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Relevant bibliographies by topics / Wood-carving

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Academic literature on the topic 'Wood-carving'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Wood-carving"

1

Mukhamedovich, Avliyakulov Muzafar. "Bukhara wood carving." Asian Journal of Multidimensional Research (AJMR) 9, no. 5 (2020): 343. http://dx.doi.org/10.5958/2278-4853.2020.00177.9.

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Mubarat, Husni, and Heri Iswandi. "ASPEK-ASPEK ESTETIKA UKIRAN KAYU KHAS PALEMBANG PADA AL QURAN AL AKBAR." Ekspresi Seni 20, no. 2 (November 1, 2018): 139. http://dx.doi.org/10.26887/ekse.v20i2.403.

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The research of Palembang wood carving art on Al Quran Al Akbar is the study toward aesthetic values. This research aims at revealing the aesthetic values and embodiment process of Palembang wood carving art on Al Quran Al Akbar until its presentation. This research used qualitative research method having descriptive characteristics with the approach of aesthetic study. Visually, the aesthetic values of Palembang wood carving art on Al Quran Al Akbar were the carving of Al Quran calligraphy, the blend of gold and reddish brown colours as the unique characteristics of Palembang wood carving, the existence of ornamental variety as the ornamentation of Palembang wood carving. The aesthetic values of Palembang wood carving can also be explored through values contained in that artwork such as religious, cultural and historical values. The aesthetic values of Palembang wood carving on Al Quran Al Akbar are presented through its presentation built in the form of museum so that artwork becomes a monumental artwork namely the icon of religious tourism in Palembang.

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Takdir, Mohammad, Maksum Maksum, and Sinawar Sinawar. "The Economic Potential of Wood Carving Art and Its Marketing Strategy in Sumenep." Mudra Jurnal Seni Budaya 38, no. 2 (March 9, 2023): 188–98. http://dx.doi.org/10.31091/mudra.v38i2.2142.

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This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.

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Isahak, Muhammad Reduan, Raja Nafida Raja Shahminan, and Fadhlina Ahmad@Taufik. "ENHANCEMENT WOOD CARVING IN PRODUCING PREMIUM PRODUCT." Journal of Tourism, Hospitality and Environment Management 7, no. 27 (March 8, 2022): 58–68. http://dx.doi.org/10.35631/jthem.727005.

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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.

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Liang, Yan, and Zhenlun Qi. "Research on Innovative Design of Tourism Cultural and Creative Products from the Perspective of Huizhou Intangible Cultural Heritage Culture: Taking Wood Carving Patterns as an Example." Scientific and Social Research 3, no. 3 (September 30, 2021): 228–32. http://dx.doi.org/10.36922/ssr.v3i3.1189.

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With the increasing prosperity of tourism, the corresponding market demand for tourist souvenirs increases. From the perspective of intangible cultural heritage, this paper takes the wood carving, one of the three carvings in “Huizhou” as an example to explore the cultural and creative artistic value of wood carving tourism. As wood carving is an important embodiment of the inheritance and development of Chinese traditional culture, its artistic form and characteristics provide rich design elements for design, and has the most artistic expression and industrial prospect, the academic circles explore its creative ideas and carving patterns from wood carving, so as to obtain new artistic inspiration. Starting with the development of “Huizhou” characteristic cultural tourism creative products, the author combines Huizhou wood carving patterns with tourism cultural and creative design from the perspective of regional culture, so as to meet the development requirements of the new era, sublimate the traditional regional elements, and how to use different design methods to show regional culture in the design of tourism cultural and creative products, it’s worth thinking about.

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Pengxia, ZHANG. "On the Formal Characteristics and Cultural Attributes of Dongyang Wood Carving." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 2 (June 30, 2022): 070–74. http://dx.doi.org/10.53789/j.1653-0465.2022.0202.008.p.

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Dongyang wood carving is a local traditional handicraft art, and it is an important part of the cultural heritage of the Chinese nation. As a national intangible cultural heritage, the formal characteristics of Dongyang wood carving are worth sorting out and studying. Dongyang wood carving has careful conception and rich imagination in theme, and there are rich themes and alternate between vagueness and concretization in its’ techniques of expression. The form of Dongyang wood carving is often based on the line and the combination of line and surface, which forms the simple, extensive and powerful formal features. It is a necessary way to inherit and carry forward traditional handicrafts to explain the cultural attribute of Dongyang wood on the basis of sorting out the formal characteristics.

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Yahya, Ahmad, Engkos Koswara, Asep Rachmat, and Eidelweis Dewi Jannati. "MODIFICATION OF THE DUST COLLECTOR TOOL ON A 3 AXIS CNC ROUTER MACHINE FOR WOOD WORKING." Journal of Mechanical and Manufacture 2, no. 2 (May 18, 2023): 86–91. http://dx.doi.org/10.31949/jmm.v2i2.5306.

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Based on the results of research in Majalengka Regency, it was found that there were 200 semi-finished wood processing secondary industries, spread over 26 sub-districts with the type of wood used being dominated by teak, mahogany, these types of wood are used for semi-finished materials in the form of frames, doors, windows, cabinets, sideboard and chairs. There is also production of wood that is native to Indonesia, namely wood carving. Wood carving has its own uniqueness because it is a human creation based on an aesthetic sense according to what the human himself wants. Wood carving works of art are usually created using sculpting techniques. The creation of works of wood carving with the arrangement of elements so that meaningful elements are formed and one must have creative sculpting skills to produce works that are good, attractive and have meaning and high aesthetic value as well as being useful in people's lives.

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Sulaeman, Ardika. "Pengaruh Upah dan Pengalaman Kerja terhadap Produktivitas Karyawan Kerajinan Ukiran Kabupaten Subang." TRIKONOMIKA 13, no. 1 (June 28, 2014): 91. http://dx.doi.org/10.23969/trikonomika.v13i1.487.

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Background of this research was the low productivity of the employees of wood-carving in Subang district. This study therefore aimed to determine the effect of work experience and wage on employee productivity. The research was conducted on the wood carving business employees through observation of 134 people from 20 wood-carving companies in Subang district. The results of this study indicate that there are positive effects of wage and work experience to work productivity either partially or simultaneously.

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Awuni, Samuel. "Traditional Wood Carving and Contemporary Wood Sculpture in Ghana." Journal of African Art Education 3, no. 2 (December 30, 2023): 21–48. http://dx.doi.org/10.59739/jaae.v3i2.082302.

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

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Шевчук, Василь. "Teteriv Center of Wood Carving." Artistic Culture. Topical Issues, no. 14 (December 13, 2018): 72–78. http://dx.doi.org/10.31500/1992-5514.14.2018.151066.

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Dissertations / Theses on the topic "Wood-carving"

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Fortis, Paolo. "Carving wood and creating shamans /." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/523.

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Leverick, Robert Thomas. "Shaping wood/naming shapes /." Online version of thesis, 1990. http://hdl.handle.net/1850/11317.

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Jarillo, de la Torre Sergio. "Carving the spirits of the wood : an enquiry into Trobriand materialisations." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/245193.

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This thesis is a study of the role of material forms as mediators of cross-cultural encounters in the Trobriand Islands. It is based on eighteen months of ethnographic research in Kiriwina and other parts of the Massim region, Milne Bay Province, Papua New Guinea. The dissertation analyses previously overlooked material expressions in the form of woodcarvings for sale (tokwalu) to outsiders. Throughout the thesis, I demonstrate how Trobrianders conceive tokwalu as symbolic and material tools for the apprehension of what is becoming an increasingly de-territorialised universe. Woodcarvings are deployed as instruments of indigenous analysis and native agency in an attempt to establish and control the local-translocal flows that shape social life in the Massim. Despite early contact and their ongoing engagement with the wider world, the Trobriand Islands are commonly portrayed as a place where cultural resilience and the continuity of traditional models of livelihood prevail over social change. Yet like elsewhere in Melanesia, Trobrianders face the transformations effected by dynamic processes of cultural, social and economic globalisation impinging upon their region. Overpopulation, food security issues and the partial collapse of traditional hierarchical structures have elicited the assemblage of new relational networks to negotiate these transformations. Tokwalu are not fixed signposts in a predefined system of meaning but changing materialisations of contrasting images and intentions within these networks. They bring together traditional symbols and modern elements in an effort to remain commensurate with what outsiders expect from local carvings and what local carvers expect from outsiders. Vehicles of desires and aspirations, woodcarvings project Trobriand personhood and appropriate alterity as an ideal, modern other. Ultimately, towkalu are empowering artefacts for locals. They allow them to buy food, get healthcare, obtain education, increase their social prestige, enhance their mobility and fulfil customary and new obligations. This research places this native view of tokwalu at its centre to posit the necessity of considering material assemblages as processes of indigenous analysis and action in Melanesia, without which our understanding of these processes remains severely curtailed.

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Smith, Heather N. "Mestizaje as revealed in the dual nature of Oaxacan wood carving an honors project /." [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Smith_Heather.pdf.

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Mikolo, Yobo Christian. "Livelihood and income generation from the woodcarving trade in the Cape Town area of the Western Cape Province, South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2953.

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Thesis (MScFor) (Forest and Wood Science)--University of Stellenbosch, 2007.
While the contribution of non-timber forest products (NTFPs) in sustaining livelihoods of the poor is gaining global attention, the importance of woodcarving trade in sustaining the livelihoods of the poor people has been poorly researched. A study was conducted in Cape Town area of the Western Province, South Africa to assess the contribution of woodcarving trade to the livelihoods of the traders and the dynamics of the trade, and institutional constraints impacting on the development of the trade. A total of 61 traders in wood carving, as well as municipal authorities and key informants, were interviewed using structured questionnaires; note taking, personal observations, and in-depth interview based open-ended questions. The findings of the study revealed that the woodcarving trade is a highly male (69%) dominated activity. Most traders were married (55%) and most of the respondents (63%) fell within the active age group of 21-35 years. The wood carving trade was dominated by highly literate people with 66% and 25% having reached secondary and tertiary education, respectively. The study also revealed that “earning a living” represented the single most important factor (70%) that pushed people into the wood carving trade. Most traders (85%) did not own property but for those who owned property, 56% were South Africans followed by Zimbabweans (22%). The study showed that most of the woodcarving products arriving in the Western Cape come from the SADC region accounting for 78% of the products. Malawi (36%), Zimbabwe (30%) and Kenya (13%) are the main sources of the wooden crafts curio into the Western Cape woodcraft market. The study also found that Dalbergia melanoxylon from Zimbabwe (47%) and Malawi (16%) and Brachylaena huillensis from Kenya (47%) and Afzelia quanzensis from Zimbabwe (27%) represent the most traded wood species. The wood for carving was mainly accessed through intermediate agents (48%) and on site purchase (43%); and polishing represented the most important process (80%) of value adding compared to painting and shining. Personal cars (38%) and buses (36%) were the main means of transportation used compared to other forms of transport. It was shown that cost (48%) and customer based price (33%) represented the main pricing methods used by traders. Shop owners had an average income estimated at R 6, 450 and R 2, 692 in good and lean month sales, respectively. In addition, seasonality represented the single most important factor (56%) threatening the woodcarving industry and the livelihood of urban traders compared to factors such as quality of wood product (18%) and scarcity of the resource (10%). This study found that traders had difficulties accessing physical infrastructures (87%); social assets (50%) and human capital (74%). On the other hand, 62% of the traders did not seem to have problems accessing natural assets. As a livelihood strategy, traders also undertook multiple activities including sale of minor products as well as soliciting extra help from companions and/or hiring extra help during peak seasons. For the sustainability of the woodcarving trade in the Western Cape, there is a need for sustained, long-term management of wood species used for carving through domestication and use of alternative wood species. In addition, policies should promote: (i) integrated resource use that will ensure maximum utilisation of the wood from a single tree e.g. timber and wood carving, (ii) the culture of association and cooperation among traders, (iii) collaborative mechanisms involving all players from the forest and the tourism sector as well as the traders, (iv) secure traders’ livelihood assets, (v) an environment favourable to business venture’s expansion and growth through micro-finance and micro-credit schemes.

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Rodrigue, Maurice. "Moi, l'art et le mouvement." Thèse, Montréal : Université du Québec à Montréal, 1991. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1991.
Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 18. Document électronique également accessible en format PDF. CaQCU

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Fisher, Lizanne. "Big beaver : the celebration of a contemporary totem pole by Norman Tait, Nishga." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25388.

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In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings.
Arts, Faculty of
Anthropology, Department of
Graduate

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Wise, Heather M. "A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrow." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217379.

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This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

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Valle, Joan. "El comportament de la fusta i de l'arbre com a paradigma escultòric: estudi d'una mostra dels escultors que treballen amb tronc o amb biga a l'Estat espanyol (1959-1987)." Doctoral thesis, Universitat de Barcelona, 1988. http://hdl.handle.net/10803/585966.

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Freqüentment els escultors parlen tot emprant termes com "el llenguatge de la matèria” o "el respecte per la naturalesa dels materials" . Això passa especialment a una part dels escultors nascuts en la primera meitat del segle, encara que també fan servir aquestes paraules altres escultors més joves. Generalment, es parla de matèries i no de materials, en considerar que les matèries tenen un pes específic originat pel que hem anomenat comportaments propis i la seva utilització històrica, mentre que als materials els manca aquesta peculiaritat històrica: són generalment novedosos, molts d'ells d'origen industrial, i s'han incorporat a la pràctica escultòrica recentment. Diversos autors atribueixen a Brancusi l'origen de la proposta que estableix el respecte per les propietats de la matèria com a una característica de l'escultura moderna. Són molts els escultors que han partit d'aquest principi i han continuat elaborant el llenguatge de la matèria com un recurs escultòric, fins a l'actualitat. La proposta d'investigació parteix d'aquesta filosofia en que es considera la matèria com un agent, més que com un pacient; és a dir, com una entitat capaç de manifestar les seves peculiaritats. Pressuposem que, quan l'escultor escull la matèria amb un plantejament similar a l'exposat en el paràgraf anterior, és perquè ja té una actitud d'estima cap a ella, en la mesura que intenta valorar la peculiar idiosincràsia del suport escollit. Per tant, es considera que l'elecció de la matèria ja condiciona, o ve condicionada (indistintament) pel propòsit inicial, per la disposició vers l'escultura, pel món referencial, pel mètode de treball, pels procediments, i pels resultats. En la nostra recerca, i amb el fi de concretar més, hem delimitat la hipòtesi de treball de la manera següent: La utilització de la fusta en la pràctica escultòrica, des de la perspectiva del comportament, pressuposa l'assumpció del pes cultural i tradicional que ha acumulat aquesta matèria al llarg de la seva història; hi destaquen tres aspectes fonamentals: la percepció plàstica de la natura i de l'arbre; la participació dels components simbòlics, tradicionals o primitius implícits en les societats primàries i arcaiques; i el contacte directe amb la matèria, amb la conseqüent aplicació dels procediments artesanals. En la proposta inicial d'aquesta tesi tenim en compte el matis temporal regressiu que comporta aquesta pràctica, en la mesura que s'hi recullen aspectes derivats d'una dinàmica obsoleta, generalment relacionada amb cultures de tecnologia rudimentària i que tenen un contacte directe amb la natura.

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Thyne, Debbi. "Walls that speak creative multivocality within Tangatarua : a thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Master of Philosophy (MPhil), 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/781.

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This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

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Books on the topic "Wood-carving"

1

Books, Time-Life, ed. Wood carving. Alexandria, Va: Time-Life Books, 1996.

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America, Boy Scouts of, ed. Wood carving. 2nd ed. Irving, Tex: Boy Scouts of America, 2001.

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Sabol, David. Wood carving basics. Newtown, CT: The Taunton Press, 2008.

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Sabol, David. Wood carving basics. Newtown, CT: The Taunton Press, 2008.

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Sabol, David. Wood carving basics. Newtown, CT: The Taunton Press, 2008.

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Baldwin, Stephen P. Carving wood signs. Fort Myers, FL: SignCraft Pub. Co., 1990.

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Nasir, Abdul Halim. Traditional Malay wood carving. Kuala Lumpur: Dewan Bahasa dan Pustaka, Ministry of Education of Malaysia, 1987.

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Tangerman, E. J. Carving animals in wood. New York: Dover Publications, 1995.

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Tangerman, E. J. Carving birds in wood. New York: Dover Publications, 1993.

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Schnute, William J. High relief wood carving. New York: Sterling Pub. Co., 1985.

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Book chapters on the topic "Wood-carving"

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Ramulu, Devarakonda Raghu, Kondragunta Sri Rama Murthy, and Thammineni Pullaiah. "Sandalwood Wood Carving." In Sandalwood: Silviculture, Conservation and Applications, 49–66. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0780-6_4.

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Tohid, Suhaimi, Rafeah Legino, Ruzaika Omar Basaree, Ponirin Amin, and Rahman Amin. "Classification Design Motifs of Traditional Malay Wood Carving." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 55–63. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_6.

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Shi, Mingxiang, and Simin Ren. "A Study on Productive Preservation and Design Innovation of Taoyuan Wood Carving." In Cross-Cultural Design. Methods, Tools and User Experience, 203–14. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22577-3_14.

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Abiddin, Nur Irda Suriani Zainal, and Norwani Md Nawawi. "Decorative Elements of Traditional Wood Carving in Frieze Pattern on Terengganu Boats." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 21–30. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_3.

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Mujir, Mohd Shaleh, Rusmadiah Anwar, and Oskar Hasdinor Hassan. "Advanced Digital Design Prototyping for Manufacturing of Exclusive Wood Carving Furniture Products." In Proceedings of the Art and Design International Conference (AnDIC 2016), 291–97. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_32.

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Zhao, Guiling, Zongji Deng, Jun Shen, Zhaowen Qiu, and Jing Huang. "Three-Dimensional Reconstruction of Wood Carving Cultural Relics Based on CT Tomography Data." In Communications in Computer and Information Science, 462–71. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6385-5_39.

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Bird, Isabella L. "The Beauties of Nikkô—The Burial of Iyéyasu—The Approach to the Great Shrines — The Yomei Gate —Gorgeous Decorations—Simplicity of the Mausoleum—The Shrine of Iyémitsu—Religious Art of Japan and India —An Earthquake—Beauties of Wood-carving." In Unbeaten Tracks in Japan, 54–61. (Isabella Lucy), 1831–1904-Correspondence 3.Japan- Description and travel 4.Japan-: Routledge, 2019. http://dx.doi.org/10.4324/9781315788715-9.

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"Wood Carving." In Art and Architecture of Ireland Volume III: Sculpture 1600-2000. Royal Irish Academy, 2014. http://dx.doi.org/10.3318/978-1-908996-64-0.wood.

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"Jacob’s Wood Carving Manifesto." In Spring and a Thousand Years (Unabridged), 57. University of Arkansas Press, 2020. http://dx.doi.org/10.2307/j.ctvw1d5c3.34.

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"PALACES AND WOOD CARVING." In Malay Arts and Crafts, 33–52. Malaysian Branch of the Royal Asiatic Society, 2020. http://dx.doi.org/10.2307/j.ctv10rrcd2.11.

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Conference papers on the topic "Wood-carving"

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Jin, Haiming, Shanshan Jiang, and Yilei Chen. "Study on Fujian Wood Carving Art." In 7th Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211215.010.

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Kartono, Bambang, and Widyastuti. "Jepara Wood Carving In Industry 4.0 Era." In 1st International Conference on Intermedia Arts and Creative. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008527000830087.

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Tomar, Riya, and S. Natarajan. "Automated Wood Carving Profiling using Modified Autocollimator Setup." In 2024 International Conference on Emerging Systems and Intelligent Computing (ESIC). IEEE, 2024. http://dx.doi.org/10.1109/esic60604.2024.10481564.

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Song, Zhi-lai, and Chun-cheng Yu. "Tongshan Wood Carving Innovative Design Based on Kano Model." In Proceedings of the International Conference on Information Economy, Data Modeling and Cloud Computing, ICIDC 2022, 17-19 June 2022, Qingdao, China. EAI, 2022. http://dx.doi.org/10.4108/eai.17-6-2022.2322883.

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Zheng, Qian, and Zhixin Chen. "Attractive Quality and Creative Management of Dongyang Wood Carving." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.127.

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Harun, Makmur Haji, Mohd Kasturi Nor Abd Aziz, Nur Faaizah Binti Md Adam, Dian Cita Sari, and Nurul Azizah. "The style and creativity of southeast Asian calligraphy wood carving." In ADVANCES IN MATERIAL SCIENCE AND MANUFACTURING ENGINEERING. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0135205.

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Ahmedov, Muhomod-Umar, and Feruzaxon Xolmatova. "TEACHING STUDENTS TO DRAW ELEMENTS OF PATTERNS IN WOOD CARVING CIRCLES." In THEORETICAL AND PRACTICAL ASPECTS OF MODERN SCIENTIFIC RESEARCH. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-30.04.2021.v2.17.

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"On the Decorative Art Characteristics of Wood Carving in Sanyuan Chenghuang Temple." In 2020 International Conference on Social and Human Sciences. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000193.

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Salam, Sofyan, Tangsi, and Muhammad Saleh Husain. "Vocational Training on Wood Carving in Kete Kesu Village, North –Toraja Regency." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.072.

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Novita, Novita, Hasbi Amiruddin, Husaini Ibrahim, and Teuku Jamil. "Wood Carving Motifs On Traditional Aceh Houses In Delima District (Pidie, Indonesia)." In Proceedings of the 3rd International Conference on Economic and Social Science, ICON-ESS, 17–18 October 2018, Banda Aceh, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.17-10-2018.2294159.

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