Wood Carving Research Articles

A Socio-Cultural Look at Eighteenth-Nineteenth-Century Samogitian Wood Carvings

In 2020, the M. K. Čiurlionis National Museum of Art hosted the exhibition ‘And the Word Became a Sight: Visual Narratives in Lithuanian Wood Carvings and Linocuts of the Eighteenth to the Twentieth Centuries’. The purpose of the exhibition was to showcase scenes from the Bible, stories of the lives of the saints (the old eighteenth-nineteenth-century wood carvings), and illustrations of literary works (twentieth-century wood engravings and linocuts). Although the purpose was achieved, quite a few interesting aspects revealed during the preparation for the exhibition were left behind and overlooked during it, since the visual narratives were defined as direct biblical or literary stories brought to the audience by the carver. Therefore, this text will merely supplement these narratives with additional references that provide more context to the narratives of the engravings. The article dwells on the circumstances and authors of the works; among other authors, the focus is slightly stronger on Aleksandras Vinkus-Vitkauskas, whose 190th birth anniversary and 110th death anniversary will be commemorated in 2022. The narratives will gain broader historical and socio-cultural contexts that were discerned while exploring individual carving details or carved texts. Research was focused on eighteenth-nineteenth-century Samogitian wood carvings, as it was this particular group of exhibits that transcended the purpose of the exhibition in its eloquence. The article offers a short description of a number of interesting authors and pieces and explains specific qualities of certain types of iconography.

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.

Persian-Punjabi/Urdu Identities of Traditional Geometrical Patterns Lost During the Colonial Rule of the Punjab (1849–1947)

Annexation of the Punjab by the British in 1849 brought about major modifications to the local visual culture. Expecting Indian crafts to remain frozen in time (for several reasons), the colonial administrators and art critics disapproved the changes employed by the craftsmen in their wares to cater to the new ruling class. Among the corrective measures adopted by the government to revive the ‘dying’ Indian art and craft, art schools were set up and surveys were conducted to publish illustrated monographs on individual crafts bringing once strictly guarded trade secrets out in the public. By the late nineteenth century, the ‘native craftsmen’ or mistrīs themselves emerged as authors of illustrated craft manuals carrying instructions in all three important vernaculars, Gurmukhi, Urdu and Sanskrit mixed with some English terms and designs. The most interesting among these publications are a few woodcarver’s manuals that laboriously enumerate a wide range of geometric designs for both architecture and furniture. Each shape, its construction methods and titles are given in an interesting mix of the three vernaculars. These terms were also mentioned by John Lockwood Kipling, the first Principal of the Mayo School of Industrial Art (1876-1893) in his essay on wood carving but abandoned by the time Percy Brown (1897-1909) took over. Except for some, today most of these terms and construction methods are unknown even to the traditional craftsmen of the Punjab. This paper aims to trace the history of traditional geometrical patterns going as far back as Mughal times (sixteenth to eighteenth centuries), their references in manuals published by local craftsmen during the colonial rule and the role of British art educators on social memory.

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.

Implementasi Etika Bisnis Islam dan Transformasi Digital UMKM Madura dalam Mendukung Ketercapaian Sustainable Development Goals

This study aims at capturing the types of MSMEs in Madura; identifying the suitability of sharia business ethics of MSMEs in Madura; and describing the marketing management of MSMEs in Madura for increasing sales value and competitiveness in the digital economy industry so that they are able to support the achievement of the Sustainable Development Goals (SDG’s). Using a qualitative method with a literature study approach and in-depth interviews in field studies, the results of the study show that, in general, the portrait of MSME subject in Madura deals with the food industry of agricultural and marine products, herbal drinks and traditional herbs, as well as the wood carving manufacturing industry. and shipbuilding. As a society that has a high level of religiosity, some MSME subjects in Madura have implemented Islamic business ethics by processing halal certificates for their products. In order to increase marketing and sales of their products, they are familiar with the use of online marketplaces. They prefer to market their products offline or use personal social media and e-commerce accounts but are reluctant to join websites managed by the government. Changes in mindset and innovation, strengthening cooperation between parties and utilizing technological advances are strongly needed for the development and progress of MSME products in Madura. So that they are able to reach the global community and support the achievement of the Sustainable Development Goals (SDG’s).

Methodology of Reverse Engineering Implemented in the Process of Digitalization and Conservation of Wooden Carvings

The purpose of this paper is to present the benefits of reverse engineering when applied to cultural heritage i.e. digitalizing and duplicating an artwork in lack of original documentation, drawings, or computer models; Usage of different methods for 3D scanning, reverse engineering softwares with a smart combination of history-based CAD with 3D scan data processing, for preparing the obtained 3D model for future production use; Describing tools and machines for rapid prototyping, materials used and the feasibility of its completion; Set of tools that provide opportunities for new projects and innovations but are also of cultural and historical significance.

ARTISTIC ACOUSTIC PANEL RECYCLED MATERIAL FROM PLASTIC BOTTLES AND WASTE OF SAMPYAN, SAWDUST, HUSKS, STRAW

Background – The problem of waste is one of big problems arise from various sectors. Recycling and reusing can be one good solution. Balinese people who still carry out traditions including the event with various arts, one of which is a beautiful offering. This beautiful offering is in the form of sampyan from art coconut leaves which ends as waste. In the past, when Balinese were going to cook, they could use fuel from this dry coconut leaves waste. On The Holidays for ceremonies, there is a 30% increase in waste. Even though this is a ceremonial waste, a balance in the relationship with God/Hyang Widi must be maintained in accordance with the Balinese concept of Tri Hita Karana. This concept is in the form of a balanced relationship towards Hyang Widi/God, to the fellow humans and to the environment that causes happiness. Therefore, waste must be processed. Husks and straw waste from rise field in Bali amounted to 54.65 million tons of GKG, then alot of sawdust waste from wood carving and wood architecture industries. This waste is often burned even though some are used for planting media and fuel. On the other hand, the tourism community and people in Bali produce 829 tons of plastic waste per day. Currently, appreciation of buildings with “Green Architecture” is a concern for tourism and will become of destinations. Thus, it will very possible in Bali. Purpose – provide economic value added for the community, wood workers and farmers and make the world a better place. Findings –Artistic acoustic panel recycled material from plastic bottles and waste of sampyan, sawdust, husks, straw. Originality/value – Acoustic Panel Material and Artistic Acoustic Panels with Balinese Architectural Ornaments is an original. Design/methodology/approach – Recycled plastic waste with the right mixture composition is heated and printed with a hot press machine. In this study, the Transmission Loss test was carried out using an Impedance Tube. Research limitations – Measurement of transmission loss on sheet panels has limitations. Measurements should be developed into room research.

NATURAL FORMS OF MINERALS IN COMBINATION WITH BEADS – RENEWAL OF TRADITIONS IN THE CONTEXT OF ECOLOGIZATION OF JEWELERY

One of the most interesting trends in modern jewelry is the use of natural forms in mineral products – unprocessed in general or partially processed. Jewelry has undergone significant artistic and conceptual changes, as well as the influx of new materials and techniques. However, many of the newest trends are in fact an improved replica of long-standing trends: traditional folk crafts related to the creation of jewelry are being revived and becoming more widespread. Here it is necessary to name ornaments from a twisted wire, beads, a horn, a tree, glass, threads and others. There is currently controversy among art critics as to whether jewelry made from non-jewelry materials can be considered jewelry. The argument of opponents of this attitude to products made of non-precious materials is the very name “jewelry” – jewel, from “precious stone”. According to them, the concept of “jewelry art” can include only jewelry made using valuable materials. However, the high quality and artistic value of jewelry made of “non-jewelry” materials often puts them on a par with traditional jewelry. Techniques such as beadwork, thread weaving and wood carving are currently considered decorative and applied arts. But the attraction of precious or semi-precious materials, elements of precious metals puts them on the border between decorative and jewelry art. In particular, this article proposes to consider jewelry made of beads, the main elements of which are precious minerals of natural forms. Raw minerals are also on the border between the concept of “precious” and “derived”: because often the concept of “precious” is associated with the concept of “faceted” and a whole scale of quality based on physical and chemical properties of the mineral, while omitting its artistic value and visual uniqueness. Thus, the aim of the study is to consider various examples of the use of minerals of natural forms in beaded jewelry and give arguments about their belonging to the art of jewelry.

Particularities of wooden carved iconostases in selected post-Byzantine churches of Albania

This paper presents the data and study results of the post-Byzantine wood carved iconostases of different churches in Albania, which notwithstanding the circumstances of the communistic period have preserved to a considerable extent their typical characteristics. The paper aims to examine the stylistic and morphological aspects of the iconostasis in selected churches in relation to the architecture and tries to identify the relationships, sequences and reasons for such phenomena. The presence of iconostases in the Eastern Orthodox Church is based on the carried rituals and services that are expressed through ecclesiastical sculptures and other works. In these contexts, the iconostasis is the most dominating screen, related to the rood screen of English mediaeval churches, but contrary to them it is a closed and solid structure. In the iconostasis, architecture and wood carving workers collaborate on a large scale in order to create a solid and well-integrated frame. The analysis includes St Mary’s Monastery, also known as the Monastery of Dormition of Theotokos Mary, a medieval Byzantine church on Zvërnec island in the Narta Lagoon, southwest of the city of Vlora, southwestern Albania (SMZ); the Church of Apostles in Hoshtevë, Gjirokastra, with its spectacular interior completely covered with frescoes that became a cultural monument of Albania in 1948 (SA); and the Church of the Dormition of the Theotokos, simply known as Koimissi or St Mary, in the village of Labovë e Kryqit, Gjirokastër County, southern Albania (SM).

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.

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.

ПРОЕКТ МУЗЕЙНО-ЭТНОГРАФИЧЕСКОГО КОМПЛЕКСА КАК ИНСТРУМЕНТ РАЗВИТИЯ СЕЛЬСКИХ ТЕРРИТОРИЙ (НА ПРИМЕРЕ СЕЛА УСАЛКИ ТЮМЕНСКОЙ ОБЛАСТИ)

The paper presents a project of a museum and ethnographic complex (on the example of the village Usalka, Tyumen Region), designed for the comprehensive development of rural areas. The authors considered the results of pre-project analysis of the territory (general information about the village, the typology of development, the specificity of wooden carvings), determined the design area. A set of current problems of the settlement was identified (among them: poor development of internal infrastructure, low level of housing quality, insufficient number of jobs and low incomes of villagers) and options to address them were found. As a result of the study, the main concept of the project, including volume-space and architectural-planning solutions of the developed complex, was formed. The project is presented in the form of graphic material, plans, facades, sections, diagrams.

Nos bastidores da Casa Arte Sacra Fânzeres: da materialidade à espiritualidade da escultura sacra

The Casa Arte Sacra Fânzeres, located in Fânzeres (Gondomar), is specialized in the artisanal execution of sacred sculpture and furniture. This workshop, founded over fifty years ago, brings together employees who learned this art in a workshop context, as in the past. It also preserves the «traditional know-how» of the arts of wood carving, upholstery and sacred painting, as well as the application of gold leaf and crystal eyes in the images. In addition to the quality of the technical execution, this workshop also articulates with other local «ways of doing», such as goldsmithery, sewing and handcraft embroidery. The aim of this study is to address the materiality of the sacred image before it takes on spirituality in sacred spaces, as an appeal to the senses and transmission of meanings

School-Based Curriculum Development of Handicraft Culture: the Example of Dongyang Wood Carving

School-Based Curriculum Development of Handicraft Culture: the Example of Dongyang Wood Carving

Study on the Structural Characteristics and Physical and Mechanical Properties of Phoebe bournei Thinning Wood

The artificial afforestation of precious Phoebe bournei has been carried out in China. During the cultivation process, thinning wood will be produced. The properties of thinning wood might vary greatly with matured wood and require evaluation for better utilization. The objective of the present study aims to determine the wood structure, fiber morphology, and physical and mechanical properties of the Phoebe bournei thinning wood to help us understand the wood properties and improve its utility value. Three 14-year-old Phoebe bournei were cut from Jindong Forestry Farm of Hunan Province, China. The wood structure and fiber morphology were observed and analyzed with a light microscope and scanning electron microscope. The physical and mechanical properties were tested according to the Chinese national standards. The results showed as follows: (1) The Phoebe bournei thinning wood has a beautiful wood figure and fine texture, whereas the heartwood has not yet formed. (2) It is a diffuse-porous hardwood with small and less pores as well as fine wood rays. (3) The wood fiber is medium length and extremely thin wall thickness. (4) It is low in density and has excellent dimensionally stability. (5) The wood mechanical properties belong to the low to medium class and the comprehensive strength of wood belongs to the medium-strength class. It is concluded that Phoebe bournei thinning wood is suitable for wood carving, handicraft, high-end furniture, and decorative furniture parts.

AN EXPLORATION INTO THE WOODEN FURNITURE INDUSTRY THROUGH THE THEORETICAL LENS OF PORTER’S CLUSTER- A CASE STUDY OF KHAIRPUR MIRS

Furniture industry of Pakistan is considered as one of the high potential yet neglected clusters. This industry is famous for its elaborate wooden carvings on the blocks of Sheeshum and Rosemary. The leading furniture making areas of Pakistan are Chiniot, Gujrat, Peshawar, Lahore and Karachi. However, Pakistan’s share in the international wooden furniture market is insignificant, despite the fact that the country has a history of craftsmanship and innovation in the field of wooden furniture. Especially Sindh region which specializes in wood furniture making have not been explored for its potential in increasing the furniture export. Further, there is a dearth of literature pertaining to their geographical clustering as well as the causes of the underdevelopment of interior Sindh’s wooden furniture industry. In response to this gap, this case study research a) conducts geographical mapping of Khairpur Mirs wooden furniture industry through GIS, and b) constructs a SWOT Matrix in light of Porter’s Cluster Theory on the basis of thematic analysis. The findings highlight that the location of the business units is at Station Road from Khaki Shah pull to Nimm More (approximately 1 km area) with around 150 to 200 furniture houses/ manufacturers. This research identifies the causes of underdevelopment of wooden furniture cluster in Khairpur on the basis of which participant driven solutions are proposed. Finally, this research presents policy recommendations to improve this small scale industry’s potential for socio economic growth.

Programul unei vieți: rolul lui Lajos Pákei în înființarea Muzeului Industrial și a Școlii Industriale din Cluj

"One Life’s Mission: Lajos Pákei’s Role in Establishing the Industrial Museum and the Industrial School in Cluj. The development of museums and schools of industry took place in some important industrial cities of the Dual-Monarchy, a part of the capitals in Salzburg, Graz, Prague, Brno, Czernowitz starting from the 1870-1880s. In the last quarter of the 19th century several school and some museum buildings of industry were erected in Hungary. Some of these new edifices were capable of performing dual, educational and museum tasks due to their special spaces: their list includes Ödön Lechner’s Museum of Applied Arts in Budapest, Alajos Hauszmann’s Technologic Museum of Industry in Budapest and Lajos Pákei’s Museum of Industry in Kolozsvár (Cluj Napoca). It is exactly in this period that Lajos Pákei graduated from Theophil Hansen’s studio in Vienna, and soon after, in 1880 he became chief architect of the city of Kolozsvár. In his new position the young architect played a prominent role in the infrastructural and institutional modernization of the city. One of the biggest investments of the city focused on the reshaping of the industrial institutional structure – this process was articulated around the foundation of the Museum and School of Industry of the city. Acting also as the director and professor of architectural disciplines in the school of industry of the city he had a significant impact on the development of a master builder, stone and wood carving classes and moreover in the curriculum of the educational profile of the institution. Lajos Pákei followed the architectural principles of Camillo Sitte in terms of urban city planning in Kolozsvár under the influence of the Austrian architects work published in 1889 entitled Der Städtebau nach seinen künstlerischen Grundsätzen. Kolozsvár, the par excellence renaissance town of historic Hungary. The town was the birthplace of the last great medieval king of Hungary, the earliest renaissance ruler over the Alps, King Mathias (1443-1490) whose political and cultural legacy as national king and the town’s long goldsmith and woodcarving activity have become a points of reference the late 19th century discourse on the modernization of Kolozsvár. Lajos Pákei was one of the members of the first generation of architects having accomplished their studies in the new political circumstances related to the creation of the Austro-Hungarian Monarchy. Lajos Pákei in Kolozsvár has completed diverse missions simultaneously such as did Camillo Sitte in Vienna or Joseph Leitzner in Czernowitz: he actively reshaped the urban spaces of his city, made architectural plans for the industrial museum and school, as director he influenced the educational profile of the school of industry and the acquisition policy of the museum of industry. Lajos Pákei prepared several plans for this building of dual function through almost first fifteen years. After a number of design changes the museum-school building was finally built between 1896 and 1898. Due to the rapidly growing collection, the shift in the acquisition policy from technological profile to applied arts objects, the growing number of students soon it became too small, and the construction of a purely museum building has become necessary. The building of the museum of industry has been erected in 1903–1904 opposite the previous one, according to the plans of Lajos Pákei. The first, museum-school building followed the construction principles of Hungarian secondary school architecture of its time, including a centrally positioned external wing for the technological collection. The second one – planned purely for museum purposes – followed the latest example of applied art museum buildings, the one of Joseph Schulz in Prague built in 1897–1901. The history of two buildings of Lajos Pákei in Kolozsvár reflect the specialization of educational and museum spaces, the characteristics of the changing models in industrial education and presentation of the changing profile of the collection as “ideal of a modern museum” as an attempt to develop. The study interprets the foundation and the management of the museum and school of industry as the lifetime project of Lajos Pákei in the context of architectural modernization (both in education and practice) in the Dual Monarchy and in the theoretical framework of urban planning. Keywords: urban planning, museum of industry, vocational education, decorative arts, museum of decorative arts "

Cultural value and vegetation structure of Buxus wallichiana Bail. in Rajouri-Poonch region of Indian Himalayan region (VSI: Mountainous regions)

Buxus wallichiana is an economically valuable tree species of Indian Himalayan Region. Considering its economic importance and income generation potential in the Rajouri-Poonch region of Jammu and Kashmir, present study was carried out to assess its economic value and cultural contribution through quantitative ethnobotanical approaches. Further, the study aims to examine the existing population status and regeneration patterns of B. wallichiana in natural forests of the region. Based on the socio-ecological surveys in the region, it was observed that a variety of handicraft articles like combs, pen stands, hangers, toys, and decorative items are made from the wood of B. wallichiana and are being sold in the local markets. It sustains whole cottage industry in Rajouri-Poonch region and the livelihood of the locals depends on this valuable tree species. It generates a good annual income for the people indulged in handicraft or wood carving industry. Based on its phytosociology, it was found that in natural forest areas of the region, B. wallichiana was mostly found associated with 8 other tree species viz. Pinus roxburghii, Toona ciliata, Quercus leucotrichophora, Acer oblongum, Acer cappadocicum, Pyrus pashia, Syzygium cumini and Aesculus indica. Average importance value and average basal area of B. wallichiana was found highest in Syzygium cumini - Pyrus pashia – Quercus leucotrichophora community. Density of B. wallichiana ranges from 200 to 500 Ind/ha which was lesser than the density of its seedlings and saplings. Density of B. wallichiana trees, saplings and seedlings was much lower than the density of its associated species. Present study reveals that B. wallichiana is threatened with clear evidence of reduced regeneration due to huge anthropogenic pressure on its wild populations stressing on the need of immediate conservation measures to be taken not only in Jammu and Kashmir but throughout the Indian Himalayan Region.

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.