Wood Carving Human Figure

Handbook of traditional woodcarving - Paul N. Hasluck

Summarizing years of research and hands-on work, this book is the final work in English on the craftsmanship of wood carving. Writers start with the basics: which instruments and devices are necessary, which wood to use, instructions for the real woodcuts. You will find sections on how to turn your ideas into wood, how to create, sketch or sketch your work.

Descriptions of the different carving techniques; carving, hole and chipping; round carving; Gothic carving; style of carving ornaments; etc.

Wood and Stone by Dick Onians (paperback)

The human figure is the most important theme in sculpting. This hands-on tutorial focuses on carving in wood, but it will also be of value to carvers in other forms of work. Masculine and feminine figurines, fabrics and stylized and abstracted carvings are in it. Human figure is the most important theme in the field of sculput.

The focus in this handy tutorial is on carving in wood, but it will also be of value to carvers in other mediums. The exhibition includes masculine and feminine characters as well as draping, stylized and abstracted carvings. Fundamental human geometry, covering head, torso, knee and hand, as well as carving entire people.

African statue

It is a multifaceted piece of sculpted Africa, offering us great insight into the culture and the tribes from which it originates. Most of the time, the expressive figure is human and is mainly made of wood, but it can also be stylised, abstract and sculpted from gemston. She can spanning hundreds of years and be as old as the emergence of instruments and she can be as fashionable as today, where she is praised and valued as a contemporaneous work.

As a rule, ancestral or native sculptures in Africa can be either sacred or sacred, made of wood and primarily concerned with the human shape (and sometimes even animals or mythical) and show a good equilibrium, craftmanship, attention to detail and workmanship and an essential element of itinerance.

Often it can be described as monuments, as the figure or shape is not separate from the wood or rock from which it is made, giving it a feeling of being very hard. Representation of the human shape is not necessarily proportionate, but often seeks to highlight or overstate certain physical qualities that the artist wishes to convey.

It is often used as a means of communicating between humans and psychic powers and beings. From a historical point of view, the following are the most common types of wood used in sculptures in Africa, where wood is obviously the most common, as it is the most pliable and easily accessed..... Obviously, wood is the most widespread and deformable type of work.

The longest documented African sculpting traditions, however, are in terra cotta, followed in the twelfth century by the Yoruba foundry in Nigeria. Nokia terracottas found in NW Nigeria have represented over two hundred years of carving traditions and show that a powerful abstraction of figurative representations in Africa since the first World War.

The sizes of Nokia figurines vary from 10 cm to almost life-size. Proportionately large tapered minds, shorter tube-shaped solids and simplistic faces with the triangle-shaped Nokia terra cotta, Kimbell eyeballs, shallow nose and broad lips. Five hundred years later, minds and figurines were discovered in the southern Nigerian town of Elf. Ivy terra cotta statues date from the twelfth to fifteenth centuries.

In the Yoruba faith, Ife was the place where the people were modelled in stone by the godly sculptress Obatala. Recently excellent stylised human characters from the same time as the Ife terracotta were found in Djenne in Mali. Farther southwards in Southafrica, the Lydenburg minds, modelled in tone in a strong, sturdy styled with thick rollers around the pillar-like throat, were recently removed from the sixth century.

Strong terra cotta figurines are still being modeled all over Africa. Nok potter of the time make decorative fins on the corner of a building. Bronces of very sophisticated Ife statues from the twelfth century were found in Yorubahrines. The full-length life-size head and sometimes smaller full-length statues were made of noble material between the twelfth and fifteenth centuries, among them bronce, various types of alloyed and sometimes even untreated cuprób.

Together with the new footage, new themes and a new sculptural design emerged, a badge in reliefs that depicts the Portuguese in full army dress. In Benin, these tablets and the Fon brassy tableaus are still manufactured by contemporary art.

Between 1490 and 1530, the ivory-coloured statue of an african statue is a strange phenomena, as it is strongly affected by the Europeans' arrivals in Sierra Leone, the Congo and Nigeria. They were all made with decorations of oriental and austrian inspirations, sometimes cut in one single chunk, e.g. ladies with austrian coats and X-shaped cut.

The carvings are elaborate and high quality and the items are sought after by art lovers and musees. Sometimes there were carvings of igneous figures for typical exotic means such as the grip of a chieftain or sceptre or as a pendent faceplate ( (a smaller variation of a face plate cut into replicas for private use).

During the 1700s and beyond, olive cutters, known as "Olifants", were sculptured to the smallest detail to become much appreciated trophy conquerors confiscated during war and raid. These were the property of sovereigns and chieftains and were lavishly decorated with reliefs of animals being hunted and slaughtered. Most of the wooden sculptures found in Africa today date from the twentieth century; the nineteenth century is much more seldom.

Generally, it is a human shape, sometimes an anim or both (as in a dead figure) and can be of a spirit. The majority of Africa's sculptures were not made to be marketed but for a particular part, which was usually one of three things; to commemorate or honour an important event; to make a policy statement; or to promote religion-ideas.

Fascinated and acquired by non-nationals, these statues established their own market place in the West and thus gained financial value. All of Africa's artistic form refers to a variety of different cultural and cultural perceptions and religions, and through the studies of these physical arts we can gain an understanding of the origin of mankind and of the abstracts that have marked human cognition.

He has been accepted by both the West and the Africa as a truly modern sculptor who deals with his work in person by creating his figural works in an artisanal, direct but highly original way and decorating them with a monumentalism that can only remain faithful to it.

Carrying the Nuba Warriors' quintessence, these statues share the same secret treasures of power, perseverance and intriguer. He worked there for five years from 1994 to 1999, using the statue as a story and including 23 persons and 8 ponies in fighting sequences. There are no drafts or formalities.

His motif is built up from the inside out so that it emerges from the metal framework. His work is described as such: "Art is spiritually in its conception: to conceive the statue and to place it in it. In his works there are themes as well as abstractions and figural works. Many of his stylised portrait works showed long neck, which lend his works a touch of grace and the same quality of elegance that his ancestors attempted to achieve in their work.

Worked in a wide range of media: cements, wood, weld and pour metal such as bronce.