To see the other types of publications on this topic, follow the link: Wood-carving.
Journal articles on the topic 'Wood-carving'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Wood-carving.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Ismail, Noor Hafiza, Hamdzun Haron, and Narimah Abd. Mutalib. "Wood Carving on Mosque’s Pulpits in Terengganu: A Study of Wood Carving Design Motifs." Journal of Social Science and Humanities 4, no. 3 (June 15, 2021): 8–13. http://dx.doi.org/10.26666/rmp.jssh.2021.3.2.
Full textAbstract:
A mosque is one of the many respected places of praying for the Muslims. It is one of rendezvous used by the Muslims for religious occasion like sermons, meetings and more. Nations around the world each has their own design to the pulpit of the mosques, basing on their own culture and ethnicity. Terengganu is one of the states in Malaysia that has possession a variety of unique and interesting carvings on a mosque’s pulpits. The question now is what are the motifs used in the wood carvings of the mosques’ pulpits in Terengganu? In explaining the answer, qualitative description was used to acquire accurate information. Interviews and observations were also used to enhance the data acquired from both primary and secondary sources. The research found that each of the designs produced used a variety of motifs that had both written and non-written messages. The products of these wood carvings are evidence of the Malay’s craftsmanship that should be preserved. It is hoped that this research would provide information to the public of the importance of preserving cultural heritage that gave identity to an ethnicity.
12
Absamatovich, Rasulov Murad, and Abdurashidkhonova Muslimahon Bahodirhon qizi. "WORKS OF ART PICTURED IN WOOD." Frontline Social Sciences and History Journal 02, no. 04 (April 1, 2022): 206–12. http://dx.doi.org/10.37547/social-fsshj-02-04-23.
Full textAbstract:
About the stages of creation of wood carving, which is a type of applied art. This article gives an idea of where the art of wood carving has been used in our country since ancient times, the history of their development.
13
Adityatama, Ida Bagus Sedana, and Made Heny Urmila Dewi. "PENGARUH KURS DOLLAR AMERIKA, KUNJUNGAN WISATAWAN, LAMA MENGINAP WISATAWAN, DAN RATA-RATA PENGELUARAN WISATAWAN TERHADAP EKSPOR KERAJINAN UKIRAN KAYU DI PROVINSI BALI." E-Jurnal Ekonomi Pembangunan Universitas Udayana 11, no. 7 (September 2, 2022): 2723. http://dx.doi.org/10.24843/eep.2022.v11.i07.p10.
Full textAbstract:
Bali Province is one of the tourist destinations and there are also many wood carving crafts. The export level of wood carving handicrafts in Bali Province has fluctuated every year, the fluctuating export value of wood carving crafts is due to global economic conditions. This research was conducted in Bali Province. The type of data used is quantitative data with secondary data. Data collection was carried out through non-participant observation methods, which came from books, records and reports from related sources or agencies, namely the World Bank, the Bali Provincial Statistics Agency, the Bali Provincial Tourism Office, and the Bali Provincial Industry and Trade Office. The analysis technique used is multiple linear regression using time series data from 1996-2019. The results of data analysis show simultaneously the US dollar exchange rate, tourist visits, length of stay of tourists, and the average tourist expenditure have a significant effect on the export of wood carving handicrafts in Bali Province. Partially, the US dollar exchange rate and the length of stay of tourists have a negative effect, but tourist visits and the average tourist expenditure have a positive and significant effect on the export of wood carving handicrafts in Bali Province.
Keywords: Export, US Dollar Exchange Rate, Tourist Visit, Long Stay of Tourists, Average Tourist Expenditure
14
Syafar, Syafril. "ANALISIS STR ATEGI PEMASARAN KERAJINAN UKIR KAYU NANGKA UNTUK MEMASARKAN PRODUK DI PASAR DOMESTIK PADA UKIR KAYU RADHA." Jurnal Teknik Industri Terintegrasi 3, no. 2 (January 4, 2021): 23–27. http://dx.doi.org/10.31004/jutin.v3i2.1349.
Full textAbstract:
In the era of development, industrial competition will be increasingly fierce, competition of the cosmetic market will provide opportunities and threats for local companies, carving art is one of Indonesia's traditional arts that holds various values. This research was conducted at Radha wood carving located at Gmp3 Mustamindo. The method used is a SWOT analysis, SWOT analysis is one method for describing conditions and evaluating a project problem or business concept based on internal factors (inside) and external factors (outside) Namely strengths, weaknesses, opportunities and threats, Analysis used to compile the factors of the company's strategy, as a result of handicrafts, radha wood carving art is very influential on the supporting community both in interacting and communicating, because this craft takes the form of a variety of letters, names and so forth. wood crafts are also often viewed as home decorations and key chains that are unique and attract attention for teenagers and children. product excellence and good service to customers, so the opportunity creates customer loyalty to the product. Radha wood carvings also always try to make new design innovations so that customers remain interested and provide comfort to their customers. The obstacles facing the Radha wood carving are capital problems, scarcity of raw materials and competition from within the country.
15
Rahayu Adi Prabowo. "MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu." Jurnal Budaya Nusantara 4, no. 2 (June 30, 2021): 276–86. http://dx.doi.org/10.36456/b.nusantara.vol4.no2.a4057.
Full textAbstract:
The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs.
One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.
16
Rahayu Adi Prabowo. "MOTIF TRADISI GAYA SURAKARTA Eksistensi Dan Pengembangannya Pada Ukir Kayu." Jurnal Budaya Nusantara 4, no. 2 (June 30, 2021): 276–86. http://dx.doi.org/10.36456/jbn.vol4.no2.4057.
Full textAbstract:
The existence of a wealth of ornament in Nusantara is a challenge in terms of recognition and learning. One important element is that learning can be accepted and understood easily so that the empowerment and development of traditional motifs, especially the Surakarta style, will experience development. Traditional motifs come from classical art or primitive art, but after receiving certain treatments, their benefits are preserved to meet needs, especially in terms of aesthetic needs. One of the motifs that are often found is those applied to wood craft products (wood carvings). The wood carving motifs in Indonesia have a rich variety of styles. The various forms of carving motifs each have their own characteristics according to the region. Like the Surakarta style carving motif, which is the focus of this study, it is known to have a strong and distinctive character that is needed by a series of actions in the framework of its preservation and development. To recognize or learn the characteristics and application of Surakarta-style wood carving, it is necessary to have a mature and structured visual identification so that it is able to present good and correct information. The identification in this study uses the interpretive description method with the enrichment of the hermeneutic approach. This method approach is expected to find a result of the focus of the discussion, namely the characteristics of the Surakarta-style carving motifs applied by the craftsmen and discovering the grooves and patterns of new Surakarta-style carving motifs.
17
Andersson, Jan-Erik, and Gert Johansson. "Robot control for wood carving operations." Mechatronics 11, no. 4 (June 2001): 475–90. http://dx.doi.org/10.1016/s0957-4158(00)00029-5.
Full text
18
Austen, Kat. "A carving studio in the wood." New Scientist 214, no. 2871 (June 2012): 47. http://dx.doi.org/10.1016/s0262-4079(12)61701-1.
Full text
19
Ardiwijaya, Iqbal, Rini Indriati, and Muhammad Najibulloh Muzaki. "Sistem Rekomendasi Pemilihan Kayu Untuk Kerajinan Ukir Indoor dan Outdoor." Jambura Journal of Electrical and Electronics Engineering 3, no. 2 (July 8, 2021): 94–100. http://dx.doi.org/10.37905/jjeee.v3i2.10944.
Full textAbstract:
Peminat kerajinan dan pengrajin seni ukir masih banyak yang belum memahami kriteria kayu sesuai kebutuhan yang diinginkan. Ketidakpahaman dalam pemilihan kayu yang tepat sangat mempengaruhi kualitas dan kepuasan peminat kerajinan. Jenis kerajinan ukir sendiri dapat dibedakan menjadi 2 yaitu untuk indoor dan outdoor. Kerajinan ukir indoor adalah kerajinan yang diletakkan di dalam ruangan seperti ruang tamu, ruang keluarga, atau di dalam ruangan lainya sedangkan untuk kerajinan outdoor adalah kerajinan ukir yang biasa diletakan di luar ruangan seperti gazebo, joglo, taman, di pantai, teras bagian luar dan lainya. Untuk membantu pengrajin kayu dalam pemilihan kayu untuk kerajinan ukir yang diinginkan maka di butuhkan sebuah sistem atau perhitungan matematis diharapkan memudahkan pengrajin dalam menentukan kayu sesuai kebutuhan peminat kerajinan dan memberi kemudahan dan kepuasan pada peminat kerajinan itu sendiri. Untuk itu, penelitian ini menggunakan metode Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). Tahapan yang dilakukan dalam penelitian ini adalah analisa dan pengumpulan data, penerapan metode, implementasi, dan pengujian. Menentukan kriteria seperti jenis kayu, sifat fisik kayu, kekuatan kayu, harga, berapa lama kayu bertahan, dan juga beberapa alternatif. Dalam penelitian ini, menghasilkan beberapa hasil rekomendasi kayu yang paling mendekati sesuai keinginan peminat kerajinanThere are still many craft enthusiasts and carving craftsmen who do not understand the criteria for wood according to the desired needs. Misunderstanding In choosing the right wood, it can affect the quality and satisfaction of craft enthusiasts. Types of carving crafts themselves can be divided into 2, namely for indoor and outdoor. Indoor carving crafts are crafts that are placed in rooms such as living rooms, family rooms, or in other rooms while outdoor crafts are carving crafts that are usually placed outside such as gazebos, joglos, gardens, on the beach, outside terraces and others. To help craft enthusiasts and wood craftsmen in selecting wood for the desired carving craft, a mathematical system or calculation is needed, which can make it easier for craftsmen to determine wood according to the needs of craft enthusiasts and provide convenience and satisfaction to the craft enthusiasts themselves. This research uses a method Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). The stages in this research are data analysis and collection, method application, implementation, and testing. Determine criteria such as wood type, physical properties of wood, wood strength, price, how long the wood lasts, and also several alternatives. In this study, produced several recommendations for wood that are closest to the wishes of craft enthusiasts.
20
Luo, Ming, and Su Liu. "A Survey on the Status Quo of the Wood Carving Art of the Confucius’ Temples in Hunan Province." Advanced Materials Research 424-425 (January 2012): 1139–43. http://dx.doi.org/10.4028/www.scientific.net/amr.424-425.1139.
Full textAbstract:
Through researching more than 20 existing Confucius’s Temples in Hunan Province, this article analyzes the status quo and cultural connotation of the wood carving art of the Confucius’ Temples in Hunan Province. This survey clearly reveals the artistic features of the wood carving art of Hunan Confucius’ Temples: emphasizing romantic charms, employing concise techniques, modeling through lines and symbolizing shapes adjusting to materials. Also three specific measures are put forward in this paper to protect these artistic treasures.
21
Gaipova, Mukhayo. "THE ROLE OF THE REPRESENTATIVE OF THE DYNASTY IBRAGIMOVS IN THE DEVELOPMENT OF THE TASHKENT WOOD CARVING SCHOOL." JOURNAL OF LOOK TO THE PAST 4, no. 10 (October 30, 2021): 53–58. http://dx.doi.org/10.26739/2181-9599-2021-10-6.
Full textAbstract:
This article analyzes the specific methods and directions of wood carving in Tashkent. In addition, the activities of the schools of Tashkent, Ferghana, Bukhara, Samarkand and Khiva were studied in the schools of wood carving and decorative arts of Uzbekistan. These schools share many technical, methodological, and compositional similarities as well as differences.On its basis, the technical, methodological and compositional aspects of the Tashkent school and the activities of representatives of the Ibragimov dynasty were comprehensively studied
22
Macchioni, Nicola, Lorena Sozzi, and Giovan Battista Fidanza. "The Relationship between Carving Work and Timber Features: A Database for the Italian Wooden Statuary." Forests 13, no. 4 (March 27, 2022): 517. http://dx.doi.org/10.3390/f13040517.
Full textAbstract:
Wood has a wide range of applications in the artistic field, most of the time used as a support for works of art, for example, in panel paintings. Compared with stones and metals, wood is by far the material most utilised for sculptures. Through the identification of wood species, a study of timbers used in statuary in Europe, with a deeper exploration of the works of art preserved in Italy, can provide further insights for historical–artistic studies. Indeed, in reality, generic wood does not exist, but there are different timbers. This is a notion that the wood fine carving artists/craftsmen knew well. The initial idea of this study was to verify whether timber features could influence the formal results in figurative carving; therefore, a specific database that had been developed to catalogue the carving works was used for which the identification of wood species was carried out through reliable methodologies. The aim of this research was to analyse the relationship between the timber species used in statuary, the formal results of carving, and the thickness of the preparatory layer, through the data stored in a specific database, called ArISStArt. It contains a sort of registry of artistic carving and inlay works: For each artefact, a record was compiled consisting of different fields, which contains the historical–artistic information available, including the images of the artefact and also types of timber/s used for its creation, with a link to the relative field. The number of the recorded artefacts is, at present, 480. On most of the artefacts, more than one sample was taken; therefore, the total number of identifications carried out corresponds to 691. Based on the results, the vast majority of wooden statuary is carved from hardwoods, more specifically hardwoods, with diffuse porosity and small variations in density within the growth ring. The timber most present is poplar, followed by lime and walnut. With the listed three timbers, almost 80% of the artefacts recorded in ArISStArt were created.
23
Green (Ngāti Porou, Ngāti Wairere), Wiremu T. "Carving a contemporary replica of the 1769 ‘Joseph Banks’ panel using pre-steel tools: reviving a traditional Māori carving technique." Journal of Material Culture 25, no. 1 (July 23, 2019): 108–29. http://dx.doi.org/10.1177/1359183519860230.
Full textAbstract:
In this article, the author explores previously lost techniques and practices associated with reproducing a New Zealand Māori wood carving of a poupou (panel) that was collected by Joseph Banks in October 1769 from a partly-constructed house on Pourewa Island, Tolaga Bay (Ūawa), North Island. The original poupou, a rare Māori artefact that pre-dates European influence, is curated today in the University Museum, Tübingen. A conference in Oslo, Norway, in 2014, provided the author, a tohunga whakairo (master carver), with the opportunity to demonstrate the use of Māori pre-steel tools, notably pounamu (greenstone) and argillite toki (adzes), greenstone and toroa whao (albatross bone chisels), and hardwood tā (carving mallets). The unique, historically inspired and practice-led empirical research undertaken in carving the poupou has helped to recover previously lost indigenous wood-carving knowledge. The replica poupou, carved in totara ( Podocarpus totara) and coated in kokowai (ochre), was subsequently completed at, and donated to, the Captain Cook Birthplace Museum in Middlesbrough, UK. The empirical approach to this research required detailed analysis as well as experimental archaeology and ethnography. The carving of the poupou honours the legacy of one of the most famed Māori carving centres and traditional higher schools of learning of pre-European times, namely Te Rāwheoro.
24
Lungu, Antonela, Mihai Ispas, Luminiţa-Maria Brenci, Sergiu Răcăşan, and Camelia Coşereanu. "Comparative Study on Wood CNC Routing Methods for Transposing a Traditional Motif from Romanian Textile Heritage into Furniture Decoration." Applied Sciences 11, no. 15 (July 22, 2021): 6713. http://dx.doi.org/10.3390/app11156713.
Full textAbstract:
This paper presents experimental research on the Computer Numerical Control (CNC) routing of a traditional motif collected from Ţara Bârsei (Transylvania region) using two methods, namely, engraving (Engrave) and carving (V-Carve). The analysis of the CNC router processes includes the calculation of the path lengths, an assessment of the processing time and wood mass loss, and an evaluation of the tool wearing by investigating the tool cutting edge on a Stereo Microscope NIKON SMZ 18 before and after processing the ornament on wood. An aesthetic evaluation of the ornament routed on wood, using both the engraving and carving methods, is also conducted, whilst a microscopic analysis of the processed areas highlights the defects that occurred on the wood surface depending on the tool path.
25
Dobrovolschi, Oleg. "Tools and Machines for Carving in Wood." Dialogica. Revistă de studii culturale și literatură, no. 1 (April 2024): 87–93. http://dx.doi.org/10.59295/dia.2024.1.11.
Full textAbstract:
In this article, the properties and working methods of the tools and machines for wood carving are analyzed, starting with the simplest and primitive tools for processing materials up to the most complex machines. Wood is one of the oldest materials practiced in sculpture, and the following traditional tools are used for its processing: chisels, hammers, saws, abrasives. Along with the development of the industrial era, tools and machines for processing materials also developed. Therefore, it is found that the use of both traditional and modern utensils provides an opportunity to bring out the shape, texture, color and beauty of the sculpture. The working tools chosen by the artist, whether simple or complex, depend on the material used to make the work. This dependence has contributed to the development and modernisation tools and machinery for processing the materials used in sculpture, with the discovery and increasing knowledge of the ideational value offered by the material, be it clay, wood, stone, metal or unconventional materials.
26
Lisboa, Pedro L. B. "Notes on South American Cedar (Cedrela Fissilis) in The Sacred Art of Brazil." IAWA Journal 15, no. 1 (1994): 47–50. http://dx.doi.org/10.1163/22941932-90001341.
Full textAbstract:
The use of cedar (most probably Cedrela fissilis Vell.) in Brazilian sacred art is discussed. A wood anatomical description and an account of wood properties that make this now almost depeleted tropical heartwood so suitable for wood carving, are given.
27
Hudaidah, Hudaidah, Lilis Trianti, and Lisa Rukmana. "MAKNA FILOSOFIS MOTIF SENI UKIR REK PALEMBANG." Panggung 33, no. 4 (December 1, 2023): 539. http://dx.doi.org/10.26742/panggung.v33i4.2921.
Full textAbstract:
The wood carving motifs of Palembang, known as “rek,” have been a traditional craft since the era
of Srivijaya and continue to endure to this day. This craftsmanship holds high philosophical values
influenced by Hindu-Buddhist and Islamic cultures. Its uniqueness lies in the predominant use of golden
yellow color, and its carvings are exceptionally distinctive. The purpose of this writing is to unveil the
philosophical meanings embedded in the motifs of Palembang’s wood carvings. The central issue is to
explore the philosophical meanings of these motifs in Palembang’s wood carvings. This study employs a
historical research method, with heuristic, source criticism, interpretation, and historiography steps. The
tradition of wood carving art exhibits distinct characteristics and the uniqueness of various motifs, each
carrying different philosophical values. The research findings indicate that the various motifs found in
Palembang’s wood carvings hold profound philosophical meanings. For example, the motif of budding
bamboo shoots symbolizes that humans should be beneficial to others, and the golden color represents
triumph. Therefore, it is crucial to preserve this heritage for the younger generation so that they can
develop an appreciation for their local culture, strengthen personal values, and enhance their identity,
and self-awareness.
Keywords: Philosophical Meaning, Motif, Wood Carving, Typical of Palembang
28
Ni Putu Laras, Purnamasari. "Aesthetic Characters of Flora and Fauna Painting Art Pengosekan on Visual Objects Wood Carving Craft Arts in Singakerta Village, Ubud." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 254–60. http://dx.doi.org/10.31091/mudra.v39i2.2777.
Full textAbstract:
Along with the heyday of Pengosekan flora and fauna painting in the 1990s, the aesthetic character of painting was attached to the art of wood crafts in Singakerta Village, Ubud. This aesthetic character can be seen from the visual style of creating flora and fauna objects as well as the finishing of wood carving crafts, which reveal images of typical Pengosekan flora and fauna paintings. This research specifically identifies the background and supporting factors for the visual language representation of Pengosekan flora and fauna painting objects in the art of wood carving that developed in Singakerta Village, Ubud. This research is qualitative research, using aesthetic theory and representation theory as analytical tools. The results of the research show that the aesthetic character of Pengosekan flora and fauna paintings is represented in wood carving craft products, in terms of theme, color, shape and visible lines. The representation that occurs is influenced by creativity in order to follow market trends that were developing at that time, as well as the economic motivation of the craftsmen to improve their welfare. The imagery of Pengosekan flora and fauna painting, which is attached to the art of wood carving, has indirectly helped the dynamic existence of this painting art. The representation of the art of painting in crafts is a dynamic that occurs in the development of the art of painting. The practice of indirect representation also shows something that is very important and positive in maintaining the existence of the art of painting itself, even though the visualization is slightly different because it is caused by several factors.
29
Krishna Pillai, Salini, Nur Iksan, Harleny Abd Arif, Ismail Yusuf Panessai, Azmi Shawkat Abdulbaqie, Achmad Yani, and Ismail. "Kemudahan Penggunaan Augmented Reality sebagai Alat Bantu Pembelajaran Online bagi Meningkatkan Kinerja dan Prestasi Siswa Dalam Seni Ukiran Kayu." Journal of Engineering, Technology, and Applied Science 3, no. 2 (August 28, 2021): 48–57. http://dx.doi.org/10.36079/lamintang.jetas-0302.256.
Full textAbstract:
Krisis global pasca merebaknya epidemi Covid-19 berdampak pada proses belajar mengajar (PdP). Masalah utama pdP selama epidemi Covid-19 adalah keterbatasan dalam melakukan kegiatan tatap muka di dalam kelas. Oleh karena itu, diperlukan bantuan pembelajaran agar PdP dapat berjalan optimal meskipun tidak ada interaksi tatap muka antara guru dan siswa. Penelitian ini menyoroti penerapan Augmented Reality untuk mendukung pembelajaran jarak jauh dalam situasi epidemi Covid-19, khususnya dalam topik seni ukiran kayu. Aplikasi selular AR Wood Carving Art menggunakan model desain ADDIE. Aplikasi seluler AR Wood Carving Art dievaluasi berdasarkan kegunaannya (ease of use). Berdasarkan hasil penelitian, responden menyetujui bahwa aplikasi selular AR Wood Craving Art berguna dan aplikasi menghemat waktu ketika pengguna menggunakannya sehingga aplikasi selular AR Wood Craving Art efektif digunakan dalam pembelajaran yang membuat pengguna lebih produktif, kreatif, dan inovatif.
30
Supriyatna Marizar, Eddy, Maitri Widya Mutiara, and Agustinus Purna Irawan. "Development of wood carving furniture technology in Jepara." IOP Conference Series: Materials Science and Engineering 852 (July 21, 2020): 012146. http://dx.doi.org/10.1088/1757-899x/852/1/012146.
Full text
31
Denan, Zuraini, Noor Hanita Abdul Majid, and Norazah Arifin. "Ingenious Malay Wood Carving as Daylight Filtering Devices." Procedia - Social and Behavioral Sciences 201 (August 2015): 182–90. http://dx.doi.org/10.1016/j.sbspro.2015.08.167.
Full text
32
Ciulla, Joanne B. "Carving Leaders From the Warped Wood of Humanity." Canadian Journal of Administrative Sciences / Revue Canadienne des Sciences de l'Administration 18, no. 4 (April 8, 2009): 313–19. http://dx.doi.org/10.1111/j.1936-4490.2001.tb00266.x.
Full text
33
Vorobyov, Fedor, and Ksenia N. Poznyakova. "Wood Carving Is The Territory Of My Creativity." Педагогические технологии, no. 4 (2022): 88–95. http://dx.doi.org/10.52422/2782-635x-2022-4-88.
Full text
34
Fang, Xuebing, Lili Li, Yi Gao, Niu Liu, and Liangsong Cheng. "Expressing the Spatial Concepts of Interior Spaces in Residential Buildings of Huizhou, China: Narrative Methods of Wood-Carving Imagery." Buildings 14, no. 5 (May 14, 2024): 1414. http://dx.doi.org/10.3390/buildings14051414.
Full textAbstract:
In the interiors of ancient Huizhou buildings in China, a profusion of wood carvings are employed for decoration, with traditional research interpreting their function from decorative and aesthetic perspectives. However, this research suggests that the role of Huizhou wood carvings in interior spaces surpasses mere decoration; they enhance the expression and experience of spatial concepts through narrative imagery. By analyzing the mechanism and intrinsic logic behind the spatial concepts formed in Huizhou residential buildings, this study investigates how wood-carving imagery contributes to shaping spatial concepts through narrative techniques, as well as their creativity and expressiveness in architectural design. Utilizing literature reviews, field surveys for case selection, and case analysis methods combined with observation, interviews, and measurements, this research ultimately employs image analysis to interpret the narrative structures and styles of wood-carving imagery in detail. This study reveals that (1) the spatial concepts of Huizhou residential buildings are influenced by traditional thought, social culture, and other factors, leading to an interweaving of material, cultural, and social spaces that results in a spatial concept characterized by harmony between heaven and humanity, clear hierarchy, and orderliness; (2) Huizhou wood-carvings, through their narrative images, actively engage in the production of spatial concepts, employing thematic juxtaposition narrative modes and utilizing singular-scene narration, composite-scene narration, and cyclical narration to articulate these concepts. These findings significantly deepen our comprehension of the relationship between the spatial concepts of Huizhou’s traditional residential architecture and social culture. By integrating cultural elements with spatial production theory, this research addresses the limitations of existing studies and augments their theoretical interpretative power. Additionally, clarifying the connection between the cultural elements of wood-carving imagery and the formation of spatial concepts offers a novel perspective on the study of Huizhou wood carvings, moving beyond their longstanding categorization as purely decorative elements.
35
Putra, Okta Andrica. "Pengembangan Produk Ukir Berbasis 3 Dimensi untuk Mesin CNC." Jurnal KomtekInfo 7, no. 4 (December 21, 2020): 293–301. http://dx.doi.org/10.35134/komtekinfo.v7i4.91.
Full textAbstract:
A development has been carried out on carving Minangkabau motifs using a CNC machine by making 3D designs using aspire vector 8.5 software. The examiner was carried out on three Minangkabau motif carvings, namely kaluak nails, itiak back patang and aka cino saganggang. Tests were carried out with a work media size of 25cm x 15cm made of multiplex, MDF and wood. The average time for kaluak nail carving is 40 minutes, while the manual for beginner carvers is 2 to 3 months. For the spelling of carving itiak back in time the average time needed is 15 minutes, if done manually for beginners it takes 1 month, and for Akkino Saganggang carving work it takes an average of 25 minutes, if done manually for 1 to 2 months.
36
Chrisswantra, Freddy. "JEPARA WOOD CARVING AND THE CULTURAL INFLUENCES OF THE NUSANTARA MARITIME SPICE ROUTE." Serat Rupa Journal of Design 5, no. 2 (July 29, 2021): 254–69. http://dx.doi.org/10.28932/srjd.v5i2.3786.
Full textAbstract:
The increasing need for spices in the world triggers various expeditions to find sources of spices in the world. The activity of searching for the origin of these spices gave birth to international trade systems and routes. The emergence of this spice route resulted in the emergence of trading ports which became the forerunner to the emergence of new kingdoms. Jepara was one of the kingdoms that emerged because it had a port in a strategic area on the spice trade route. The hustle and bustle of trading activities in Jepara also affects the social life of the Jepara people who have long been known for their carving skills. Traders who come from various parts of the country and abroad open up opportunities for cultural mixing, which has an impact on culture, expertise, and the application of patterns in the art of Jepara wood carving. In this paper, the researcher tries to mitigate the development and influence of acculturation brought by foreign traders with a historiography method to make it easier to read the impact of the maritime spice route on the development of carving in Jepara. The results of this study shows the application of various wood carving motifs to various artifacts as a result of the influence of the mixed culture in Jepara at that time.
37
Robinson, Seri C. "Cultures of Spalting." Encyclopedia 2, no. 3 (July 25, 2022): 1395–407. http://dx.doi.org/10.3390/encyclopedia2030094.
Full textAbstract:
Wood decayed and colored by fungi, colloquially known as ‘spalted wood’, has been a source of art and folklore across numerous cultures. From intarsia and marquetry in Italy and Germany to woodturning in the U.S. and carving and mythology in Chile, the uses of, and stories about, spalted wood are explored, as well as how those have shaped their surrounding cultures as well as modern science.
38
Ye, Jing, and Chen Zhang. "Research on the Application of Chaozhou Gold Lacquered Wood Carving 'Shrimp and Crab Basket' in Traditional Architectural Design." Transactions on Social Science, Education and Humanities Research 4 (March 12, 2024): 25–31. http://dx.doi.org/10.62051/xkj4s376.
Full textAbstract:
Chaozhou gold lacquered wood carving, as an outstanding representative of traditional Chinese crafts, holds a unique position in the field of traditional Chinese architectural art due to its exquisite craftsmanship and profound cultural heritage. This paper focuses on the 'Shrimp and Crab Basket' element, showcasing its significant achievements at both technical and cultural levels. Through in-depth literature research and investigation of lacquer craftsmanship, this study explores the historical background and craft characteristics of Chaozhou gold lacquered wood carving, with a particular emphasis on the importance of the 'Shrimp and Crab Basket' in this tradition. The paper also examines the unique features of Chaozhou traditional architectural decorative art, providing a rich context for understanding the application of the 'Shrimp and Crab Basket' in the field of architecture. It specifically analyzes examples of the 'Shrimp and Crab Basket' in various traditional Chaozhou buildings, revealing its functional and symbolic significance in architectural design and discussing how to innovate artistically while respecting tradition. Ultimately, the paper summarizes the important role of the 'Shrimp and Crab Basket' in traditional Chaozhou architectural design and looks forward to its potential applications in future architectural design. This research not only deepens the understanding of Chaozhou gold lacquered wood carving art but also offers a new perspective on the application of traditional crafts in modern architectural design.
39
Ariputra, I. Gusti Ngurah Bagus, and I. Ketut Sudiana. "Effect of capital, manpower and raw materials on production and income of ukir kayu crafts industry." International research journal of management, IT and social sciences 6, no. 5 (September 17, 2019): 261–66. http://dx.doi.org/10.21744/irjmis.v6n5.743.
Full textAbstract:
The purpose of this study was to analyze the effect of capital, labor, and raw materials on production in the ukir kayu industry in Sukawati District, Gianyar Regency. The data analysis technique used in this study is path analysis. Capital, labor and raw materials directly have a positive and significant effect on production in the wood carving industry in Sukawati District, Gianyar Regency. Capital, labor, raw materials and production directly have a positive and significant effect on income in the carving woodwork industry in Sukawati District, Gianyar Regency. Capital, labor, and raw materials have an indirect effect on income through the value of production in the carving woodwork industry in Sukawati District, Gianyar Regency.
40
Haryanto, Eko, Mujiyono Mujiyono, and Nadia Sigi Prameswari. "Jagad Raya: Representation of Flora and Fauna in Wooden Craft From A Cosmological Perspective." Gondang: Jurnal Seni dan Budaya 7, no. 1 (June 11, 2023): 93. http://dx.doi.org/10.24114/gondang.v7i1.47582.
Full textAbstract:
The art of teak wood carving was one of the leading export commodities, especially wood carvings with flora and fauna motifs. Javanese culture and Hindu mythology influenced the flora and fauna motifs, so they had their meanings. This research aimed to develop carvings of flora and fauna motifs inspired by classic batik motifs using wood media. The results showed that the media used was teak wood with a finishing process without painting to produce a natural color. It was adjusted to its function and use in creating teak wood carvings. Wood carving did not only function to be enjoyed for its aesthetic value but as a decorative and sacred medium where each motif influences one's beliefs when creating artwork. In addition, teak wood carvings were used as symbols of a culture, and the designed motifs often contained the meaning of teachings to humans in carrying out life. Based on the economic aspect, the teak woodcarving industry strategically improved the community's income, especially for craftsmen in tourism centers. By making woodcarving crafts with flora and fauna motifs, it hoped that woodcarving crafts would not only use as decorative objects, but it used as an educational media for fine art, history, and Javanese culture, which were full of meaning to the broader community so that they could increase knowledge and encourage people to behave following the concept of cosmology.
41
Faisal, G., and Y. Firzal. "Chinese-Malay wood carving: the Kapitan house at Bagansiapiapi." IOP Conference Series: Earth and Environmental Science 452 (May 14, 2020): 012059. http://dx.doi.org/10.1088/1755-1315/452/1/012059.
Full text
42
Muhammad, Siti Aisyah, and Normaisarah Mohd Rosdi. "Ingenuity Incision in Traditional Malay Wood Carving Calligraphy Motif." BIO Web of Conferences 73 (2023): 05018. http://dx.doi.org/10.1051/bioconf/20237305018.
Full textAbstract:
Malay woodcarvings are an ornament that symbolizes the identity and creativity of the Malay community at the house or palace. The difference will be in the design complexity and the number of ornaments used to decorate the palaces. Motif is considered one of the primary elements behind the creation of woodcarving and is included visually in various arts and crafts categories. Thus, the purpose of this study was to present an analytical study to investigate the visual forms of calligraphy motifs on the ornamentation wood carving at Istana Tengku Long, Terengganu. The study utilized the qualitative methodology in collecting data besides the field study at the selected palace and in-depth interviews with related persons. The Fractal Dimension Analysis (FDA) was applied to measure the complexity of the intricacy of the calligraphy panel. The finding indicated that the Islamic belief in the daily activities and local culture has assimilated to produce such intricate calligraphy motifs in Istana Tengku Long. The combination was carved in two compositions together with relief which, non-relief forms and floral motifs were the types of motifs that dominated the woodcarving at Istana Tengku Long. The Quranic verse of the calligraphy motifs gives the implied meaning to the royalty status and socio-culture of the Malay during that period. The knowledge gained from the study presents the Malay royalty's belief that the verses would influence their daily life and the palace as a place of residence. This study will contribute to the understanding of cultural assimilation and its impact on the architectural component revolution, specifically the ornamentation of the building. Preserving the calligraphy motif with indigenous incision shows the sustainability of Malay craftsmanship in wood carving. It emphasizes the inheritance of the aesthetic ornamentation in the traditional timber palaces in Malaysia that potentially involved heritage tourism and education prospects.
43
Xiong, Xue Yu, and Zhao Yang Su. "Features and Current Damaged Situation of Hui-Style Architecture." Advanced Materials Research 838-841 (November 2013): 2905–9. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2905.
Full textAbstract:
As the key element of Huizhou culture, Hui-style architecture is one of the masterpieces of Chinese ancient architectures. The Hui-style architecture was highly praised by architecture masters both at home and abroad because of its phenotypic features, such as black tiles, white wall, and horse-like wall; its decoration features, such as tile carving, wood carving, stone carving; and its living features, such as high house, deep well, large lobby. Since most of the Hui-style architectures were built long time ago, had not been repaired for many years, as well as influenced by different kinds of natural hazards, the Hui-style architectures were decayed, eaten by worms, or damaged by fire to different degree. Most of these architectures could not meet the living requirements nowadays with faint light, high humidity, poor sound insulation, badly cracks and corrosion of all kinds of wood components; and needed to be repaired and reinforced badly. Based on this situation, the author believes that the Hui-style architecture would be in its original appearance in front of the word in the near future if the scientific research and proper reinforcement measures were adopted for the reinforcement of the Hui-style architectures.
44
Al Hasan, Rubangi, Amalia Indah Prihantini, and Resti Wahyuni. "Marketing Chain and Power Relation on Black Magic Wood (Agarwood) Commodities in Lombok Island." E3S Web of Conferences 444 (2023): 02003. http://dx.doi.org/10.1051/e3sconf/202344402003.
Full textAbstract:
The global demand for agarwood (Gyrinops verstegii) is immense, hence the market price is skyrocketing. Sapwood (gubal) is the most valuable derivative product of the agarwood commodity. However, such derived compounds are not without value. White aloeswood, which is then processed into black magic wood (BMW), is one of the items that was once deemed trash but eventually saw tremendous demand. The purpose of this research is to investigate the flow of transformations in products from beginning materials to BMW manufactured products, the added value gained by every involved party, and the power relations among the parties in the BMW value chain. Data was gathered through observation, in-depth interviews, Focus Group Discussions (FGD), and document analysis. All the data was analysed descriptively. Several key results were achieved from this research: (1) commodities transformed from raw materials to finished products: wood waste carving→ making of imitation carving→ imitation carving processing→ finishing → BMW products. (2) The biggest benefit gained by upstream players and leaving farmers and craftsmen behind. (3) The power relations among the parties revealed that large business actors control power and profit. Farmers and craftsmen only offer cheap wage labour in the midst of BMW industry with multiple profits.
45
Ku, Meei Yuh, Kui Hsing Lo, and Wen Tsann Lin. "An Exploration of Success Factors for the Comprehensive Construction of a Shopping Area from the Consumer Point of View — A Case Study of the Business Area of Sanyi, Miaoli." Applied Mechanics and Materials 590 (June 2014): 906–10. http://dx.doi.org/10.4028/www.scientific.net/amm.590.906.
Full textAbstract:
With the development of Taiwan’s economy and increasing revenues of the people, people are increasingly interested in tourism and leisure lifestyles. Local governments in Taiwan develop their own unique shopping areas based on the considerations of their own characteristics. Woodcarving works display commercial, artistic, practical, aesthetical, and other features. From the heyday of export and domestic sales, the global downturn, and the establishment of the woodcarving museum, the industry experienced changes like the business cycle. During this period of thriving export, every household in Sanyi was creating wood carving products day and night. Due to the flourishing export of the wood carving industry of Sanyi, outside wood carvers came to Sanyi and introduced new artistic styles, resulting in different creative concepts of wood carving works. The majority of residents in Sanyi are Hakka, and over 50% of the people are engaging in the woodcarving industry. Presently, due to time, space, external, and internal factors, the woodcarving industry of Sanyi has gradually passed the heyday of export. Through qualitative and quantitative methods, this study analyzed the status and process of the development of the Sanyi woodcarving cultural and creative industry, as well as the change of marketing models. We explored whether emotional marketing methods can arouse the perception of consumption situations, and individual intrinsic emotions and feelings, while promoting proactive participation and purchase of woodcarving products to enrich the life of consumers. Moreover, this study discussed the depth and width of the impact on existing consumers and potential community members. By analyzing the woodcarving industry in Sanyi, Miaoli, as based on a conversion from the past, as well as current development and future vision, this study proposed marketing strategy suggestions as reference for the woodcarving industry.
46
Marhaeni, A. A. I. N., Ni Nyoman Yuliarmi, and Nyoman Djinar Setiawina. "Empowering small industry of wood carving handicraft in Bangli district." Asia Pacific Journal of Innovation and Entrepreneurship 13, no. 1 (April 15, 2019): 121–36. http://dx.doi.org/10.1108/apjie-07-2018-0045.
Full textAbstract:
Purpose The purpose of this study is to analyze the influence of social capital on human capital; the effect of social capital on transaction costs; the influence of social capital, human capital and transaction costs on empowerment; the indirect effect of social capital on empowerment through human capital; and the indirect effect of social capital on empowerment through transaction costs in Bangli Regency. Design/methodology/approach The population in this research is all wood carving business in Bangli Regency, in all districts some 366 business units. The number of respondents surveyed were 191 business units in all sub-districts. The sampling technique used is stratified random sampling, with strata of business area. Inferential analysis is preceded by using factor analysis techniques to obtain factor scores on each latent variable, followed by path analysis to answer the research objectives. Finding Based on the analysis, the following conclusions are drawn: social capital has a positive and significant impact on human resources; positive social capital and significant positive to transaction costs; social capital and human resources have a positive and significant effect while transaction costs and no significant positive effect on empowerment; human resources partially mediate the influence of social capital on empowerment; and transaction costs do not act as a variable, mediating the influence of social capital on empowering small woodcraft industry in Bangli Regency. Originality/value This study is one of the few to investigate the role of social capital, human capital and transaction cost on empowerment of small industries, especially wood carving in Bangli District. This small woodcraft industry is famous for its uniqueness that characterizes Balinese carving ornaments. But lately, the productivity of handicrafts wood carving, especially in Bangli District, fluctuates tend to decline. Social capital, in addition to human capital and technology, also plays an important role in the production process. Social capital equals other physical capital and can increase productivity and economic efficiency. Higher social capital owned by individuals or groups can reduce transaction costs; thus economic activity can run efficiently. Social capital is the information, trust and norms of reciprocity inherent in social networks.
47
Blomfield, Nina, and Katie Loney. "“India in America”." Contemporaneity: Historical Presence in Visual Culture 9, no. 1 (February 20, 2021): 30–43. http://dx.doi.org/10.5195/contemp/2021.314.
Full textAbstract:
A curatorial conversation between Nina Blomfield and Katie Loney on the work and practice of Lockwood de Forest and The Ahmedabad Wood Carving Company. This conversation is based on a public conversation held on October 3, 2019 at the University of Pittsburgh.
48
Chen, Yi Ning. "Historical and Cultural Connotation of the Architectural Wood Carving Ornament in the Ancestral Temple of Chen Family - With “Feast in Bronze Sparrow Terrace Held by Cao Cao” and “Jiantu Conference” as Examples." Advanced Materials Research 937 (May 2014): 456–61. http://dx.doi.org/10.4028/www.scientific.net/amr.937.456.
Full textAbstract:
The paper aims to analyze the features of the craftsmanship and composition and study the architectural ornament art and cultural and aesthetic implication of the architectural wood carving of the Ancestral Temple of Chen Family, which is the key cultural site under the state protection.
49
Rees, M. W. "Crafting Tradition. The Making and Marketing of Oaxacan Wood Carving." Ethnohistory 51, no. 4 (October 1, 2004): 852–54. http://dx.doi.org/10.1215/00141801-51-4-852.
Full text
50
BADARUDDIN, MOHAMMED IQBAL, SIMON SOON, LUQMAN LEE, ZAIMIE SAHIBIL, and MOHD SHAHRUL HISHAM AHMAD TARMIZI. "BURUNG SEBAGAI SUBJEK REKA CORAK UKKIL MOTIF SENJATA TRADISIONAL BAJAU SAMA: SATU PEMERHATIAN UMUM." International Journal of Creative Future and Heritage (TENIAT) 8, no. 1 (March 31, 2020): 74–97. http://dx.doi.org/10.47252/teniat.v8i1.288.
Full textAbstract:
Nilai reka corak motif ukiran kayu yang dihasilkan oleh pandai kraf Bajau Sama di Kota Belud merupakan satu keunikan yang terdapat pada rumpun Bajau di negeri Sabah. Kajian ini membincangkan nilai reka corak yang terdapat pada ukkil motif ukiran kayu Bajau yang bersubjekkan burung atau hidupan di udara sebagai sumber inspirasi. Subjek burung diapresiasikan sebagai reka corak motif ukiran kayu pada senjata tradisional Bajau Sama. Contohnya burung Pimping, ayam (manuk) dan naga. Kajian ini dapat memahami nilai apresiasi panday kahuy Bajau terhadap reka corak ukkil motif bersubjekkan burung dan hubung-kaitnya dengan nilai budaya masyarakat Bajau Sama di Kota Belud. Kajian ini melibatkan proses pengumpulan data primer dan data sekunder. Proses pengumpulan data primer melibatkan temubual bersama adiguru panday kahuy Bajau dan pemerhatian secara langsung terhadap motif ukiran yang dihasilkan. Manakala, pengumpulan data sekunder adalah melalui jurnal dan buku ilmiah berkaitan dengan seni ukiran di alam Melayu. Penulis merujuk teori prinsip seni kraf tradisional Melayu dan kaedah Semantic Differential sebagai proses membuat analisa terhadap motif ukiran kayu. Pemerhatian ini diharap dapat memberi satu pemahaman umum memandangkan kurangnya dokumentasi terhadap makna interpretasi seni ukiran kayu Bajau Sama terutamanya subjek burung.
The value of wood carving motifs design created by the Bajau Sama craftsmens in Kota Belud is one of the uniqueness inherited by the Bajau ethnic groups in Sabah. This study discusses the uniqueness of Bajau wood carving motifs design with a bird as its source of inspiration. The subject of birds is appreciated in the design of Bajau traditional weapons. Birds that are used include burung Pimping, roasters (manuk) and dragons (naga). This study interpretes the value of Bajau woodcarvers in the design of bird-based motifs and their relationship to the cultural value of the Bajau Sama community in Kota Belud. This study has applied the process of collecting primary and secondary data. The primary data involved interviews with Bajau woodcarvers and observation of the carved motifs. Meanwhile, secondary data were collected from rjournals and books related to the art of wood carving in Malay world. The authors apply the principles of traditional Malay art and craft and the Semantic Differential method in analyzing the wood carving motifs. This observation is expected to provide a general understanding in the effort to fill in the literature gap of documentation and interpretation of the Bajau Sama motifs design especially on the subject of bird.