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Journal articles on the topic 'Ivory carving'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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4

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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5

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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7

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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8

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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9

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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10

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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11

Saha, Sudipa. "Cultural Resource Management of the Dying Ivory Craftsmanship as Reflected in the Wood Carving of Thiruvananthapuram, Kerala." Journal of Indo-Pacific Archaeology 43 (December 19, 2019): 25. http://dx.doi.org/10.7152/jipa.v43i0.14744.

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<p class="Default"><em>Ivory carving from Thiruvananthapuram, the capital of the Indian state of Kerala, was once appreciated internationally for its outstanding craftsmanship. The origin of the industry can be traced back to 17th century CE or before that, and grew as a full fledged industry under the patronage of the Maharajas of Travancore from the 19th century onwards. During the old period it was practiced by Brahmins and goldsmiths, and later by the carpenters (achary) as well. Though they are very few in number, some craftsmen are now continuing the art on alternatives to ivory such as rosewood, white cedar and, even more rarely, sandalwood. After the ban on ivory in 1990, this practice—emblematic of Intangible Cultural Heritage—looked on the brink of disappearing. In an example of Cultural Resource Management (CRM) success, the traditional carvers of Thiruvananthapuram were shifted to sandalwood carving. Presently, sandalwood is a vulnerable species and extremely expensive. In addition to the threats mentioned in the UNESCO Paris convention (UNESCO 2003), some elements of Intangible Cultural Heritage are also disappearing due to the conflict that arises from the cultural use of natural heritage, leading nature’s beings toward extinction. The aim of the current research is to analyze these problems and to formulate fruitful strategies for the safeguarding of the age-old craft with sustainable use of natural raw materials and alternative materials. </em></p>

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Van Liere, Robert, and Ching-Ling Wang. "Revealing the Secrets of Chinese Ivory Puzzle Balls: Quantifying the Crafting Process Using X-Ray Computed Tomography." Rijksmuseum Bulletin 69, no. 3 (September 13, 2021): 244–63. http://dx.doi.org/10.52476/trb.11050.

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Chinese ivory puzzle balls are known for their beauty, finesse and their ability to intrigue viewers. From the eighteenth century until recently, they have been crafted by turning, using a simple lathe and a set of drilling and carving tools developed in the eighteenth century. The craft of Chinese ivory puzzle balls has been described as the ‘devil’s work’, as it requires a great deal of proficiency, accuracy and patience. This study presents a novel method for quantifying the crafting process of Chinese ivory puzzle balls. The method is based on measuring the morphological properties of ivory balls in three-dimensional images obtained using X-ray Computed Tomography (CT) scanning techniques. The accuracy of the crafting process is obtained by comparing the measured properties with an underlying mathematical model of the ball. We apply the proposed method to ivory balls from the Rijksmuseum in Amsterdam and the National Palace Museum in Taipei. The results show substantial differences in the accuracy of the crafting process. From an art-historical perspective, the results show that the accuracy of the crafting process evolved during the eighteenth century. They also suggest that the ivory balls we have analyzed have been crafted with different types of turning tools.

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13

Davis, Jack L., Sharon R. Stocker, and Joan Aruz. "The Griffin and Lion Ivory Pyxis Lid from the Grave of the Griffin Warrior at Pylos." Hesperia: The Journal of the American School of Classical Studies at Athens 93, no. 1 (January 2024): 1–27. http://dx.doi.org/10.2972/hes.2024.a922191.

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ABSTRACT: In 2015, an exquisite ivory pyxis lid was discovered in the grave of the Griffin Warrior at Pylos. The lid, carved in high relief, depicts in great detail a combat in which a lion defeats a griffin. The modeling and carving of the ivory are of exceptional quality. Here, we first consider the specific context and circumstances of discovery of the lid—the final find removed from the grave—before turning to a discussion of precedents and parallels for its motifs and theme. Finally, we consider the possibility that a scene of a lion victorious over a griffin had particular significance at Pylos, in light of relations between Messenia and Neopalatial Crete in the Late Helladic IIA period.

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14

Van Campen, Jan. "Masters of the Knife: Chinese Carving in Wood, Ivory and Soapstone." Rijksmuseum Bulletin 59, no. 2 (June 15, 2011): 152–73. http://dx.doi.org/10.52476/trb.11610.

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15

Aaron, Dustin S. "Terracotta Casts and the Question of Transmission in Gothic Ivory Carving." Source: Notes in the History of Art 38, no. 4 (June 2019): 186–95. http://dx.doi.org/10.1086/703913.

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Lidova, Maria A. "THE MURANO DIPTYCH. AN EARLY BYZANTINE IVORY BOOK COVER." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 29–42. http://dx.doi.org/10.28995/2686-7249-2022-1-29-42.

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The paper is dedicated to the ivory cover, commonly referred to in scholarship as the Murano diptych. The name, alluding to one of the Vene- tian islands, derives from an 18 th -century historic record attesting the presence of one of the sides of the cover in a Murano monastery. This part of the diptych was later brought to Ravenna and today is on display at the Ravenna National Museum. The fragments of the other side of the diptych are dispersed among various museum and library collections in Manchester, Paris, Berlin, and Saint Petersburg. Notwithstanding the scattered location of the ivory, it is possible to reconstruct its constituent elements and original decoration. Besides offering a detailed analysis of the surviving fragments, this paper focuses on the overall iconographic program and formal characteristics of the diptych, and studies its reliefs in light of late antique ivory carving and church decoration. It is argued that late antique ivories represent an important source of information concerning the use of apocryphal imagery in monumental art, enabling us to reconstruct the imagery of early Byzantine narrative cycles.

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17

Cutler, Anthony. "Carving, Recarving, and Forgery: Working Ivory in the Tenth and Twentieth Centuries." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 18, no. 2 (September 2011): 182–95. http://dx.doi.org/10.1086/662516.

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18

Yener, K. Aslıhan. "The Anatolian Middle Bronze Age kingdoms and Alalakh: Mukish, Kanesh and trade." Anatolian Studies 57 (December 2007): 151–60. http://dx.doi.org/10.1017/s0066154600008577.

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AbstractThe comparisons at the heart of this article concern the varying roles of cuneiform texts, instrumental analysis and artefacts at the Bronze Age capital of Alalakh, located in the northeastern Mediterranean region of southern Turkey. The production of fine artefacts, such as sophisticated metallurgy, glass, faience, ivory carving and, especially, bronze, was under palace patronage, while trade and the networks of inter-regional relations facilitated the transport of materials across great distances in the ancient Near East. Several lines of evidence suggest that exchange relationships between Alalakh and the Middle Bronze Age central Anatolian kingdoms, such as Kanesh, were established prior to the arrival of Hattusili I. One category of artefact, ivory and bone with metallic embellishments, is emphasised here since the crafting of ivory and bone entails the use of local resources, while the plating with precious metals reflects artistic expression and exploitation that is international in scope. Several analytical techniques are presented, such as lead isotope ratios, scanning electron microscopy and polarizing light microscopy, which have aided in defining the artistic expression of Alalakh and the production of artefacts of power and prestige.

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Bower, Bruce. "Humans: Figurine raises dating issues: Scientist claims ivory carving is oldest known figurative art." Science News 175, no. 13 (June 20, 2009): 11. http://dx.doi.org/10.1002/scin.5591751312.

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Martin, Matthew. "A Peripatetic Virgin: A Seventeenth-Century Ivory Carving from Manila in the National Gallery of Victoria." Australian and New Zealand Journal of Art 22, no. 1 (January 2, 2022): 113–27. http://dx.doi.org/10.1080/14434318.2022.2076034.

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21

Gusella, Francesco. "New Jesuit Sources on the Iconography of the Good Shepherd Rockery from Portuguese India: the Garden of Shepherds of Miguel de Almeida (1658)." Journal of Jesuit Studies 6, no. 4 (October 11, 2019): 577–97. http://dx.doi.org/10.1163/22141332-00604002.

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The Good Shepherd Rockery is the only original iconography developed in the ivory carving tradition of Portuguese India. Despite the large production of these statuettes, the scarcity of written sources and the untracked diffusion of such artworks did not allow the clear understanding of the original purposes of this iconography. The present essay wishes to establish a comparison between the artworks’ iconography and the prologue of the Onvalleancho Mallo (Garden of Shepherds) by the Jesuit Miguel de Almeida (1607–83), published in Goa in 1658. This doctrinal work presents a detailed interpretation of pastoral images which perfectly overlaps with the artworks’ iconography. Almeida’s work represents the best documentation for the interpretation of the iconography as it was circulating in the missionary discourse of Portuguese India. It suggests that the statuettes symbolized the eschatological role of the missionary clergy and the Catholic Church though the didactic use of pastoral allegories.

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Eisenhofer, Stefan. "Was the Report of James Welsh (1588) the First Account of Afro-Portuguese Ivory Carving in Benin City?" History in Africa 21 (1994): 409–12. http://dx.doi.org/10.2307/3171898.

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23

López-Ruiz, C., and E. Rodríguez González. "A Perilous Sailing and a Lion: Comparative Evidence for a Phoenician Afterlife Motif." Journal of Ancient Near Eastern Religions 22, no. 2 (May 24, 2023): 224–57. http://dx.doi.org/10.1163/15692124-12341332.

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Abstract This essay introduces new evidence for an eschatological Phoenician motif that alludes to a final sailing and its perils, represented by a monstrous lion attacking or sinking a boat. The lion-and-boat motif was, so far, only documented in a Phoenician funerary stela from late classical Athens, the Antipatros/Shem stela. Excavations at the fifth-century BCE Tartessic site of Casas del Turuñuelo in southwestern Spain has revealed a set of ivory and bone panels that decorated a wooden box, bearing relevant iconography in the so-called orientalizing style. Additional comparanda from the Levant, Iberia, and Tunisia in various media (coins, ivories, amulets), add weight to this interpretation. Our analysis highlights how the artists behind the Athenian and Tartessic artifacts were innovative in their way of representing a theme that was not codified iconographically. Most remarkable is the use of an ivory-carving convention (the Phoenician palmette motif) to portray the stylized boat, a choice corroborated by a painted pottery sherd from Olympia. This “palmette-boat” depiction, in our view, is coherent with Egyptian Nilotic boats, but also with the use of flat or shallow river-boats in the Tagus and Guadiana region, illustrating mechanisms of local adaptation of Phoenician sailing and life-death “passing” symbolism. If, as we suggest, this representation can be added to that in the Athenian document, we now have testimonies of two different local adaptations of a Phoenician theme at the two ends of the Mediterranean oikoumene between the archaic and late classical periods.

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Clair, Archer St. "Evidence for Late Antique Bone and Ivory Carving on the Northeast Slope of the Palatine: The Palatine East Excavation." Dumbarton Oaks Papers 50 (1996): 369. http://dx.doi.org/10.2307/1291752.

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Gansell, Amy Rebecca, Jan-Willem van de Meent, Sakellarios Zairis, and Chris H. Wiggins. "Stylistic clusters and the Syrian/South Syrian tradition of first-millennium BCE Levantine ivory carving: a machine learning approach." Journal of Archaeological Science 44 (April 2014): 194–205. http://dx.doi.org/10.1016/j.jas.2013.11.005.

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Stern, Wilma Olch. "Evidence for bone and ivory working from the Palatine - ARCHER ST. CLAIR, CARVING AS CRAFT. PALATINE EAST AND THE GRECO-ROMAN BONE AND IVORY CARVING TRADITION (Johns Hopkins University Press, Baltimore 2003). Pp. xii + 228, pls. 58, ills. 15. ISBN 0-8018-7261-8. $89.95." Journal of Roman Archaeology 18 (2005): 745–46. http://dx.doi.org/10.1017/s1047759400008060.

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Callaway, Donald G., and Alexander Pilyasov. "A comparative analysis of the settlements of Novoye Chaplino and Gambell." Polar Record 29, no. 168 (January 1993): 25–36. http://dx.doi.org/10.1017/s0032247400023184.

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ABSTRACTGeographically separated by only 64 km, the Siberian Yupik-speaking communities of Gambell and Novoye Chaplino have endured a politically mandated separation of 40 years. During this period these two small, native comm unities have experienced enormous changes, changes often engendered by the social and economic policies of their nation states. The abandonment of small, native communities in Chukotka under the Soviet policy of ‘settlements without prospects’, the forced resettlement of Chaplino to Novoye Chaplino, and the reorganization of cooperatives into state farms have all had serious detrimental consequences for the organization of subsistence activities in this community. Gambell—with very little economic infrastructure, high unemployment, increased social problems, and some federaland state-mandated management of their natural resources — has managed to maintain high levels of subsistence production. The native language is spoken by youngsters in Gambell but not in Novoye Chaplino. Other important cultural features such as sharing, bride service, and ivory carving have been maintained in Gambell but have been lost in Novoye Chaplino. Contacts between the two communities under the recent policy of glasnost' may bring a revival of these practices back to Novoye Chaplino.

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Pérez Pánchez, Jorge, Juan Garcés Vargas, Karina Villao Rodríguez, and Isabel Camacho Polo. "Estudio para la creación del centro de procesamiento y taller artesanal para la elaboración de productos derivados del marfil vegetal (tagua), en la comuna las Núñez provincia de Santa Elena." Revista Científica y Tecnológica UPSE 4, no. 1 (May 25, 2017): 7–15. http://dx.doi.org/10.26423/rctu.v4i1.234.

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El presente artículo trata sobre la creación del centro de acopio de producción y comercialización de derivados de tagua en la parroquia Manglaralto, situada en la provincia de Santa Elena, que ha sido establecida para otorgarle valor agregado a este material también conocido como marfil vegetal, que sirve para la elaboración de artesanías tales logrando de esta manera, generar empleos directos e indirectos. La localización del proyecto es, específicamente en la comuna Las Nuñez, por estar ubicada en la catalogada “Ruta del Spondylus”. La planta de tagua o nuez de marfil, es una joya otorgada por la naturaleza que, al ser trabajada por manos de hábiles orfebres, es utilizada en un sinnúmero de beneficios, logrando formas y diseños con calidad de exportación, que pueden ser expendidas con mayor facilidad a los turistas que recorren el sector. El trabajo cooperativo o en equipo según Ander – Egg, E (1997)[1]., es primordial para el desarrollo sostenible de proyectos; lo que deben aplicar los comuneros en la creación de productos ya que no sólo se venderá la materia prima sino que otorgándole valor agregado, se hará todo tipo de artesanías (tallado de figuras en miniaturas, collares, aretes finos, aretes populares, anillos, porta servilletas) para que tenga un mejor precio en el mercado y su talento se vea reflejado en productos con acabados de calidad. Abstract This article deals with the creation of the Tagua derivatives processing and marketing center in the Manglaralto parish, located in the Province of Santa Elena, which has been thought to give added value to this material, also known as vegetal ivory, which serves For the production of handicrafts such, thus generating direct and indirect jobs. The location of the project is, specifically in the commune Las Nuñez, located in the Route of the Spondylus. The Tagua plant or ivory walnut is a jewel given by nature that when processed in the hands of skilled goldsmiths, is used in a number of benefits, achieving shapes and designs with export quality, which can be more easily sold To the tourists that cross the sector. Cooperative or teamwork according to Ander - Egg, E (1997), is essential for the sustainable development of projects; What comuneros should apply in the creation of products since not only will they sell the raw material but also giving added value will be made all kinds of handicrafts (carving figures in miniatures, necklaces, fine earrings, popular earrings, rings, napkin holders) So that you have a better price in the market and your talent is reflected in products with quality finishes.

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Speakman, Naomi. "Gothic ivory carvings at the British Museum." Sculpture Journal 23, no. 1 (January 2014): 93–94. http://dx.doi.org/10.3828/sj.2014.9a.

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Gibson, M. T., and E. C. Southworth. "Radiocarbon Dating of Ivory and Bone Carvings." Journal of the British Archaeological Association 143, no. 1 (January 1990): 131–33. http://dx.doi.org/10.1179/jba.1990.143.1.131.

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31

Vargyas, Zsófia. "Adalékok Marczibányi István (1752–1810) műgyűjteményének történetéhez." Művészettörténeti Értesítő 71, no. 1 (May 24, 2023): 45–78. http://dx.doi.org/10.1556/080.2022.00003.

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The art collection of István Marczibányi (1752–1810), remembered as the benefactor of the Hungarian nation, who devoted a great part of his fortune to religious, educational, scientific and social goals, is generally known as a collection of ‘national Antiquities’ of Hungary. This opinion was already widespread in Hungarian publicity at the beginning of the 19th century, when Marczibányi pledged that he would enrich the collection of the prospective Hungarian national Museum with his artworks. But the description of his collection in Pál Wallaszky’s book Conspectus reipublicae litterariae in Hungaria published in 1808 testifies to the diversity and international character of the collection. In the Marczibányi “treasury”, divided into fourteen units, in addition to a rich cabinet for coins and medals there were mosaics, sculptures, drinking vessels, filigree-adorned goldsmiths’ works, weapons, Chinese art objects, gemstones and objects carved from them (buttons, cameos, caskets and vases), diverse marble monuments and copper engravings. Picking, for example, the set of sculptures, we find ancient Egyptian, Greek and Ro man pieces as well as mediaeval and modern masterpieces arranged by materials.After the collector’s death, his younger brother Imre Marczibányi (1755–1826) and his nephews Márton (1784–1834), János (1786–1830), and Antal (1793–1872) jointly inherited the collection housed in a palace in dísz tér (Parade Square) in Buda. In 1811, acting on the promise of the deceased, the family donated a selection of artworks to the national Museum: 276 cut gems, 9 Roman and Byzantine imperial gold coins, 35 silver coins and more than fifty antiquities and rarities including 17th and 18th-century goldsmiths’ works, Chinese soap-stone statuettes, ivory carvings, weapons and a South Italian red-figure vase, too. However, this donation did not remain intact as one entity. With the emergence of various specialized museums in the last third of the 19th century, a lot of artworks had been transferred to the new institutions, where the original provenance fell mostly into oblivion.In the research more than a third of the artworks now in the Hungarian national Museum, the Museum of Applied Arts and the Museum of Fine Arts, Budapest could be identified, relying on the first printed catalogue of the Hungarian national Museum (1825) titled Cimeliotheca Musei Nationalis Hungarici, and the handwritten acquisition registers. The entries have revealed that fictitious provenances were attached to several items, since the alleged or real association with prominent historical figures played an important role in the acquisition strategies of private collectors and museums alike at the time. For example, an ivory carving interpreted in the Cimeliotheca as the reliquary of St Margaret of Hungary could be identified with an object in the Metalwork Collection of the Museum of Applied Arts (inv. no. 18843), whose stylistic analogies and parallels invalidate the legendary origin: the bone plates subsequently assembled as a front of a casket were presumably made in a Venetian workshop at the end of the 14th century.There are merely sporadic data about the network of István Marczibányi’s connections as a collector, and about the history of his former collection remaining in the possession of his heirs. It is known that collector Miklós Jankovich (1772–1846) purchased painted and carved marble portraits around 1816 from the Marczi bányi collection, together with goldsmiths’ works including a coconut cup newly identified in the Metalwork Collection of the Museum of Applied Arts (inv. no. 19041). The group of exquisite Italian Cinquecento bronze statuettes published by art historian Géza Entz (1913–1993), was last owned as a whole by Antal Marczibányi (nephew of István) who died in 1872. These collection of small bronzes could have also been collected by István Marczibányi, then it got scattered through inheritance, and certain pieces of it landed in north American and European museums as of the second third of the 20th century. Although according to Entz’s hypothesis the small bronzes were purchased by István’s brother Imre through the mediation of sculptor and art collector István Ferenczy (1792–1956) studying in Rome, there is no written data to verify it. By contrast, it is known that the posthumous estate of István Marczibányi included a large but not detailed collection of classical Roman statues in 1811, which the heirs did not donate to the national Museum. It may be presumed that some of the renaissance small bronzes of mythological themes following classical prototypes were believed to be classical antiquities at the beginning of the 19th century. Further research will hopefully reveal more information about the circumstances of their acquisition.

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Hayward, Lorna G. "The origin of the raw elephant ivory used in Greece and the Aegean during the Late Bronze Age." Antiquity 64, no. 242 (March 1990): 103–9. http://dx.doi.org/10.1017/s0003598x00077334.

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Carvings made of elephant ivory are a characteristic, though uncommon, artefact of the later Bronze Age in Greece and the islands. Where did the raw material for them come from — Syria to the east, or Africa to the south and southwest?

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Sims, Margaret E., Barry W. Baker, and Robert M. Hoesch. "Tusk or Bone? An Example of Ivory Substitute in the Wildlife Trade." Ethnobiology Letters 2 (August 14, 2011): 40–44. http://dx.doi.org/10.14237/ebl.2.2011.27.

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Bone carvings (and other ivory substitutes) are common in the modern-day lucrative international ivory trade. Souvenirs for unknowing travelers and market shoppers can be made of non-biological material (plastic "ivory" beads) or skillfully crafted natural objects made to resemble something other than their true origin. Many of these items are received at the U. S. National Fish and Wildlife Forensics Laboratory (NFWFL) for species identification as part of law enforcement investigations. Morphologists at the Lab often receive uniquely carved ivory items that have been imported with little or no documentation. In recent years, analysts examined several purported ivory tusks suspected to be walrus, a protected marine mammal. After examination, the Lab determined their origin as carved leg bones of cattle using principles and methods of zooarchaeology and ancient DNA analysis. The naturally long and straight ungulate metapodials had been cut, carved, filled, stained, and polished to closely resemble unmodified ivory tusks. Morphological species identification of these bones proved to be a challenge since diagnostic characters of the bones had been altered and country of origin was unknown. Genetic analysis showed that the bones originated from cattle. While bone is commonly used as a substitute for ivory, this style of artifact was not previously documented in the wildlife trade prior to our analysis. Archaeological ethnobiologists commonly encounter bone tools and other forms of material culture from prehistoric and historic contexts; in this case bone tools come from a modern context, thus the application of methods common in zooarchaeology are situated in wildlife forensics. In addition, results reported here pertain to cross-cultural ivory trade and conservation science.

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Mehendale, Sanjyot. "The Begram Ivory and Bone Carvings : some Observations on Provenance and Chronology." Topoi 11, no. 1 (2001): 485–514. http://dx.doi.org/10.3406/topoi.2001.1946.

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Fan, Xiao, Jianfeng Cui, Shuyu Wang, Lizhong Tai, Jing Guo, and Hongbin Yan. "Analysis of Pigments Unearthed from the Yungang Grottoes Archaeological Excavations." Minerals 14, no. 3 (February 21, 2024): 221. http://dx.doi.org/10.3390/min14030221.

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The Yungang Grottoes, excavated during the 5th to 6th centuries AD, stand as a pinnacle of Buddhist sculpture, representing a precious world cultural heritage. Since their excavation, the grottoes have undergone multiple phases of painting, with a significant amount of pigment still present on the surfaces of the stone carvings. Since the 1990s, two large-scale archaeological excavations have been conducted on both the front ground and the summit of Yungang Grottoes. During these excavations, various artifacts with accompanying pigments were unearthed, encompassing stone carvings, grinding tools, architectural components, fragments of murals, and remnants of clay sculptures, spanning the historical periods of the Northern Wei, Liao-Jin, and Ming-Qing dynasties. Using portable X-ray fluorescence spectrometry, portable microscopy, polarizing microscopy, scanning electron microscopy–energy dispersive X-ray spectroscopy, and confocal Raman microscopy, we conducted a comprehensive analysis of these painted elements. The investigation revealed the presence of hematite, vermilion, goethite, malachite, calcium carbonate, lead white, and ivory black pigments in the Northern Wei samples. The Liao-Jin samples exhibited hematite, while the Ming-Qing samples contained vermilion, minium, atacamite, lead white, and Prussian blue.

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Lúzio, Jorge. "The “Orient” in the “New World”: The Carreira da Índia and the Flows between Asia and Portuguese America." Asian Diasporic Visual Cultures and the Americas 2, no. 1-2 (March 2, 2016): 32–50. http://dx.doi.org/10.1163/23523085-00202006.

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The history of Brazil in its colonial period is characterized by the movement of Asian people, goods, and merchandise radiating from Brazilian ports that received ships via the Carreira da Índia, the main sea route integrating the Portuguese Empire both commercially and politically. Asian memory and imagination were present in the urban centres of the Portuguese American colonies in the form of cultural material before the actual presence of Asians, which began to occur through cycles of immigration into Brazilian lands during the nineteenth century. This article traces the circulation of ivory carvings from Asia into Portuguese America as a way of illustrating the presence of Asian material cultures in the New World, as well as the relevance of the Carreira da Índia to these cultural connections.

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Bourke, Cormac. "Virginia Glenn Romanesque & Gothic, Decorative Metalwork and Ivory Carvings in the Museum of Scotland." Scottish Archaeological Journal 27, no. 2 (October 2005): 199–201. http://dx.doi.org/10.3366/saj.2005.27.2.199.

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Hart, William. "AFRICAN IVORIES AND EIGHTEENTH-CENTURY ENGLISH ANTIQUARIANS." Antiquaries Journal 99 (September 2019): 347–62. http://dx.doi.org/10.1017/s000358151900009x.

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In the late fifteenth and early sixteenth centuries, artists in West Africa made sophisticated ivory carvings specifically for the early Portuguese navigators and their patrons. In researching the history of the ivories, the records of eighteenth-century English antiquarians are a neglected yet important source of information. Such sources help to bridge the gap between the earliest references to Afro-Portuguese ivories in Portuguese customs records (as well as the inventories of royal and princely treasuries of the late Renaissance) and their re-appearance in nineteenth-century museum registers and the collections of private individuals.Especially valuable in this regard are the eighteenth-century minutes of the Society of Antiquaries of London, which enable us to trace the history of several African ivories associated with Fellows of the Society – in particular, Richard Rawlinson, Martin Folkes, Sir Hans Sloane, George Vertue and George Allan. In this article, the author reassesses two African ivories, an oliphant and a saltcellar, with specific reference to the Minutes of the Society of Antiquaries of London, shedding new light on the history of these beautiful objects.

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Mark, Peter. "Towards a Reassessment of the Dating and the Geographical Origins of the Luso-African Ivories, Fifteenth to Seventeenth Centuries." History in Africa 34 (2007): 189–211. http://dx.doi.org/10.1353/hia.2007.0012.

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Fifty years ago, a group of 100 ivory carvings from West Africa was first identified by the English scholar William Fagg as constituting a coherent body of work. In making this important identification, Fagg proposed the descriptive label “Afro-Portuguese ivories.” Then, as now, the provenance and dating of these carved spoons, chalices (now recognized as salt cellars), horns, and small boxes posed a challenge to art historians. Fagg proposed three possible geographical origins: Sierra Leone, the Congo coast (Angola, ex-Zaïre), and the Yoruba-inhabited area of the old Slave Coast. Although Fagg was initially inclined on stylistic grounds to accept the Yoruba hypothesis, historical documents soon made it clear that the ivories—or at least many of them—were associated with Portuguese commerce in Sierra Leone. This trade developed in the final decades of the fifteenth century.Today approximately 150 works have been identified by scholars as belonging to the “corpus” of carved ivories from West Africa. Although the sobriquet “Afro-Portuguese” remains the most common appellation, these pieces should more appropriately be referred to as Luso-African ivories. The latter term more accurately reflects the objects' creation by West African sculptors who were working within Africa. The works, although hybrid in inspiration, are far more African than they are Portuguese. In addition, no documentary evidence exists to indicate that any of the ivories were carved by African artists living in Portugal. West African artists created the sculptures within the context of their own cultures.

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Eastmond, Antony. "Medieval Ivory Carvings. Early Christian to Romanesque. By Paul Williamson. 300mm. Pp 480, 450 col ills. London: Victoria and Albert Museum, 2010. ISBN 9781851776122. £85 (hbk)." Antiquaries Journal 91 (August 17, 2011): 363–64. http://dx.doi.org/10.1017/s0003581511000291.

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Cutler, Anthony. "Medieval Ivory Carvings: Early Christian to Romanesque. Paul Williamson. London: V&A Publications, 2010. 480 pp.; color pls. on almost every page; 32 halftones, 10 tables Cloth $150.00 ISBN: 9781851776122." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 18, no. 2 (September 2011): 249–53. http://dx.doi.org/10.1086/662521.

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Stalley, Roger. "Romanesque and Gothic Decorative Metalwork and Ivory Carvings in the Museum of Scotland. By Virginia Glenn. 300mm. Pp viii + 207, ills. Edinburgh: National Museums of Scotland, 2003. ISBN 1901663558. £35 (pbk)." Antiquaries Journal 85 (September 2005): 419–20. http://dx.doi.org/10.1017/s0003581500074692.

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Nees, Lawrence. "Paul Williamson, Medieval Ivory Carvings: Early Christian to Romanesque. Photography by James Stevenson. London: V&A Publishing, 2010. Pp. 480; color frontispiece, many black-and-white and color figures, and color graphs. £85." Speculum 86, no. 3 (July 2011): 818–20. http://dx.doi.org/10.1017/s0038713411002193.

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Cutler, Anthony. "John Lowden, Medieval and Later Ivories in the Courtauld Gallery: Complete Catalogue. London: Courtauld Gallery in association with Paul Holberton, 2013. Pp. 144; 25 black-and-white figures, 33 plates (mostly color), and 4 tables. £40. ISBN: 978-1-907372-60-5.Paul Williamson and Glyn Davies, Medieval Ivory Carvings 1200–1550, 2 vols. London: V&A, 2014. Pp. 911; approximately 900 color plates and 17 tables. £150. ISBN: 978-1-85177-612-2." Speculum 91, no. 4 (October 2016): 1129–31. http://dx.doi.org/10.1086/688626.

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d’Errico, Francesco, Serge David, Hélène Coqueugniot, Christian Meister, Ewa Dutkiewicz, Romain Pigeaud, Luca Sitzia, et al. "A 36,200-year-old carving from Grotte des Gorges, Amange, Jura, France." Scientific Reports 13, no. 1 (August 9, 2023). http://dx.doi.org/10.1038/s41598-023-39897-7.

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AbstractThe earliest European carvings, made of mammoth ivory, depict animals, humans, and anthropomorphs. They are found at Early Aurignacian sites of the Swabian Jura in Germany. Despite the wide geographical spread of the Aurignacian across Europe, these carvings have no contemporaneous counterparts. Here, we document a small, intriguing object, that sheds light on this uniqueness. Found at the Grotte des Gorges (Jura, France), in a layer sandwiched between Aurignacian contexts and dated to c. 36.2 ka, the object bears traces of anthropogenic modifications indicating intentional carving. Microtomographic, microscopic, three-dimensional roughness and residues analyses reveal the carving is a fragment of a large ammonite, which was modified to represent a caniformia head decorated with notches and probably transported for long time in a container stained with ochre. While achieving Swabian Jura-like miniaturization, the Grotte des Gorges specimen displays original features, indicating the craftsman emulated ivory carvings while introducing significant technical, thematic, and stylistic innovations. This finding suggests a low degree of cultural connectivity between Early Aurignacian hunter-gatherer groups in the production of their symbolic material culture. The pattern conforms to the existence of cultural boundaries limiting the transmission of symbolic practices while leaving space for the emergence of original regional expressions.

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Achrati, Ahmed. "From Frozen-Meat Carving to Ivory Sculpting." Palethnologie, no. 5 (January 30, 2013). http://dx.doi.org/10.4000/palethnologie.4440.

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"On Alexandrian School of Ivory Carving in Late Antiquity." مجلة جمعية الأثار بالاسکندرية 47, no. 47 (January 1, 2003): 49–69. http://dx.doi.org/10.21608/mjas.2003.281505.

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Shah, Amisha, and Rajiv Patel. "HANDICRAFT ARTISANS OF RURAL GUJARAT: FROM THE VIEW POINT OF EXPERTS." Towards Excellence, June 30, 2022, 2198–210. http://dx.doi.org/10.37867/te1402184.

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Handicraft Industry of India is one of the most important sectors for economic, social and cultural point of view. Handicrafts of Gujarat such as Hand embroidery, Pottery work, Bamboo work, Hand-made jewellery, Bead-work, Tie-dye work, Patolas, Woolen blankets and shawls, Tangaliya, Namdhas, Wood carving, Lacquer work, Ivory inlay boxes, Patara making, Zari-work. Pithora painting, Kalamkari, Warli painting, Metal art, Stone carving, etc. are famous worldwide. But the scenario has been changing in the present era of heavy industrialization, technological advancement and globalization. Despite various government and non government programmes, policies and schemes to protect the interest of handicraft artisans, the result is still not satisfactory. There must be proper means, methods and efforts to enhance the income of the artisans so that they can be economically and socially powerful. It is required to have the fair opinion of experts who have been directly or indirectly involved in the field of handicraft promotion programmes. Hence, the experts like government officials, NGO workers, fashion designers, handicraft project coordinators, trainers, etc have been selected as respondents so that we can come to know about grass-root realities and the prevailing facts. For this purpose opinion and suggestions of 40 experts have been collected and analyzed so that appropriate strategies and policies can be designed keeping in view the priority of actions needed.

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Cinquatti, Arianna. "Question of Style: The Use of Qualitative and Quantitative Methods to Assess the Significance of First Millennium BCE Ivory Carving Traditions." Altorientalische Forschungen 42, no. 1 (January 1, 2015). http://dx.doi.org/10.1515/aofo-2015-0003.

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Mondal, Ebrahim Ali. "A Study of Towns, Trade and Taxation system in Medieval Assam." Journal of History and Social Sciences 12, no. 1 (June 30, 2021). http://dx.doi.org/10.46422/jhss.v12i1.134.

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The present paper an attempt to analyse the growth of towns and trading activities as well as the system of taxation system in Assam during the period under study. The towns were filled by the various kinds of artisans and they produced numerous types of crafts such as textiles Sericulture, Dyeing, Gold and Silver works, Copper and Brass works, Iron works, Gunpowder, Bow and Arrow making, Boat-building, Woodcraft, Pottery and Clay modelling, Brick making, Stone works, Ivory, and carving works. The crafts of Assam were much demand in local markets as well as other regions of India. The towns gradually acquired the status of urban centres of production and distribution. Regular, weekly and fortnightly markets as well as fairs from time to time were held throughout Assam where the traders purchased with their goods for sale. In the business, community, which was, included the whole-sellers, retailers and brokers; they all had a flourishing business. Therefore, the towns were the one of the major source of income as a result the kings of Assam had built several customhouses, many gateways and toll gates in order to raise taxes of imports and exports and to check the activities of the merchants’ class. The source materials have been utilised various kinds of primary sources such as epigraphical records, coins, inscriptions, literary sources, travellers account as well as secondary works.

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