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Culture is reflected in many areas of life. Symbols are culturally significant and emotionally comprehensible representations. Culture is reflected in the spaces that meet the most basic needs of human beings and are an application area of art. In this parallelism, Turkish wood carving art has been handled within the boundary of interior design. Within the scope of qualitative research, it is seen that Turkish wood art developed during the Seljuk period and has reached the present day. The symbolic depiction of the foundation laid with the Seljuks in wood art is examined. The study aims to examine the progress of wood art in relation to interior design and its expression of cultural values. In addition, the symbolic equivalents of the values of Turkish culture in interior design are examined. The findings suggest that Turkish art is preserved and carried forward through interior design.

The article discusses the collection of objects of the Karakalpaks’ decorative and applied art in the funds of the I.V. Savitsky State Museum of Arts of the Republic of Karakalpakstan. The collection of folk-art objects is concentrated in the funds of the ethnography department of the museum. It comprehensively reflects the traditional everyday culture of the Karakalpak people. The objects of decorative and applied art of the Karakalpaks are concentrated in the following repositories: the fund of carpet products, jewelry, embroidery, wood, metal and leather products. Thematically, the collection is divided into jewelry items, horse equipment, carpets, yurt, clothing, kitchen utensils, and dishes. The author attempts to give a thematic and quantitative assessment of the collections of the Department of Ethnography. The analysis of the accession of exhibits did not allow identifying them by the area of existence, the place of purchase due to the absence of such information in the documentation. Most of the exhibits have only the information about the name of the object and its functional purpose. To create a complete picture of the accumulation of applied arts objects, statistical data on the accession of objects from 1967 to 2021 has been referred to, the dynamics of replenishment with exhibits is presented.

Recently, efforts have been made to develop decoration techniques with CNC router machining and contact production machines in the furniture industry. However, this method is insufficient in micro-processes that require precision. In this research, the innovation of traditional furniture surface treatment techniques as a regression modeling production method with laser technology was examined. For this purpose, beech wood was processed in a CNC laser processing machine with a 130-watt carbon dioxide gas tube, and sample product design and manufacture were made. It has been determined that many furniture surface treatment techniques can be applied with the regression modeling method of CAD/CAM supported laser technology.

The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.

The article is devoted to the objects of decorative and applied art of the Khakass — caskets Abdra and boxes Khayrchah, which fell out of use at the beginning of the 20th century. The research was based on the museum collections of the Khakass National Museum of Local Lore and the Minusinsk Museum of Local Lore. The author examines the material, shape and decor of the Khakass caskets Abdra and boxes Khayrchah.

Ecological materials are one of the characteristics of traditional Iranian architecture; this means according to the geography of each region, the specific materials of the same climate have been used. The village of Ashtbin, located on the banks of the Aras River, is a perfect example of this traditional Iranian architecture where wood and stone are its main indigenous materials. In some old houses in Ashtbin Village, there have been wooden abacuses, some of which have inscriptions and history. In addition to their functionality, they seem to have indigenous artistic features as they have been carved out of wood along with the designs. Some of them are located in spaces called "Boonehghi" and the rest in other spaces of buildings. At present, Boonehghis are the only wooden structures in the village where the use of wooden abacus has been necessary and common. By considering these facts, applying the wooden abacuses in the constructions and decorations has been assumed as the local and indigenous tradition of Ashtbin Village’s "Booneh Ghai" spaces, with its pyramidal and relatively high architecture which was made of wood beams. These wooden abacuses are cut with special environmental shapes on which the patterns are engraved. In this paper, all the surviving wooden abacuses are structurally introduced and analyzed based on features like technique, general form and patterns. For this purpose, after field survey, all the surviving wooden abacuses in the buildings of Ashtbin village have been identified, photographed and analyzed. According to the research has been done in this field, it seems that "Boonehghiha" has been the subject of unfamiliarity for researchers and specialists in the field of Iranian art and architecture for various reasons, so far only one article, one dissertation and one registration plan in this regard has been compiled, although it seems that there was an indigenous and local tradition in the construction and decoration of these wooden abacuses in the village of Ashtbin. Based on this, the research question is what kind of unique local features for the wooden abacuses of Ashtbin village can be proposed? Thus, the aim of this study is to structurally investigate the indigenous visual features and index of the wooden abacuses of Ashtbin village. The research method is descriptive and analytical comparison. The findings show that 48 wooden abacuses were found in field surveys of the village's historic buildings. Despite the large number of wooden abacuses and the variety of locations used, we see the use of indigenous woods in their construction. Also, the motifs are engraved on most of them geometrically based on the shape of a circle, in a certain way. A special environmental shear patterns also were drawn on them. Finally, it seems that the tradition of making wooden abacuses in certain historical periods existed in the region of Azerbaijan, but with some differences in decoration and execution, in other words, in the past historical periods, in accordance with the climatic conditions of the region, it has been slightly associated with the change and taste of art masters in decorating them, which unfortunately in Iran has been less considered and introduced as a native architectural tradition..

Based on one of the most important theoretical approaches – systematic – it was considered creative and emotional activity of masters-carvers in Boikivshchyna. As the result of this work became artistic and aesthetic products for household, ceremonial, religious and other purposes. The main attention is paid to the types of woodcarving, local artistic preferences and product range of Ukrainian highlanders in one of the parts of the Ukrainian Carpathians. Chronological retrospective made it possible to trace individual sustainability of creative ideas and their modern interpretation.

The article is devoted to the study of ethnographic collections of museums in Uzbekistan. Ethnographic collections of museums in Uzbekistan were studied on the basis of samples of copper-embossing art. The article deals with ethnography, ethnographic collections, factors of formation of ethnographic collections of museums in Uzbekistan. The process of development of the Uzbek copper-embossing art was analyzed on the example of copper samples from museums in Uzbekistan.

Based on one of the most important theoretical approaches – systematic – it was considered creative and emotional activity of masters-carvers in Boikivshchyna. As the result of this work became artistic and aesthetic products for household, ceremonial, religious and other purposes. The main attention is paid to the types of woodcarving, local artistic preferences and product range of Ukrainian highlanders in one of the parts of the Ukrainian Carpathians. Chronological retrospective made it possible to trace individual sustainability of creative ideas and their modern interpretation.

Based on one of the most important theoretical approaches – systematic – it was considered creative and emotional activity of masters-carvers in Boikivshchyna. As the result of this work became artistic and aesthetic products for household, ceremonial, religious and other purposes. The main attention is paid to the types of woodcarving, local artistic preferences and product range of Ukrainian highlanders in one of the parts of the Ukrainian Carpathians. Chronological retrospective made it possible to trace individual sustainability of creative ideas and their modern interpretation.

В статье рассматривается творческое наследие С.-Ц. Цыбикова и его учеников, представлявших оронгойскую школу деревянной скульптуры, созданную мастером в приходе Янгажинского дацана в конце XIX начале XX века. Автор статьи ставит своей целью представить эталонные работы старых бурятских мастеров, создавших основу для творчества следующих поколений ваятелей и художников.

В статье рассматривается творчество хакасского художника Н.Б. Ачитаева в контексте развития резьбы по дереву в Хакасии. Истоки хакасской резьбы по дереву относятся к таштыкской археологической культуре (II в. до н.э. V в. н.э.). В течение последующего времени сохраняются и развиваются техники контурной и выемчатой резьбы. В статье рассматриваются национальные сюжеты, мотивы и орнаменты в резьбе, украшающей предметы мебели, посуду, музыкальные инструменты, столбы коновязи и др. Н.Б. Ачитаев относится к современным мастерам, которые объединили в своем творчестве национальный колорит с чертами нового стиля. Среди особенностей работ Н.Б. Ачитаева сочетание материалов (дерево, металл), применение забытой техники инкрустации, образный ряд.

Статья посвящена деятельности и собранию Феликса Яковлевича Кона как свидетельству тувинской культуры. Зафиксированные им памятники XIX XX веков, буддийские монастыри, шаманские камлания с их атрибутами, собранные традиционные тувинские костюмы и украшения, сундуки, седла, резные фигурки и многое другое вошли в коллекции Российского этнографического музея, Иркутского областного краеведческого музея, Минусинского краеведческого музея и представляют несомненный культурологический и искусствоведческий интерес.

11th- to early 13th-century medieval polychrome sculptures can be considered as ancestral testimony of knowledge, practices, and the exchange of carving and painting techniques in the Middle Ages. This paper aims to provide an analysis of 50 years of research in Belgium, including recent case studies. New material elements and analysis results will likely resuscitate the debate on the relative chronology that is usually suggested. The identification of materials reveals the circulation of goods and trade. The richness of pictorial effects and techniques demonstrates a knowhow long considered as typical of the late Gothic period, including the use of oil in the binding media. Most of the information collected in the Belgian corpus matches the results of analyses carried out on sculptures from other European regions, both in terms of the evolution of their appearance and of their techniques. These observations make it possible to put forward the hypothesis of a fast and oral transmission not only within local workshops but in the broader European global context.

В статье рассматривается процесс развития и современное состояние художественных промыслов и ремесел в Алтайском крае и Республике Алтай. Дана характеристика региональных программ, направленных на сохранение и развитие культурного наследия региона, в том числе художественных промыслов и ремесел. На примере развития Колыванского камнерезного промысла, центра художественной керамики Турина гора и мастерской Кезер показаны основные тенденции формирования стилистики промыслов и их роль в создании региональных брендов российского Алтая.

Leonard G. Trujillo, PhD, OTR/L, FAOTA, occupational therapy professor and chair emeritus based in North Carolina, provided the cover art for The Spring 2019 issue of The Open Journal of Occupational Therapy (OJOT). The piece, titled “Life’s Struggles,” is a relief carving made from butternut wood. Dr. Trujillo enjoys carving lifelike images that depict previous travels and his love of nature. His carvings are sculpted from a solid plank of wood, yet they provide the illusion of a three-dimensional form. Dr. Trujillo’s body of work reflects a lifetime of learning and engagement in the art and process of wood carving as a meaningful occupation.