Relevant bibliographies by topics / Ivory carving

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Ivory carving'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Ivory carving"

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Ivanova-Unarova, Zinaida I., and Liubov R. Alekseeva. "Ivory Carving in Yakutia." Sibirica 20, no. 2 (June 1, 2021): 76–101. http://dx.doi.org/10.3167/sib.2021.200205.

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Abstract Within Russia, the major centers of bone carving art are the village of Kholmogory in the Arkhangelsk region, the town of Tobolsk in the Tyumen region (which was considered the center of Siberia in the seventeenth century), Chukotka, and the Republic of Sakha (Yakutia). Geographically, they are connected by their proximity to the northern seas, which explains the main materials used by carvers: walrus tusk and sperm whale tooth. The exception is Sakha (Yakutia), the ancient motherland of mammoths. This article discusses the origin and history of the development of Sakha mammoth tusk carving, the role of ethnocultural contacts at different stages of its development, and the preservation of its authenticity.
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Bronshtein, Mikhail M. "Uelen hunters and artists." Études/Inuit/Studies 31, no. 1-2 (January 20, 2009): 83–101. http://dx.doi.org/10.7202/019716ar.

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Abstract Uelen is a settlement inhabited by coastal Chukchi and Yupik people who do not only hunt sea animals but also carve their ivory. Archaeological excavations in Uelen testify that ivory carving has existed there at least since the beginning of our era. When whale hunters and traders came in Uelen in the 19th century, traditional ivory carving turned into an ethnic handicraft. In 1931, Uelen residents were the first to open an ivory carving workshop in Chukotka. In the mid-1930s, they benefited from the valuable help of the Russian artist and art critic Alexander Gorbunkov, who encouraged them to develop their own artistic potential. By the end of the 1930s, Uelen carvers and engravers had acquired their particular artistic style based on their deep knowledge of the Arctic hunters’ customs, expressive images of polar animals, and the natural beauty of walrus tusk. The involvement of a large number of Uelen inhabitants in ivory carving was the main reason for its preservation during the Second World War and the difficult aftermath. New tendencies, including human and folklore themes, emerged in the 1950s-1970s alongside traditional hunting depictions. In the 1980s and 1990s, Uelen artists included in their art some patterns from prehistoric ornaments. While many Chukotka artists are using new creative ways in the 2000s, Uelen carvers in general keep closer to tradition. For them, ivory carving has become a symbol of the vanishing culture of their ancestors.
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Argounova-Low, Tatiana. "Sensing the Life of Material." Sibirica 22, no. 3 (December 1, 2023): 1–21. http://dx.doi.org/10.3167/sib.2023.220301.

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Abstract This article is devoted to the work of ivory carving artists in Sakha (Yakutia). It analyzes the ways craftsmen use, engage, and relate to mammoth ivory in their creative work. They start each carving project with consideration of the material, its quality and condition. Material often dictates the ways the creative idea develops and predetermines the outcome. Attention to the material is an important aspect of the relational engagement with it. Mammoth ivory, due to its structure, responds to climatic fluctuations, which is often described by artists as “breathing,” and it therefore demonstrates the qualities of an active material. For craftsmen, mammoth ivory is an agent and sentient material. The article contributes to the discussion of the importance of material in creative work.
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Shulgina, O. M. "A.L. Gorbunkov and Iconographic Sources of the Walrus Ivory Carving Art of the Chukchi and Asian Eskimos in the First Third of the 20th Century." Art & Culture Studies, no. 3 (August 2022): 184–219. http://dx.doi.org/10.51678/2226-0072-2022-3-184-219.

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This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.
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Santiapillai, Charles, Ajith Silva, Champika Karyawasam, Shameema Esufali, Salila Jayaniththi, Mano Basnayake, Vasantha Unantenne, and S. Wijeyamohan. "Trade in Asian elephant ivory in Sri Lanka." Oryx 33, no. 2 (April 1999): 176–80. http://dx.doi.org/10.1046/j.1365-3008.1999.00041.x.

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AbstractElephants Elephas maximus have declined in range and number in the wild in Sri Lanka, from c. 12,000 at the turn of the nineteenth century to c. 4000 today. While in the distant past the decline in elephant numbers was due largely to indiscriminate killing by sportsmen and trophy hunters, today elephants are being killed primarily because they interfere with agriculture. Human-elephant conflicts have increased substantially in the recent past and ivory poaching has become a byproduct of such conflicts. Elephant tusks have been used traditionally in the ivory-carving industry in Sri Lanka since the time of the ancient kings. Until the turn of the century, very little ivory was imported from Africa because there was a plentiful supply of tuskers locally available. Sri Lankan ivory carvers started to use African ivory in 1910. Today ivory and fake-ivory products are sold openly to tourists in some 86 shops in the island. Before the listing of the African elephant in Appendix I of the Convention on International Trade in Endangered Species (CITES), the value of raw ivory in Sri Lanka used to be $US228–285 per kg. After the listing, the price fell to $US72 per kg, reflecting a drastic drop in the demand for ivory from tourists. Many ivory carvers have switched to other jobs or are using substitutes (such as bone and horn) to produce fake-ivory carvings. Only about 7.5 per cent of bulls in Sri Lanka are tuskers and they are under poaching pressure outside protected areas. Given the rarity of tuskers in Sri Lanka, promotion of trade in ivory products, even locally, may pose a serious threat to their long-term survival in the wild.
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Amirkhanov, Hizri, and Sergey Lev. "New finds of art objects from the Upper Palaeolithic site of Zaraysk, Russia." Antiquity 82, no. 318 (December 1, 2008): 862–70. http://dx.doi.org/10.1017/s0003598x00097635.

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AbstractThe new art objects from Zaraysk show an extraordinary repertoire of incised carving on mammoth ivory plaques and carving in the round, including representations of women and large mammals, and geometric decoration on bone utensils. The authors show that while belonging to the broad family of Upper Palaeolithic artists, the Zaraysk carvers produced forms particular to their region, some with magical associations.
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Hein, Wulf. "Tusks and tools – Experiments in carving mammoth ivory." L'Anthropologie 122, no. 3 (June 2018): 437–46. http://dx.doi.org/10.1016/j.anthro.2018.05.001.

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Chaiklin, Martha. "IVORY IN EARLY MODERN CEYLON: A CASE STUDY IN WHAT DOCUMENTS DON’T REVEAL." International Journal of Asian Studies 6, no. 1 (January 2009): 37–63. http://dx.doi.org/10.1017/s1479591409000023.

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In Sri Lanka elephants are endangered and ivory carving, as an art, is dead. Sri Lanka was once famous for the number and quality of its elephants, whose tusks were carved and exported since ancient times. Although Sri Lanka became, successively, a pivotal outpost for the Portuguese, Dutch and English, details about the Ceylonese ivory trade appear in trade documents only rarely. And yet, if information is not to be found there, does that mean ivory trade did not occur? Trade documents, after all, do not tell the whole story. Smugglers, illegal traders, big game hunters and plantation owners all played a part in the disappearance of elephants and its corollary, the ivory trade. When archival evidence is viewed in combination with physical evidence and the anecdotes of visitors and residents, it becomes evident that ivory remained an integral part of trade and crafts in Ceylon well into the last century.
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Krzyszkowska, O. H. "The Enkomi Warrior Head Reconsidered." Annual of the British School at Athens 86 (November 1991): 107–20. http://dx.doi.org/10.1017/s0068245400014933.

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An ivory warrior head, discovered at the end of the last century in Enkomi Tomb 16, has often been mentioned and illustrated in the literature but it has never been the subject of a detailed study. Most interest has centred on whether the head represents a genuine Mycenaean carving or the survival of an Aegean motif in the Cypriote repertoire. Here form, function, material, carving technique and style are assessed, and comparisons are drawn with other warrior heads from Crete and mainland Greece. All evidence points conclusively to an Aegean origin for the Enkomi head.
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Campbell, C. Jean. "Courting, Harlotry and the Art of Gothic Ivory Carving." Gesta 34, no. 1 (January 1995): 11–19. http://dx.doi.org/10.2307/767120.

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Dissertations / Theses on the topic "Ivory carving"

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Grobler, Estelle Cornelia. "Ikonografiese studie van Ou Nabye-Oosterse ivoor gedurende die Ystertydperk, 1200 v.C. - 538 v. C." Diss., 2015. http://hdl.handle.net/10500/18931.

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Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf.
The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images.
Biblical & Ancient Studies
M.A. (Ou Nabye-Oosterse Studies)
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Books on the topic "Ivory carving"

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Mes. Franck Lombrail et Jean-Pierre Teucquam (Firm). Collection d'un amateur et à divers, importants okimonos en ivoire du Japon XIX siècle. Paris: Lombrail-Teucquam, 2004.

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Mehendale, Sanjyot. Begram: New perspectives on the ivory and bone carvings. Ann Arbor, MI: UMI, 1997.

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Stevens, Jim. Scrimshaw techniques: With gallery of contemporary artists. Atglen, Pa: Schiffer Pub., 2008.

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Stevens, Jim. Scrimshaw techniques: With gallery of contemporary artists. Atglen, Pa: Schiffer Pub., 2008.

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Eisenhofer, Stefan. Höfische Elfenbeinschnitzerei im Reich Benin: Kontinuität oder Kontinuitätspostulat? München: Akademischer Verlag, 1993.

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author, Shirokov I͡U A., and Gosudarstvennyĭ muzeĭ Vostoka (Russia), eds. Reznai︠a︡ kostʹ I︠A︡kutii i Taĭmyra iz sobranii︠a︡ Gosudarstvennogo muzei︠a︡ Vostoka: Katalog kollekt︠s︡ii = Ivory carving from Yakutia and Taymyr in the State Museum of Oriental Art : catalogue of the collection. Moskva: GMV, 2014.

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Hui, Chen, ed. Zhu mu ya jiao. Beijing Shi: Zhongguo shui li shui dian chu ban she, 2005.

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Museum, Jane Voorhees Zimmerli Art. The carver's art: Medieval sculpture in ivory, bone, and horn. New Brunswick, N. J. (Rutgers, State University of New Jersey): Jane Voorhees Zimmerli Art Museum, 1989.

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Chodyński, Antoni Romuald. Artystyczne wyroby z kości słoniowej w zbiorach polskich. Malbork: Muzeum Zamkowe w Malborku, 1989.

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Hegemann, Hans Werner. Das Elfenbein in Kunst und Kultur Europas: Ein Überblick von der Antike bis zur Gegenwart. Mainz: P. von Zabern, 1988.

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Book chapters on the topic "Ivory carving"

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Chaiklin, Martha. "Individualism, Orthodoxy and the Evolution of Ivory Carving as Sculpture." In Ivory and the Aesthetics of Modernity in Meiji Japan, 75–96. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137363336_4.

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Gao, Ya Juan, Hao Wu Chen, Min Ling Huang, and Rungtai Lin. "Inheritance Model and Innovative Design of Chinese Southern Ivory Carving Culture and Craft." In Cross-Cultural Design. Applications in Cultural Heritage, Tourism, Autonomous Vehicles, and Intelligent Agents, 23–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77080-8_3.

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Jýlich, Theo, Markus Miller, and Lars Fiegenbaum. "Application of Tandem Scanning Microscopy to the Non-destructive Investigation of Tool Marks on Historic Ivory Carvings." In Optical Technologies in the Humanities, 207–10. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60872-8_30.

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"IVORY ANO BONE CARVING." In Objects of Daily Use, 39–45. Oxbow Books, 2023. http://dx.doi.org/10.2307/jj.1011767.16.

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"Bamboo, Wood, Ivory and Horn Carving." In Collection of Ancient Chinese Cultural Relics, Volume 8, 261–90. ATF Press, 2020. http://dx.doi.org/10.2307/j.ctv14162wm.10.

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"Bamboo, Wood, Ivory and Horn Carving." In Collection of Ancient Chinese Cultural Relics, Volume 9, 227–320. ATF Press, 2020. http://dx.doi.org/10.2307/j.ctv141632p.8.

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"A NOTE ON IVORY CARVING IN FOURTH CENTURY CONSTANTINOPLE." In Historical Studies in Late Roman Art and Archaeology, 13–18. Peeters Publishers, 2023. http://dx.doi.org/10.2307/jj.12949140.6.

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Manuwald, Henrike. "13 Carving the Folie Tristan: Ivory Caskets as Material Evidence of Textual History." In Medieval Romance and Material Culture, 215–32. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782044338-017.

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"Chapter Five. Phoenician And North Syrian Ivory Carving In Historical Context: Questions Of Style And Distribution." In On Art in the Ancient Near East Volume I, 185–224. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004172371.i-640.24.

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"Chapter Seven. Is There A South Syrian Style Of Ivory Carving In The Early First Millennium B.C.?" In On Art in the Ancient Near East Volume I, 279–333. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004172371.i-640.37.

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Conference papers on the topic "Ivory carving"

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Meister, C. "POSSIBLE OR NOT: PARIETAL IN THE SWABIAN JURA?" In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.18-19.

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The Swabian Alb is known for its caves, in which figural ivory carvings and flutes from the Aurignacian period were found. Parietal art, on the other hand, as known from sites in France, Spain, Romania or Russia, has not been discovered in this region so far. In fact, up to now, there are no documented caves with Pleistocene wall paintings in Germany. Nevertheless, the presence of ochre traces on mobile artefacts indicates the purposeful application of pigments by humans during the Pleistocene in the region, for example stone pebbles or possible wall fragments from Magdalenian occupations bear series of dots (Conard, Floss, 1998). The paint is, however, fixed to portable objects and not to the cave walls. Not at least for these reasons, the question arises how the lack of parietal art in this region can be explained. If we assume from the known finds in Hohle Fels and Geienklsterle, which demonstrate that ochre was known and accessible to humans at least during the Aurignacian and the Gravettian (Conard, Malina, 2019), a lack of raw material as an explanation for the absence of caves with wall paintings in this region can be excluded. Moreover, at that time humans were able to reproduce the environment in the form of highly realistic images of the Ice Age fauna (Conard, Kind, 2017). A large number of ivory carvings from this period are, if one considers the degree of realism, comparable with the paintings in Chauvet, Altamira or Kapova Cave. Other aspects must therefore be taken into account when determining the reasons for the absence of parietal art. On the one hand, it is possible that the limestone rocks of the Swabian Jura are not suitable for a permanent preservation of ochrebased colors. Most of them are active caves, which are still strongly influenced by geological processes, but above all by water and karst. In addition, it is possible that the knowledge of the existence of caves which goes with long periods of use by people from all times may have destroyed existing paintings. However, one would expect to find some remains or at least residues of paint, if existing images were demolished by the permanent use of the caves. Ultimately, and although it cannot be ruled out that people during the Upper Palaeolithic in southern Germany have expressed themselves artistically in other forms, we must assume that there is a research gap. So far, a systematic research and analysis of the cave walls has not yet been carried out in the Swabian Jura. Today, the use of new technologies can be utilized to confirm or deny the current state of research. At the moment we aim to systematically examine the cave walls in the archaeological sites of the World Heritage Site Caves and Ice Age Art in the Swabian Jura. We consider them an excellent test cluster for the Paleolithic of this region. Three-dimensional recordings of the caves have already been produced. In the next steps we will test these recordings of the known caves with different filters and light conditions for parietal art, but at the same time continue to look for new and up to now unknown caves in the region. Conard, N. J., Floss, H. (1999). Ein bemalter Stein vom Hohle Fels bei Schelklingen und die Frage nach palolithischer Hhlenkunst in Mitteleuropa. Archologisches Korrespondenzblatt, 29 (3), 307316. Conard, N. J., Kind, C.-J. (2017). Als der Mensch die Kunst erfand: Eiszeithhlen auf der Schwbischen Alb. Darmstadt: Theiss Verlag. Conard, N. J., Malina, M. (2019). Weiterfhrende Ausgrabungen im Hohle Fels und neue Einblicke in die Nutzung von Ocker im Jungpalolitikum. Archologische Ausgrabungen in Baden-Wrttemberg 2018, 5659.
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