concept of local wisdom and product development and design. Design/Methodology/Approach: The procedures involved building a network, acquiring knowledge, developing a community arts and crafts management model, developing community arts and crafts, evaluating the community arts and crafts management model. A qualitative research was employed consisting of observation, in-depth interviews, focus group discussion, and participatory action. Findings: The analysis of community arts and crafts management model suggested the area-based potential of Baan Huai Ta with arts and crafts abilities including weaving, wickerwork, and wood carving. Her Majesty Queen Sirikit had graciously supported people in the community to receive career development trainings in arts and crafts intended to offer extra jobs for generating more income. Their products were delivered for distribution to the Bureau of the Royal Household and the Arts and Crafts Promotion Foundation. Research Practical and Social Implication: Evaluation results of community arts and crafts works were as follow: increased value at a highest level; design concept at a highest level; selection of raw materials at a highest level; production process at a highest level; quality and beauty at a highest level; increased value added at a very high level; creating identity at a very high level; and generating value added at a very high level. The arts and crafts management model of Baan Huai Ta community, Uttaradit province comprised 4 components namely: analysis of community context; analysis of community management//network building; development of arts and crafts; and evaluation of arts and crafts management model. Originality/Value: The development of community arts and crafts management models focused on the designs with applied local wisdom to provide community products. The design concept is based on the link of science and knowledge in coordination with applied local materials to develop community products with an aim to bring about value added, self-reliance, as well as group forming. This had led to the development of products consisting of 12 pieces of fabric art and craft products, 2 pieces of carving art and craft products, and 8 pieces of wickerwork arts and crafts products, totaling 22 products.

Research on the Application of Chaozhou Gold Lacquered Wood Carving 'Shrimp and Crab Basket' in Traditional Architectural Design

Research on the Application of Chaozhou Gold Lacquered Wood Carving 'Shrimp and Crab Basket' in Traditional Architectural Design

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.

Buah Buton in Traditional House Interior: Representation of Women's Role and Influence

Buah buton is a three-dimensional wooden carving as an interior object in the traditional house of Negeri Sembilan. The purpose of this article is to establish a link between the buah buton in Luak Tanah Mengandung, Negeri Sembilan and the position of women who connect the legacy and leadership in the Adat Perpatih, a customary community law, and how such a relationship manifests itself within the traditional house's interior. The function of buah buton was revealed through fieldwork and interviews with community leaders, which were then combined into a narrative that represented the function of buah buton. The findings revealed the presence of buah buton design hung in certain positions in certain houses, mainly in women-dominated areas. The design and position of the buah buton represent the concept of feminism, which refers to the nature and character of women applied to the visual shape and position of the subject. This aspect is associated with the house’s interior, such as the mother's house and tiang seri, which represents the unique characteristics of women and their influence in the Adat Perpatih. Through exploration of the psychological and cultural aspects of the mother's house within Adat Perpatih, this article intends to gain a deeper understanding of the societal framework. This inquiry will shed light on the distinct ways in which these environments shape and reflect women’s pivotal roles and influences in their society.

Improving Product Quality and Marketing of the Wood Carving Industry in Sukawati Village towards the Export Market

Empowerment of small entrepreneurs (MSMEs) is very important, collaboration is the main driver and always synergize. Effectiveness and efficiency are the targets of every entrepreneurs and one of the strategies is cooperation. The aim of this research is to make the production line effective from upstream to downstream of craft making and maximize the understanding of Balinese carving craftsmen community for exporting, where the craftsmen are constrained by information and access to start the export process. The method in this research is qualitative with FGD from planning, mentoring and evaluation. The results of this research were the establishment of collaboration between small entrepreneurs and academics, empowerment resulting in an increase in product output from 5-6 carving products to 9-11 carving products. Carry out online marketing so that you can be known internationally and hold international exhibitions.

Oduduwa: Through the Eyes of a Wood Carver

History is the chronological and integrated account of relationship between man, event, person, time and places. The Yoruba history has long been at the mercy of the West due to the disinterest of the Yoruba people in the preservation and propagation of their Tradition, Culture and Religion. This has led to the publication of volumes of misinterpretations, flawed and shallow analysis of Yoruba religion for which the Yoruba could only be grateful. Oduduwa is one of the most important Yoruba Progenitor in the history of the Yoruba tribe in Nigeria. He was a powerful leader under whom the nucleus of the Yoruba race migrated into this land from their original home in Ile-Ife. He was a man of great leadership skills, understanding and repute. He is one of the most discussed Yoruba Deity with different point of view because various scholars have not come to a conclusion of who he was. Unfortunately, from our oral Yoruba traditional history there is no descriptive analysis of how Oduduwa looked like but, however, a sculptor in person of Lamidi Fakeye, a traditional wood carver, carried out a commissioned work of Oduduwa in wood carving, describing what he looks like through a story which surrounds the creation of the world. The paper intends to discuss the life of Oduduwa and a conceptual analysis of the wood carving executed in his form. The background data for this paper came largely from textbooks, articles, field work, documentation, archival records, and observation of physical artefacts.

Optimization of Digital Inheritance of Meishan Folk Woodcarving Skills in the Information Age

Abstract This study delves into the digital preservation of Meishan folk woodcarvings, emphasizing the use of virtual reality (VR) technology to enhance the transmission of this traditional art. Utilizing 3D modeling and VR platforms, the research scans and rebuilds wooden carvings for digital exhibition. The realism and interactivity of the virtual environment are improved through collision detection algorithms such as Orientation Bracketing Box (OBB) and Axial Bracketing Box (AABB), complemented by high-precision 3D models created with LIDAR scanning technology. Findings indicate that the VR system significantly enhances the efficiency and quality of digital preservation, offering a robust solution for safeguarding Meishan folk woodcarvings.

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.

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.

Baroque Iconostases of Eastern Podillya: the Main Structural Types

The iconostases of Eastern Podillya remain a little-known phenomenon that has been ignored by researchers of sacred art, with the exception of Oleh Sydor. The purpose of the article is to analyze and systematize the Eastern Podillya Baroque iconostases (based on the material of Vinnytsia region) by the types of constructions. The analysis of the preserved sacral ensembles and photographs of the lost ones gave reasons to identify four main groups of architectural structures. The monuments of the first group had a strictly horizontal layout of tiers, and the central vertical division was accentuated by larger elements and richer wooden carvings. In the second group, a gradual scale increase toward the centre is observed, starting, as a rule, from the Festival tier. For this purpose several methods were used: cornice bending above the deacon’s doors; placing above the nave row (between the deacon’s doors) an additional tier, mostly of Pentecost Sunday, or a decorative carved or painted panel, etc. Characteristic of the next type is the arched arrangement of the icons of the upper tiers of the middle part, starting from the Festival row. Finally, the fourth group comprises iconostases with creases symmetrical to the central axis, with the tiers in such ensembles being arranged on the same level or in stepwise order. The iconostases of the first three types had a straight line in the plan (alternatively, the side wings were wrapped around the log cabin walls), while the monuments of the fourth type had a broken (zigzag) line. Considering the limited amount of visual material involved, further research prospects depend on the discovery of new sources (iconostases, photographs or sketches), the study of which will allow verifying the conclusions made.

Hui Opera and Buildings with Wood Carvings—Interpreting Opera House Wood Carvings During the Rise and Fall of Hui Opera

Hui Opera and Buildings with Wood Carvings—Interpreting Opera House Wood Carvings During the Rise and Fall of Hui Opera