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The overrepresentation of left-handers among professional Western artists has been attributed to the lateralization of the human brain, suggesting that left-handed individuals are more creative and more likely to become artists. We aimed to test this notion among a non-industrialized population. We conducted a study in the Asmat region of Papua, renowned for their abundance of wood carving artists. The participants (N = 231), of which 42% were professional artists, took part in creativity and hand skill asymmetry testing. Our study revealed a lower proportion of right-handers in these populations. Although artists demonstrated higher levels of creativity and more dexterity in both hands, we found no evidence to support the notion that left-hand skill asymmetry is associated with creativity or becoming an artist. The results of our study challenge the notion that left-handed people are more likely to become artists and that they are more creative. It could be that this effect is specific to Western populations. [ABSTRACT FROM AUTHOR]

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.

Woodcarving is considered as one of the highest forms of art in Malay culture. It is an essential aspect of traditional vernacular buildings in the archipelago region as it carries intrinsic meaning while symbolizing status. Despite this, the artistic influence apparent in Malay woodcarving is not fully understood in a holistic manner, in which the Turco-Persian elements are often neglected despite being visibly apparent. The reason for this is previous Malay art researchers are unfamiliar with Turco-Persian elements in Islamic art as compared to Buddha-Hindu elements which are more easily identified. Therefore, the art history method is adopted in this study to analyze the motifs used in vernacular palaces and houses of royalties dating from the 19th and 20th centuries CE in Terengganu. The objective is to identify the Turco-Persian influences and know the type, name, characteristics and stylization of the motifs to help better understand the formation of traditional Malay Islamic art in a comprehensive manner. This is achieved by analyzing and comparing the identified motifs within the context of Turco-Persian motifs used by Turkic dynasties in the Eastern Islamic lands that have a historical connection with the Terengganu region. Findings from the analysis discovered several Turco-Persian motifs in traditional Malay woodcarvings. Except for Muthanna, these motifs are the seven modes of abstract Islamic ornamentation known as haft aṣl that are commonly found in the Eastern Islamic lands on architecture and particularly in Qur'an illumination (tezhib). This indicates that the Turco-Persian tradition has a significant influence on the artistic formation and stylistic development of Malay woodcarving in Southeast Asia and not just Buddha-Hindu and Chinese elements as believed before. [ABSTRACT FROM AUTHOR]

The art of Malay wood carving is considered an exquisite craftsmanship and is considered a cultural heritage that represents the uniqueness of Muslims in southern Thailand. These meticulously crafted carvings are used to decorate various spaces. in architecture, religious buildings, furniture, and other decorations This work of art is considered to be a profound expression of Islamic ideas, beliefs and values in the region. Expert craftsmen have passed this woodcarving craft form down from generation to generation. Each piece is decorated with symbolic meaning and cultural significance as well as responding to everyday use. This research aims to study the design of patterns found in these wood carvings. and interpret the meaning of beauty and symbolism The corner focuses on understanding aesthetics and artwork that is connected to and understands the value of the cultural identity and beliefs of Muslim communities in Pattani, Yala, and Narathiwat provinces. It can be said that Malay wood carving is influenced by Islam. The culture of the people in the area to create products that are consistent with their traditions, way of life and reflect the abundance of local resources. Malay carvings in southern Thailand feature distinctive elements inspired by nature, such as geometric shapes. Vegetation pattern and Arabic calligraphy from the Quran and various animal patterns The design is according to Islamic principles. The design has elements based on religious beliefs. Use words that convey humility. The composition of the pattern consists of the main motifs from which it is often inspired. Or imitate local plants with stems, flowers, leaves, and additional intricate patterns. The arrangement follows the principles of symmetry, repetition, focus and harmony. Malay wood carvings are a long-standing artistic heritage of the region. and reflects the harmonious coexistence of faith, culture and artistic expression. [ABSTRACT FROM AUTHOR]

Trees represent a cherished treasure for each nation. They provide a living, soulful, and earthly material, wood, which most often survives millennia and embellishes our everyday life. Wood can be transformed into valuable pieces of art under skilled hands and tools through carving. In Romania, wood is omnipresent in each milepost of people's life journey from birth to death. It becomes a true and empathic companion of both happy and sad events. Wood teaches us to focus on the present moment and to let go of stressful thoughts and feelings. It is a real valuable "good" in our life. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The AFS Idaho Chapter held its 61st Annual Meeting jointly with the AFS Washington-British Columbia Chapter. The meeting took place in Spokane, Washington and had a total of 420 registrants, including students, retirees, and professionals. The meeting focused on the theme of "Returning Home: Anadromous Fisheries in the Pacific Northwest" and featured plenary speakers discussing topics such as the cultural significance of Pacific salmon, rebuilding runs in the Snake River basin, and the adaptive abilities of salmonids in response to climate change. The meeting also included workshops, symposia, business meetings, and awards ceremonies. The next meetings for both chapters are scheduled for 2025. [Extracted from the article]

During the Qing Dynasty, the economy of the Zigong salt fields flourished, and the Shaanxi merchants established the Xiqin Guild Hall, a quintessential Qing-era edifice, which holds significant historical importance in the annals of Zigong's salt industry. The Zigong Xiqin Guild Hall, an architectural manifestation borne from the management needs of the salt industry, emerged during the heyday of Zigong's salt trade prosperity. Encompassing a wealth of architectural artistry such as stone carvings, wood carvings, and plaster reliefs closely intertwined with salt culture, it embodies the aspirational pursuits of the Shaanxi salt merchants in Zigong during this era, as well as the artistic achievements of the Qing Dynasty's salt field craftsmen. This paper examines the plaster relief and sculpture art of the Zigong Xiqin Guild Hall from an aesthetic perspective, analyzing the socio-economic context of the salt industry era that gave rise to this art, the techniques employed, the spiritual ethos, artistic forms, and stylistic elements. The study aims to provide practical experience for the preservation of intangible cultural heritage, such as plaster reliefs and sculptures, within Zigong's salt industry history. [ABSTRACT FROM AUTHOR]

In order to further explore the impact of digital development and archaeological excavation on the urban development of museums, this paper takes the Liangzhu site as the research object. The artifacts of the site were surveyed and their materials, shapes, connotations, colors, structures, and symmetries were studied. The results show that the jade, ceramics and wood carvings of Liangzhu site are mainly spiritual birds and dragon patterns, mainly streamlined, the colors are mainly blue, yellow and red, black is the background color, and the main dyeing materials are copper sulfate, iron oxide and arsenic oxide. Among them, the texture of jade is round, but contains many impurities, and the ceramic enamel is thicker, between 2~3mm. Jade, ceramics and wood carvings are complex and composite, with reasonable mechanical balance and symmetry of the central axis. Therefore, the Liangzhu site plays an important role in promoting the construction of museum city and digital research, and can provide more information. [ABSTRACT FROM AUTHOR]

Wooden ceilings were among the earliest wooden constructions in wooden houses, and stone and brick buildings. In Austria, a special type of wooden ceiling is known as the Riemenbalkendecke. In Waidhofen, in the Ybbs region, these constructions are decorated with chip carvings, year numbers, and letters. There has been no systematic study on this type of ceiling in Austria. In this study, all houses in Waidhofen an der Ybbs built before 1900 were surveyed, and their ceiling constructions described. Riemenbalkendecken decorated with chip carvings and moldings appeared in 1465 CE and lasted for almost 300 years. The number of carved years was verified using dendrochronological dating. Different chip carving patterns were identified. The letters on ten ceilings can be attributed to the initials of the house owners at the time the ceiling was installed. None of the chip carvings can be attributed to ornaments that were common at the time. The art of the chip carvings on the wooden ceilings represents a special language of form. [ABSTRACT FROM AUTHOR]

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The article explores the sociocultural significance and pedagogical role of Dada Areogun's woodcarvings within his Osi-Ilorin community in the Ekiti-Yoruba area of Nigeria. It examines how Areogun's artworks reflect his observations of his community's sociocultural and political life, particularly under British colonial rule, and how they served to inspire hope and continuity of indigenous cultural practices. It also delves into the broader context of Yoruba art, highlighting the role of artists as stewards of cultural heritage through their evocative and symbolically rich artworks.

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Wood carving is a traditional visual art that serves as architectural decoration in various cultures worldwide. However, issues involve the three-dimensional wood carvings of buah buton on traditional houses in Luak Tanah Mengandung, believed to symbolize one's status in Adat Perpatih. This article aims to analyze the relationship between buah buton and social status within the Adat Perpatih society in this region. To achieve this, the article employs qualitative research methodology, highlighting two approaches: field studies targeting four traditional houses in Luak Tanah Mengandung, Negeri Sembilan, and interviews involving six informants from diverse backgrounds. The findings indicate that buah buton can only be found on houses inhabited by individuals of high status. Furthermore, the number and positioning of buah buton vary among these houses. The application of buah buton in each house depends on specific spaces and is closely linked to Adat Perpatih. This is reinforced by the positioning of these elements, whether inside or outside the house, being associated with influential owners in the tradition. In conclusion, buah buton is not merely a house ornament; it symbolizes the owner's status within Adat Perpatih. The study's implications also highlight the significance of symbolism in influencing the social structure and community of this tradition. Therefore, the article suggests further research to expand the scope of comparing and contrasting buah buton within this customary society. This endeavor not only enriches the understanding of customs and culture but also aids in the preservation and conservation processes in the face of modernity. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of Indonesian Journal of Forestry Research is the property of Indonesian Journal of Forestry Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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.

Dullness is a quality that is hard to pin down for a woodworker; it defies easy definitions, and yet has the power to radically change the temper of experience. Using methods of self-observation drawn from sensory ethnography, I describe how I encounter dullness in my own skilled craft practice. I capture the intersensory nature of perception, how dullness is known through touch, sight, and sound. I follow traces of dullness on the wood I carve, in my body, and along the edge of my tool. This sensory portrait of dullness as elusive, relational, and shifting is a textured and nuanced account of how a craftsperson knows what they need to know from the body and experience. In the analysis section, I draw on Maurice Merleau-Ponty's theory of the inexhaustibility of perception to enhance my claim that dullness is not a fixed object, but a state filled with ambiguity. Perception does not give us easy answers. The article counters popular renderings of craft as practical or technical know-how with a contrary theory of craft as filled with poetic ambiguity. [ABSTRACT FROM AUTHOR]

The article explores the participation of Greece in the 1851 Exhibition as an event that offers a glimpse into Greek modernity and its reception in the Victorian press. Greece, a nascent state, partook in the 'Exhibition of the Works of Industry of All Nations' with a display that attested to modern economic interests and a knowledge of the commercial value of its past: the thirty one exhibits included products for exports like tobacco, raisins, and figs, some fabrics and garments, and several types of marble which were shown side by side with national Greek costumes, woodcarvings, marble bas-reliefs, and reproductions of ancient monuments. The marginal position of the Greek display on the floor plan of the Exhibition designated the country as belonging more to the Orient, rather than the European nations. Located in an imaginary 'grey area,' between the European West and the Levantine East, the Greek pavilion reinforces the Victorian impulse to negotiate the old with the new and thus contributes to the cultural hybridity that characterised modern Greece. I suggest that the display and the ways it was received in the press be viewed as a register of the relation between Victorian culture and modern Greece, a country which resisted taxonomy and assimilation within the given modern categorisations. [ABSTRACT FROM AUTHOR]

Woodcarving motifs, including Negeri Sembilan, are significant in Malaysian art, bearing ancient knowledge and latent meanings. However, the understanding of Malay woodcarving motifs in Kuala Pilah is relatively limited compared to the east coast. The urgency to study these motifs intensifies as urbanization rapidly changes the landscape, representing not only woodcarvers' skills but also profound cultural symbolism. This paper aims to interpret the meanings within these motifs in traditional Malay houses in Kuala Pilah, employing qualitative methods such as observation, interviews, photographic records, and secondary data analysis alongside Ferdinand de Saussure's Semiotics Theory for analysis. The cultural and social significance embedded in these motifs is unveiled through signifier and signified analysis. The results revealed the presence of various motifs encompassing geometry, fauna, flora, and still life. The study also uncovered that each motif plays a pivotal role in conveying the cultural and social values of the Malay people in Negeri Sembilan and enhances our understanding of the traditional art form of woodcarving amidst contemporary transformations. [ABSTRACT FROM AUTHOR]

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"The Ancient Woods of South-East Wales" is a book edited by Paula Keen, with contributions from David Morfitt, George Peterken, and Simon Leatherdale. The book focuses on the historic county of Monmouthshire and Glamorgan east of the Neath, with some references to southern Breconshire. It primarily explores ancient woodland in the region, highlighting the surprising amount of ancient woodland in south-east Wales despite industrial development. The book also discusses recent woodland use and modification, as well as the role of woodland in preserving archaeological remains. However, it does not cover parks, plantations, or designer landscapes of later centuries. [Extracted from the article]

This paper aims to analyze the institutions involved in the conservation management of Litsea leytensis Merr., with the trade name Medang, a wood species preferred by carvers in the Philippines, particularly in Paete, Laguna. The art of wood carving is thriving as a culture and as a wood-based industry for Filipinos, intertwined with natural resource management, where the seeds and wildlings are collected as planting materials for the nationwide greening program, while the wood as raw material is carefully selected from a list of Philippine native species. Litsea leytensis Merr. represents the many endemic trees in the country that need serious attention for conservation because of their continuing decline in habitat and population. The study highlights in situ and ex situ conservation of L. leytensis by institutions in Laguna and Quezon. The results suggest that the rules-in-form guided the institutions in conservation management, and their interactions in the action arena were in downward, upward, and horizontal patterns. The outcomes of their interventions for L. leytensis were relevant, coherent, effective, and efficient, while project impact and sustainability were implied by the participation and community ownership of conservation activities, government policies, and funding. [ABSTRACT FROM AUTHOR]

This study employs a quantitative survey-based method to explore the adoption of social media by woodcraft businesses in Tulung Agung. With a population of 125 business owners, a sample of 100 respondents were selected using purposive sampling techniques. The survey was conducted through an online questionnaire, and data were analyzed using descriptive statistics and Structural Equation Modeling-Partial Least Squares (SEM-PLS) through the smart PLS 3 application. The results indicate that relative benefits and cost-effectiveness do not significantly impact social media adoption. However, compatibility has proven to have a positive and significant influence. Furthermore, social media adoption significantly and positively affects the performance of woodcraft business owners. In conclusion, compatibility plays a crucial role in social media adoption, which, in turn, positively impacts the business performance of woodcraft entrepreneurs. Implementing marketing strategies and interactions through social media can be an effective step to enhance competitiveness and success for micro and small businesses in this sector. [ABSTRACT FROM AUTHOR]