Home Decoration | Art Crafts | Ethnic Decoration

1. Blade 59 cm, overall 81.5 cm. Ivory grip with iron pommel and ferrule. Overlay in silver and copper on pommel and ferrule in a floral design. Silver and copper overlay on the spine and flat of the blade forming a sinuous vegetal pattern called chu-pan (hook-like foliage); floral pattern on the false edge. Text along spine in brass overlay, reading Saya Bo let ya (“handiwork of Saya Bo”).

2. Blade 49.5 cm, overall 68 cm. Rayskin grip with silver pommel and ferrule. Overlay in silver on the flat of the blade in the pattern chu-pan, interspersed with swallows in flight. Simple wave pattern on the spine, with false edge unadorned.

3. Blade 68 cm, overall 97 cm. Contemporary replacement grip in lacquered wood and brass. Overlay in silver in a simple acheik (waved) pattern on spine; more complex acheik pattern along false edge. Silver overlay on flat of the blade in the pattern chu-pan, surrounding crouching lions. The decorated area of the false edge is surrounded by a straight line border, the decorated area on the flat by a double border, waved and straight.

4. Blade 51 cm, overall 79 cm. Ivory grip with silver ferrule and lotus pommel. Overlay in silver along spine and false edge of the blade in acheik pattern. Silver overlay on the flat of the blade in the pattern maw-pan (floral scrolling) surrounding the figures of a man, two tigers, a hare, a lion, a stag, a monkey, two fantastical figures half man, half bird, and a rooster.

5. Blade 62 cm, overall 83 cm. Grip of carved antler, steel, brass, and silver. Overlay in silver on spine and false edge in an acheik pattern, with a single straight border; silver overlay on flat of the blade in the pattern maw-pan, framing vignettes with figures and text from the Jataka story of Princess Bedi. Additional dedicatory text in silver overlay on the left-side forte.

6. Blade 61 cm, overall 82.5 cm. Silver grip with niello decoration in the pattern maw-pan, surrounding prancing monkeys, lions, and birds in flight. Overlay in silver on the spine and false edge of the blade in a simple acheik pattern, with a straight border (double on the spine, single on the false edge); silver overlay on flat of the blade in the pattern maw-pan surrounding scenes from the story of (King) Thiha Bahu Min and the Nat Min, and accompanying text.

7. Blade 65 cm, overall 91 cm. Grip of silver with lotus pommel with niello. Overlay in silver on the spine and false edge of the blade in an acheik pattern, with straight-line borders; silver overlay on flat of the blade in the pattern maw-pan, surrounding scenes from the Tale of the Shwe Hpyin Brothers, with accompanying text. Niello decoration on the grip repeats the maw-pan motif, with enlarged detail presentations of story highlights.

8. Blade 51 cm, overall 78 cm. A contemporary dha, with a grip of chased brass over wood, once washed with silver that has now disappeared. Silver overlay on flat of the blade showing scenes from the Jataka story of Maha Bandoola, with accompanying text, interspersed with sparse areas of chu-pan. Spine unadorned. dharesearch.bowditch.us

Artefacts found in the burial mounds of Central Asia and excavations at Pazırık have demonstrated that the Turks have engaged in the various arts of wood working and decoration from early times.

Woodwork, as an art, was born of the decoration of architectural elements. In Islamic art, particularly that of the Omeyyads (661-750) and Abbasids (750-1100), we find the emergence of a distinctive new style, and this was followed in the 11th to 13th centuries by that of the Seljuk Turks, who produced exquisitely carved pulpits, lecterns and caskets, as well as doors and other architectural elements.

The rumis and palmettes, as well as inscriptions in the Seljuk writing used as decorations on lecterns made of solid walnut are striking examples surviving from the Seljuk era. However, it was the Ottomans who carried this art to its highest level.

The Ottomans generally worked with plant and geometric motifs in the 15th century; they used ivory and pearl engraving techniques, particularly on the Koran covers and lecterns of the 15th century.

JAPANESE CARVED IVORY PAIR OF CRABS
These very well carved and polished crabs are a late Meiji period product. They are about 4” wide, 2 ½” high and 1 ½” thick. Aside from some small old repair and hair line cracks due to their age, they are in great condition.

CHINESE CARVED IVORY STATUE OF A LADY
This early 20th century ivory carved beauty is 10 3/4 inches tall, 2 ½ inches wide and 2 inches thick. She wears a simple and elegant robe and holds a bouquet of flowers. The black metal stand is a later custom made piece. The statue is in excellent condition.

KAMO NINGYO (YANAGI NINGYO)
Kamo Ningyo (Yanagi Ningyo) are cheerful short and squat willow dolls. Kyoto National Museum states that they were quite tiny - less than 3" tall. They are typically between 5 and 7 cm but some dolls are less than 1 cm (3/8") tall! Cloth was glued to the unfinished wood, which was shaped to represent the clothing. From J.A.D.E.'s "Japanese Doll Terminology" we find that Takashi Tadashige, a priest at the Kamo-gami shrine, is credited with creating the first kamo doll in the mid-18th century. He carved his dolls from scraps of willow wood and glued on scraps of cloth, carving grooves to tuck in the raw edges of the material since he did not know how to sew.

KOKESHI
Kokeshi are simple, turned, traditional wood dolls treasured by generations of Japanese people and are still being made by Japanese craftsmen today. Kokeshi are perhaps one of the most popular little souvenirs of any trip to Japan

Woodcarving has always been an important means of artistic expression in Norwegian folk art, and reached a high level of artistic proficiency early on.

The wooden sculptures found in Osebergdronningas (the Oseberg Queen's) burial mound were of such high quality that there are hardly any artists living today who can replicate this type of work. Woodcarvings on boats, sledges, wagons and churches, often featuring amazing fantasy creatures, are proof of the highly developed artistic skill and competence of the time.

With the introduction of Christianity came the building of churches, and woodcarvers were employed to adorn God's house. Most of the doorways of Norwegian stave churches feature incredible woodcarvings representing some of the foremost in Norwegian folk art, perhaps even in Norwegian art in general -- from the ornamental woodcarvings of fantasy creatures around the doorway of the Urnes Stave Church, to the rich vine-like ornamentation on the stave churches in Valdres, to the patterns reflecting historical events carved around the doorway of the Hylestad Stave Church. Inside the stave churches, the wood carver's craft was also often put to work, for example, to create spectacular creatures in the ceiling staring down upon the churchgoers below.

If you have heard about how wonderful Japanese knives are, these fruit carving knives from Thailand are their counterpart in the world of professional fruit carving.

The two knives here are hand-made in traditional styles and have been used by professional fruit carvers in Thailand for fruit carving for many years.

Because the knives are so lightweight they are ideal for long hours of intricate carving. The incredible blades are strong but flexible, thin and so sharp that they cut like scalpels. Cutting with these knives will feel exact and the laser-sharp blades will hold their edge.

What is an art gallery? Art galleries are venues where various forms of art and works of various artists are displayed to public. Among the various forms of art like photography, sculpture, art illustrations, hand loom etc. showcasing of paintings are common. The prime objective of art gallery is to promote art and inspire the young artists. Art galleries can be regarded as the best place for art lovers and artists to acquire knowledge related to art.

Both the species can share their interest and concentrate in promoting art among the public. In the art galleries, various works of admired artists are displayed and are preserved for the next generation. The collection of art galleries are rapidly changing. Moreover, the tradition of showcasing art has been shifted from venues to online. Artists and art aficionados can upload their work online and can send it to their friends through emails and e-cards. The art gallery is classified into private and public galleries.

The public galleries display permanent collection of art. Whereas, private galleries carry the private-owned for profit-motive and sale works of art.

Wood carving is probably not what comes to people’s minds when thinking of Thailand. However, the art has been around for generations and with the ever-increasing numbers of exporters it is slowly carving its way into homes around the world. You don’t have to be an art expert or wood carving enthusiast to appreciate and admire the immense skill and workmanship that goes into each and every piece.

Most of the wood carvings and craftsmen in Thailand come from the north due to the plentiful, but unfortunately decreasing number of hardwood forests, in particular teak, although skilled craftsmen can be found throughout the country. These craftsmen hand down their expertise from father to son and from mother to daughter. Usually the men do most of the heavy carvings while women do the sanding and decorating. It is not uncommon for men to carve away for up to a year to complete a piece of work.

Whilst this seems a long time, it is highly believable when you see the intricate workmanship and the exquisitely carved pieces that these craftsmen are capable of. Some of the most impressive work is done on planks of raw timber, mostly teak. The designs are firstly drawn on and then using a mallet and a range of specialized chisels, the original drawings are made to come to life.

Core-formed and cast glass vessels were first produced in Egypt and Mesopotamia as early as the fifteenth century B.C., but only began to be imported and, to a lesser extent, made on the Italian peninsula in the mid-first millennium B.C. By the time of the Roman Republic (509–27 B.C.), such vessels, used as tableware or as containers for expensive oils, perfumes, and medicines, were common in Etruria (modern Tuscany) and Magna Graecia (areas of southern Italy including modern Campania, Apulia, Calabria, and Sicily).

However, there is very little evidence for similar glass objects in central Italian and Roman contexts until the mid-first century B.C. The reasons for this are unclear, but it suggests that the Roman glass industry sprang from almost nothing and developed to full maturity over a couple of generations during the first half of the first century A.D.

A henning wood carving woman with horn norway sculpture. She is marked on the bottom "henning carved by hand in norway". It measures approx. 8 1/4" tall, the horn is removable and measures approx. 4 1/2" long.

She is in excellent vintage condition with no chips, cracks, or breaks, there is one spot under her arm where there is a little paint missing but it looks as if the artist just missed that spot.

The traditional Fumbo has a reptile skin nailed to the wood, however the government due to environmental reasons has long discouraged this practice. The engalabi from Buganda region, which is played in music theatres, plays an important part in the ceremony called "Okwabya olumbe".

This is the installation of a successor to the deceased, thus the saying in Luganda "Tugenda mungalabi", meaning we are going to the engalabi, that is, long drum. The rule in playing the drum is the use of bare hands.

In many societies of Central Africa, such as the Chokwe and related peoples like the Songo and the Ovimbundu, functional artifacts are transformed into prestige objects that commemorate the power and status of the chief. Chokwe chiefs possess many elaborately carved articles, including ceremonial weapons, staffs of office, tobacco pipes, and seats of office like this example in the Museum's collection. Over the course of numerous encounters with European traders as early as the seventeenth century, Chokwe chiefs appropriated the design of certain types of Western artifacts. The seats of office, or "thrones," of Chokwe chiefs, with backs, leather-covered seats, and decorative brass tacks, are modeled upon European chairs. The decoration of the chair, however, remains distinctly Chokwe in style. The elaborate figurative scenes depicted on this and other seats of office are designed as symbolic microcosms of life and represent the breadth of a leader's concerns and responsibilities.

The back uprights contain scenes from the spiritual aspect of life, including depictions of ancestors or chiefs. The dance figures along the bottom and the masked figures along the second rung refer to Chokwe initiation rites. The conical masks, known as cikunza, promote fertility and are used during the circumcision rituals of Chokwe adolescents. The topmost rung features two ngungu birds.

The ngungu bird is the largest bird known to the Chokwe and is associated with hunting—a vocation with which Chokwe leaders closely identify. It is also a good omen, a sign of success in the hunt and therefore a sign of power. In addition, the ngungu serves as a mediator between the spiritual and earthly realms, and is often displayed with other symbols of chiefly power.

Malawians are among the best wood carvers in Africa. Visitors to this small central African country are inevitably captivated by sculpted heads, small dishes and carved village scenes.Malawians are among the best wood carvers in Africa. Visitors to this small central African country are inevitably captivated by sculpted heads, small dishes and carved village scenes. These make great gifts and are easily transported home, but if someone asks you to bring back a carved chair, you may balk at the prospect of excess baggage charges or squeezing it aboard an aircraft. No such fears for the cognoscenti. They know about such things.

They have heard all about Malawi's Chiefs' Chairs. The precise origin of these chairs is uncertain. Portable chairs are found in various parts of Africa: anyone who has been to Ghana will have come across the chiefs' stools. Until recently, it was not uncommon to see a West African village chief being followed by a man carrying his small stool, probably on his head.

The possession of furniture is still a mark of status in much of poorer Africa. Beds are luxury items and the ground is more often the resting place for the night, with a small head stool as a "pillow". Such items, like the Ghanaian stools, are compact, easily fashioned from wood and eminently portable.

African Art has something very special about it. African art has not changed dramatically from the Stone Age till today and this shows in the traditional designs of every type of art, be it African masks, African fabrics, African musical instruments, African ladies Handbags, African carvings and in fact all manner of African art and crafts. It is not that symbolic African arts and crafts are only desirable in Africa; this art form has a following worldwide. Art appreciators understand that the creation of African masks and African musical instruments have a specific legacy. Methods for the creation of these items of an artistic nature have been passed down by word of mouth from father to son and mother to daughter for eons. The principle for the creation of these pieces has been for spiritual as well as practical purposes.

Ivory carving is the ornamentation of ivory by using sharp cutting tools, either mechanically or manually.

Humans have ornamentally carved ivory since prehistoric times, and much of the prehistoric work reveals information about the use of tools during the carving's time period. The ivory figure of Khufu, for the builder of the Great Pyramid, is considered a masterpiece. Ivory carvings have been discovered in the tombs of ancient Chinese rulers. Since the late Roman era ivory has been a popular medium for Christian art. Many boxes, that held religious relics, or costly jewelry were made of ivory. The ivory was usually obtained from the tusks of live elephants in India, and in Roman times, from North Africa. Ivory harvesting led to the extinction, or near-extinction of elephants in much of their former range.