Carved mask nestuke oaxaca qing tool wood

A Japanese red lacquer cabinet with a design of magnolias on a black background across the two double doors. The surface is textured, with the doors opening to reveal internal shelvi Category s Japanese Vintage Lacquer. See more pictures, measures: 6" H The bowl features five small legs on its underside that follow a multi-arch design.

The age related cracks that hav By Ogata Korin. A beautiful Japanese jewelry box in the form of a portable cabinet with handle on top, a removable door and three inner drawers.

The lacquered box was lavishly decorated on surface i Black and golden drawing by hand with 3 gaming lacquer boxes, in very good condition. Measures: 12 x 6 x 4. Category s Chinese Qing Antique Lacquer. This rectangular s Japanese Lacquer Stand. An elegant Japanese lacquer stand with imperial mon crest. Category 19th Century Japanese Antique Lacquer.

Plumb, bamboo and pine are known as the three friends of winter because they stay green and or bloom in the snow. Decorated in gold with bits of heavy gold. Inside of lid has fern an A Chinese vintage red lacquered box from the midth century with golden motifs.

Created in China during the midcentury period, this decorative box features a red lacquered ground a Category Midth Century Chinese Lacquer. Attractive Japanese Ujo-bori hand carved signed lacquer wooden tray.

The pattern of the hand carved eggplants and biwas and the intricate circular pattern on top and back edge of the Category 21st Century and Contemporary Japanese Lacquer.

An excellent quality Japanese Meiji period carved wooden writing box or lap desk with compartmentalized interior. With gilt landscape decoration of village scenes accented with geome The scene depicts five Chinese men standing in front of a pagoda with a background of trees and palm trees.

One of the men This vintage wood 4 panel, black lacquered Asian room divider is beautifully carved and painted on both sides. Each side displaying a different scene, one side for with birds and flo With silver rim, and interior decoration of falling petals and gold dust.

Comes with original storage box. Giles Grendey. By Giles Grendey. A fine and rare early 18th century George II scarlet japanned chinoiserie wall hanging corner cupboard.

Attributed to Giles Grendey. Decorated overall with elab Beads are also made in a huge variety of colors and designs, and can be made from all types of materials to include wood, metal, glass, ivory, and plastic. However, during the mids, ivory was banned at which time ojime beads were made from boxwood. These beads are not carved by just anyone, but actual master carvers who consider this a very valuable art form.

Many master carvers can create up to five to ten designs and while some will vary in color, the density and fine grain are what makes them unique. For a single ojime bead to be crafted by a skilled master carver, approximately four to six hours is required. Once the carving is complete, the beads are then signed by the artist, hand polished, and waxed to bring out their lustrous shine before being sold.

With Ojime beads, these first originated in Japan. The beads are meant to work with the netsuke so the Japanese people could hang items on a sash from their kimono. Although these small beads are beautiful and intricately made, they had a very distinct purpose for every day life. Because of the amazing carving of the ojime beads, they soon became somewhat of a fashion statement. Now keep in mind that during the 17 th Century in Japan, pockets were not a part of clothing design.

Therefore, the Japanese people had no way to carry tobacco, currency, medicines, and other small personal items. Over time, the tobacco pouch was created along with a writing set to keep things together and organized. The Inro for example was a box with anywhere from two to seven layers, which were used to store small objects. To keep the Inro together, cords made of silk were braided and then run through the box vertically.

As a way of maintaining the integrity of the braid, ojime beads were used. Then to close off the end of the cord, a small toggle called the netsuke was placed. With this design, the Inro could dangle from the kimono out of the way yet within close reach.

Soon, the beautifully designed ojime bead became a piece of art expressed by the artist. With so many different designs, the Japanese individual could choose the style, color, and design that best matched his or her personal preference. For instance, some of the designs included whales, dogs, monkeys, snakes, crabs, tigers, dogs, dragons, mice, bats, roosters, owls, and much more. While you can still find authentic ojime beads, today, many reproductions are also available, which are quite charming and typically carved from boxwood found in China, but following the traditions of the Japanese.

The design of the ojime bead consists of a hole drilled from the top all the way down through the bottom. Additionally, depending on the design of the bead, there may also be some holes running lengthwise. The original and reproduced ojime beads are indeed amazing, refined pieces of art that are actually very sophisticated. They have since evolved over a time period of three hundred years into works of art that are both collected and revered by art aficionados across the globe. Originally, Netsuke served both functional and aesthetic purposes.

The Japanese kimono did not have pockets, so women would hold small objects in their sleeves, and men would wear a silk cord on their obi, or sash.

From the cord, they would hang items such as tobacco pouches and coin purses. These items were known as sagemono. To stop the silk cord from slipping under the weight of their sagemono, they would attach a small toggle to the cord. All three items the obi, sagemono and netsuke were beautifully decorated with carvings, lacquer work and inlays of precious metals, ivory, coral and other rare or expensive materials.

Netsuke were often carved into different designs, and were shaped as everything from animals to humans to abstract patterns. Because of their individuality and uniqueness, netsuke quickly became highly collectable and their design became a coveted art form. Netsuke were also a sign of social status, as the craftsmanship and the quality of materials used varied between individual pieces. The wealthy tended to own better quality netsuke.

Netsuke can be made from a large variety of material, the most popular being ivory. However, it is not uncommon to find netsuke made from wood, animal tusks and antlers, amber, pottery, bamboo and more. There are many different styles of netsuke as well. The most common style is called katabori , or figural netsuke. These are the netsuke that resemble people or animals. Another type of netsuke are sashi , which are long and thin. Manju netsuke are named after a bean paste dish because of their round shapes that look similar to buttons.

Finally, mask netsuke are fashioned after the masks in the Noh or Kyogen style plays that were popular in Japan at the time. Common netsuke subjects included the animal characters taken from the Asian zodiac as well as mythological figures, heroes and scenes from everyday life, but netsuke subject matter was hardly limted to these and they could take the form of anything the artist could possibly imagine. By the 19 th century, netsuke were no longer needed in their functional role.

Japanese culture, and thus dress, was heavily influenced by European styles, and the kimono and obi fashion fell out of favor. They still remained highly collectable however, as the startling amount of detail that went into each netsuke was a true jewel in the crown of Japanese art development.

Today, netsuke fetch hefty prices from collectors around the world who admire the intricate and delicate craftsmanship, and the uniqueness and individuality of these beautiful works of Japanese art. The Japanese Woodblock Print is an art form, which highlights flowing, curved outlines, simplistic forms as well as the detailing of flat areas containing color. This form of art has not only existed for a long time in Asian history, but it has also deeply impacted artists in both Europe and North America throughout the 19 th century.

Woodblock printing was first used in Japan in the 8th century to print religious texts. Buddhists traveling from China brought these texts, as well as the printing method itself, to Japan. These first prints were made in a single color using only Sumi ink. The world would have to wait nearly years for the first colored prints to appear. Early color prints were made using a single block and black ink.

The colors were hand painted by workers in the print shops. It was only when the popularity of these prints exceeded the production capacity of the workshops that the true woodblock print evolved. To meet the rising demand, the printers employed master carvers to make individual blocks for each of the colors in the print.

Many of the finer woodblock prints contained 15 or more colors, requiring 15 different expertly carved wooden print blocks. Each of these blocks had to be carved with great precision to ensure that the colored sections met perfectly. Earliest among these images were private calendars that were printed without first by Suzuku Hornbook , and later with other various artists. Beginning in the mids, the newly discovered color prints were sold commercially; their depictions included themes that were both classical as well as contemporary; these themes included literary scenes, the lives of celebrities, women of beauty, travel scenes, erotic scenes, as well as actors in their different dramatic roles.

The techniques that were used were varied, but were absolutely critical to the final print. While working, the artist is required to keep a very specific goal in mind while creating the blocks.

This mindset should be in line with the Japanese tradition of demonstrating the precise direction of the brush that would be painting the picture, so that the features of the original piece, as well as the written characters, are not in any way destroyed.

The wood that is used for Japanese Woodblock Prints is selected very carefully. The woods considered include only very specific types of trees, and only certain textures of wood within those different species. No matter what, the texture of the wood must be extremely fine and very hard. The differences between old and modern methods of Japanese woodcutting are as follows: the method of cutting on wood - as the ancient woodcuts is deeper than the ones that are made today.

However, though more shallow, the present day pieces allow for much greater detail. The majority of the woodblock prints were produced in the cities of Osaka, Kyoto, and Tokyo formerly Edo. Workshops in Kyoto still produce woodblock prints today, which is the source of the prints we offer for sale on our site. Ukiyo-e is probably the best known and most popular style of Japanese art. Like artistic eras in other parts of the world, Ukiyo-e art was produced in a variety of different media, including painting.

Because it used woodblocks to make a number of prints, Ukiyo-e took art from being the domain of the upper classes and royalty. This then made it more accessible to the common people. Ukiyo-e became popular around the mid-nineteenth century. One of the first major artists in the Ukiyo-e was Monorobu Hishikawa, who produced single color prints made with woodblocks.

Hishikawa, who was an illustrator for a book publisher, had to argue very hard to convince his superiors that printing and selling single sheet artworks would be a lucrative enterprise. This is certainly ironic, since Ukiyo-e became one of the most popular and lucrative forms of art the world has ever seen.

His actions created a trend, and soon other master artists were working with students to promote several different styles of print-making. The most popular subjects for Ukiyo-e prints at first were women, usually prostitutes, or "courtesans", and Ukiyo-e became known for its almost pornographic qualities. However, not all Ukiyo-e prints featured nudity. In fact, many were full length portraits of women displaying their kimonos not unlike modern fashion models.

Though later developments allowed the use of three, and then finally multiple colors, the process of woodblock printing remained basically the same. The artist would produce a master painting, which was then traced by craftsmen who carefully marked where each color would be placed. Then these craftsmen would make templates for each color, producing a separate woodblock for each one.

The woodblocks were then pressed sequentially onto the paper in a certain order, producing the final product. The Ukiyo-e style remained popular into the nineteenth century. While courtesans and other women remained popular subjects, landscapes, city scenes, and many other scenes from everyday life began to emerge as popular subjects as the art form became more widespread.

Ando Hiroshige, a woodblock artist who began producing works around the beginning of the nineteenth century, is widely regarded as one of the best Ukiyo-e artists. His master works, a series of prints called Fifty-Three Stations of the Tokaido , are considered as some of the finest Ukiyo-e prints, and his passing in more or less coincided with the end of the Ukiyo-e woodblock printing era. When we think of traditional Japanese dress, we inevitably think of the kimono as a garment that has been around throughout the course of Japan's history.

However, this is not the case. While it is true that the kimono is the national costume of Japan, which is why it is the first thing we think of but the garment in its first recognizable form did not appear until the 7 th century. In fact, what we think of when we refer to a kimono today was not developed until the Edo period. Kimonos are breathtakingly beautiful and somewhat daunting to the eye of the westerner that might find it tempting to try to wear one.

It looks a bit like a bathrobe but much, much more complex than traditional Western wear. Does the word "kimono" convey any special insight into how to wear this garment by its meaning? Unfortunately not!

The word kimono simply means "something to wear". Historians specializing in period clothing tell us that the name kimono came to be known to us about at the same time that Japan, after years of being closed to foreigners, was first entertaining visitors from the west.

The name "kimono" stuck. Much of the tradition surrounding kimonos comes from the Chinese. We know that Japan and Chinese nurtured a thriving trade between them. During travel, Japanese traders brought back clothing traditions from the Chinese court, which were adapted in Japan and remained popular until diplomatic relations between these countries cooled off in the early Heian period.

For example, the fact that kimonos are always crossed left over right. That tradition started in China, where it was considered very poor taste and breeding to cross right over left.

Kimonos changed through the different periods of Japan's history to reflect the lifestyle and culture of the time. The cut, color, fabric, and decorations of a kimono may vary according to the sex, age, and marital status of the wearer, the season of the year, and the occasion for which the kimono is worn.

During the Heian period, sitting on the floor became an important part of the Japanese lifestyle. Clothing became stiffer and made up of multiple layers to help people be more comfortable. It was not unusual for women in Japanese society to wear as many as twenty layers. The layered color pattern reflected many things including seasons, directions, virtues, and elements of the earth as they related to spirits of nature. The multiple layers also helped stay warm in winter.

The next period in Japan's history - the Muromachi period A. Kimonos became simpler to reflect the needs of the more active Samurai lifestyle. With the increase in industrialization and the growth of the merchant class during the subsequent Edo period A.

One interesting fact is that up until the Edo period, the belt of a kimono, the obi, was always tied in the front. The Edo period saw the tradition change to what it is today, with the obi tied in the back. The Imperial household of Japan still uses kimonos of the Heian period for special occasions such as coronations and weddings.

To Japanese clothing historians, the Heian period is known as a time when the Japanese began expressing their perception of the seasons and especially color changes associated with the changing of the seasons through the design of their kimonos. Kimonos appear deceptively simple to wear. There are some styles of tying the obi knot that require half and hour to complete.

Even a simple shopkeeper's kimono involves a complex folding and tying procedure in order to wear properly. Today, modern men and women in Japan prefer yofuku, which is a western style dress for everyday wear. Kimonos are still favored by some for special occasions and ceremonies, like traditional weddings. I kept carving. In every country I visited I sought out carvers. The teachers did not always speak English, but they were all friendly and helpful.

It was a fascinating way to get to know people from vastly different cultures. Gradually I got better. Beginner carvers benefit from lessons.

A few simple tools: a chip knife or other small sharp flat blade, and a few gouges are all you need to get started. Learning carving doesn't require a lot of talent since it is possible to get good lessons and a pattern and just carefully follow instructions to produce a nice finished wood carving. The excellent do it yourself book " Carving Totem poles and Masks" is available from Amazon. Look in the adds on this site for it. You can also look for it in secondhand stores and sites.

I learned a lot from this book. Unfortunately it must be out of print and may be a bit expensive Many west coast native and non native carvers have used it. Carvers must learn to sharpen and care for their knives and gouges so a sharpening stone and polishing strop are essentials. A stop is a ruler shaped piece of wood with a strip of leather glued on. You rub sharpening wax on the strop then slide the side of your blade up and down to sharpen it.

Sharpening itself is a skill that must be learned. Poor sharpening attempts can almost ruin a tool as I learned when I was starting out.. Good sharpening improve it greatly. As I struggled in my first years carving it gradually dawned on me that dull tools don't work and it is vital to go with the grain of the wood, not against the grain. Carving requires care and perseverance.

It is a joyful process. And developing your own designs and style is challenging and fun. I hope you liked this hub and that you will enjoy reading my other woodcarving and native art hubs. This is a lovely female style moon mask by Andrew Dunkerton in his studio at Roberts Creek. Older woman with labret and bone earrings. This is carved in North West Coast style from Alder with cedar bark hair.

My second mask carved down and redone with background of old first nations cedar baskets. I was inspired by teachers and master carvers like Andrew Dunkerton and Rupert Scow whose moon masks are shown above. I decided that the second mask which I carved, the moon mask shown earlier in this article, was too clunky, uneven, and that the painting needed improvement.

So I decided to recarve this moon mask. It is a hard decision-sort of like having a major facelife. Will it be better? Will I like it? There is no going back!!! I often have worries like this when I change a carving. I took a small palm sander and sanded back the face of the mask, evening it and re shaping it. Then I re carved the nose and cheeks evening them.

And then I re carvedthe rim. I thinned the mask from the inside using a curved knife blade. This task was easier than I had thought it would be because I used some excellent curved blades and because I now know how to sharpen my tools much better than when I first carved the moon mask. I begin with a raw piece of wood and carve based upon […].

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