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COLOR STUDY CHOSEN

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Hi, Assalamualaikum.
My name is Siti Hanisah Binti Zikep.  I'm 23 years old. I live in Batu Pahat, Johor. I have 7 siblings. My previous study was STPM.

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- Carving is the act of using tools to shape something from a material by scraping away portions of that material. The technique can be applied to any material that is solid enough to hold a form even when pieces have been removed from it, and yet soft enough for portions to be scraped away with available tools.

- Carving, as a means for making stone or wooden sculpture, is distinct from methods using soft and malleable materials like clay, fruit, and melted glass, which may be shaped into the desired forms while soft and then harden into that form. Carving tends to require much more work than methods using malleable materials.

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- Bone carving
- Chip carving
- Fruit carving
- Gourd carving or gourd art
- Ice carving or ice sculpture
- Ivory carving
- Stone carving
- Petroglyph
- Vegetable carving
- Thaeng yuak (Banana stalk carving)
- Wood carving
- Hobo nickel
- Tree carving
- Arborglyph

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- One of the oldest types of art, woodcarving is an art-form common to all cultures, from the Stone Age onwards, not least because of its widespread availability, plasticity and low cost. Its only real drawback as a medium for sculpture is its perishability. Being water absorbent and vulnerable to insects and airborne fungi, wood can degrade quite rapidly. As a result, bronze, marble and other types of stone have been preferred for monumental works.

- Even so, wood was the principal type of African sculpture used to produce masks, statuettes, religious objects and general decorative items. The medium was also widely used in Oceanic art for the carving of ceremonial canoes and other objects, as well as in the totem pole culture of American Indian art and in the Aboriginal art of Australia. Unfortunately, most of this type of ancient tribal art has perished.

- Wood carving was also common in Greek sculpture, although it was far less prestigious than ivory carving, and used mostly for small-scale works. The medium flourished later in Europe, alongside medieval, Romanesque and Gothic architecture, chiefly in churches and cathedrals, and later alongside fine furniture and interior decoration, notably in the idiom of Rococo art. During the 20th century, plastic art has used wood in a number of innovative ways, not least in the assemblage art of Louise Nevelson (1899-1988) and others, while 20th century folk art continues to depend on the medium.

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- Paleolithic art and culture is full of examples of prehistoric sculpture, of which the best known instances are the Venus figurines, carved from a variety of ivory, animal bone and rock. No doubt wood was also widely used, though little of it has survived. The fact that we have the Shigir Idol (7500 BCE, Yekaterinburg, Russian Urals) - a masterpiece of Mesolithic art - is nothing short of a miracle.

- Wood was also in widespread use throughout all the ancient civilizations, notably in Japanese art, as well as Mesopotamian art and Egyptian art. It was also common in Archaic Greek sculpture, although, as first marble sculpture and later bronze sculpture grew popular, the use of wood as a primary material declined rapidly. By the time of Early Classical Greek sculpture (c.480-450), the art of wood carving was restricted to small-scale works only. Even here, chryselephantine sculpture dominated. Note: In Korea and China, jade carving was the most prestigious type of carving

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- Sculpting in wood, usually oak, also underwent something of a revival in England during the 17th century, with the work of Grinling Gibbons (1648-1721) - see, for instance, his Woodcarving of a Cravat (c.1690, Victoria & Albert Museum). The art of wood carving was also maintained by English cabinet-makers like John Linnell, John Cobb, Benjamin Goodison, William Vile and the eminent Thomas Chippendale (1718-79). On the Continent, woodwork traditions were upheld by a number of Rococo artists including: (in France) Foliot, Lelarge, Sene and Cressent; (in Germany) Oeben, Riesener and Weisweiler; and (in Italy) by the great designers Filippo Juvarra (1678-1736) and Bernardo Yittone (1704-1770).

- Famous modern artists who have sculpted in wood include: the Romanian Constantin Brancusi (1876-1957), whose first work was a violin; the English sculptor Henry Moore (1898-1986), noted for his smooth wooden sculptures like Reclining Figure (1936); Barbara Hepworth (1903-75), another exponent of biomorphic abstraction, famous for her use of "negative space"; the painter Paul Gauguin (1848-1903), noted for his primitivist relief sculpture and wooden masks; the expressionist Ernst Barlach (1870-1938); the Polish sculptor Xawery Dunikowski (1875-1964), who carved the striking Motherhood (1908, Warsaw National Museum); the Belgian abstract sculptor Georges Vantongerloo (1886-1965) who created Construction of Volume Relations (1921, MOMA, New York); and Louise Nevelson (1899-1988) - noted for her modernist assemblages of 'found' wood.

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Types and Characteristics of Wood Carving

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Types and Characteristics of Wood Carving

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- Methods and styles of wood carving include chip carving, relief carving, and Scandinavian flat-plane. Both softwoods and hardwoods are used, principally oak, mahogany, walnut, elm, limewood, chestnut, ebony, boxwood, cedar, cypress, olive, teak and pine.

- Wood has both advantages and drawbacks as a sculpture medium. Because of its fibrous strength, it can be carved more thinly and precisely than stone or animal bone. For large compositions, two or more pieces of wood may be carved then joined. Hardwoods are more difficult to sculpt but possess greater lustre and endurance, while softwoods are easier to shape, but less durable. No wood is as durable, weatherproof or insect-immune as stone, and thus is used mainly for indoor works. Lastly, whatever wood is used, it remains an anisotropic material (its properties differ when measured in different directions), and is strongest in the direction of the grain. Thus sculptors carve their most delicate lines with the grain rather than against it.

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Chip Carving Knife. Probably the first tool a wood carver starts with is a knife

Carpenter's Chisels. These chisels have a flat edge

U-Gouges. Gouges are the work horses of wood carving

V-Gouges

Bent and Spoon Gouges

Skewed Chisel

Palm Tools

Mallet

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- Ceramic is any of the various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing an inorganic, nonmetallic material, such as clay, at a high temperature. Common examples are earthenware, porcelain, and brick.

- The earliest ceramics made by humans were pottery objects (pots or vessels) or figurines made from clay, either by itself or mixed with other materials like silica, hardened and sintered in fire. Later, ceramics were glazed and fired to create smooth, colored surfaces, decreasing porosity through the use of glassy, amorphous ceramic coatings on top of the crystalline ceramic substrates.

- Ceramics now include domestic, industrial and building products, as well as a wide range of ceramic art. In the 20th century, new ceramic materials were developed for use in advanced ceramic engineering, such as in semiconductors.

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- Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes.[12] The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface.

- The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water

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Handbuilding

The relationship between hands and clay is the basis of the ceramic art form. When you put your hands to clay, the natural inclination to form, shape, and ultimately create something from the fine-grained soil is inescapable. Handbuilt objects can be produced by pinching balls of clay, joining slabs, or creating coils. “Handbuilding, a combination of coil, carving, pounding, and squishing, has taken center stage in the art world,” says Adam Welch, an art lecturer at Princeton University and director of Greenwich House Pottery, the oldest non-profit ceramics studio in the country (since 1909).

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Pinching

Khnum, the Egyptian deity of water and pottery, was believed to have created the first children using his potter’s wheel and clay from the banks of the Nile. This Egyptian statuette from ca. 3500–3400 B.C., in the Predynastic period, was not made with a potter’s wheel, however. In this era, Egyptians employed the pinching method to create remarkably thin-walled vessels and representational figures out of hollowed-out pieces of brownish-red clay also known as terracotta. After the object’s final form was pinched to perfection, it was dried in the sun, polished smooth with a stone, and painted to endow it with features such as hair and clothing. This female figure’s small, pointed head may be an exaggeration of the nose to symbolize “the source of the breath of life,”

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Slabbing

California artist John Mason, one of the leading advocates of ceramics as a fine art, has been engaging in slab construction for more than 50 years, creating modern ceramic totems that can only be fully appreciated in person. Mason’s “Figure” works are the result of rolled, shaped, fired, and glazed slabs of clay positioned meticulously on top of one another in geometric formations.

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Coiling

The Coiling Technique (in Italy known as colombino or lucignolo) is one of the oldest method to create objects with clay. The clay is worked in the form of ropes (called colombini), which are rolled over each other giving shape to the object.

The Coiling Technique is a relatively slow and contemplative method, it requires some patience, so if you want to order a ceramic object you also have to be patient and wait about two, maximum three, weeks before you can get your piece. Discover here what is the workflow from order to shipment.

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Wheel Throwing / Hand Throwing

The wheel’s centrifugal force allowed potters to create vessels with unmatched speed and quality, enabling the formation of thinner and more refined vessels than was previously possible with handbuilding techniques. The invention of the wheel is largely accountable for the more than 100,000 vessels that survive from ancient Greece. The complex wheel-throwing process used to create the famous Greek red-figure/black-figure vessels often demanded two or more sessions of firing. The objects were painted with a slip before the third firing—usually with scenes of war, agriculture, and ceremony, or abstract, geometric designs.

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Slipcasting

Slipcasting or slip casting is a ceramic forming technique for pottery and other ceramics, especially for shapes not easily made on a wheel. In slipcasting, a liquid clay body slip (usually mixed in a blunger) is poured into plaster moulds and allowed to form a layer, the cast, on the inside walls of the mould. The process usually takes at least 24 hours per piece. It gives very precise and consistent shapes, and is now the most common technique used for commercial mass-produced pottery, although it began as a technique for fine pottery, especially porcelain.

The technique is suited to the production of complex shapes, especially if with relief decoration and thin walls. Much modern fine factory porcelain is made by the technique, very often the entire production. It is also commonly used for sanitaryware, such as toilets and basins, and smaller pieces like figurines and teapots. The technique can also be used for small-scale production runs or to produce limited edition, one off objects, especially reproductions of antique dolls and modern porcelain doll-making.

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Most of them have high hardness hence they are used as abrasive powder and cutting tools.

They have high melting point which makes them excellent refractory material

They are good thermal insulators this is another reason to use them as refractory material

They are high electric resistivity which makes them suitable to be used an insulator

They have low mass density which results in lightweight components

They are generally chemically inert which makes them durable

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They are brittle in nature

They have almost zero ductility

They have poor tensile strength

The show a wide range in the variation of strength, even for the identical specimens

They are difficult to shape and machine

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Wayang kulit is a traditional form of puppet-shadow play originally found in the cultures of Java, Bali, and Lombok in Indonesia.[1] In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The dalang (shadow artist) manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of wayang kulit often have to do with the major theme of good vs. evil.

Wayang kulit is one of the many different forms of wayang theatre found in Indonesia; the others include wayang beber, wayang klitik, wayang golek, wayang topeng, and wayang wong. Wayang kulit is among the best known, offering a unique combination of ritual, lesson and entertainment.

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Hinduism arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali. Wayang kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from Muslim religious leaders.

Religious leaders attempted to skirt the Muslim prohibition by converting the wayang golek into wayang purwa made from leather and displayed only the shadow instead of the puppets themselves.

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Shadow puppets are an ancient part of India's culture, particularly regionally as the keelu bomme and Tholu bommalata of Andhra Pradesh, the Togalu gombeyaata in Karnataka, the charma bahuli natya in Maharashtra, the Ravana chhaya in Odisha, the Tholpavakoothu in Kerala and the thol bommalatta in Tamil Nadu. Shadow puppet play is also found in pictorial traditions in India, such as temple mural painting, loose-leaf folio paintings, and the narrative paintings. Dance forms such as the Chhau of Odisha literally mean "shadow". The shadow theatre dance drama theatre are usually performed on platform stages attached to Hindu temples, and in some regions these are called Koothu Madams or Koothambalams. In many regions, the puppet drama play is performed by itinerant artist families on temporary stages during major temple festivals. Legends from the Hindu epics Ramayana and the Mahabharata dominate their repertoire. However, the details and the stories vary regionally

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Shadow puppet theatre is called wayang in Indonesia, wherein a dramatic story is told through shadows thrown by puppets and sometimes combined with human characters. Wayang is an ancient form of storytelling that renowned for its elaborate puppets and complex musical styles.mThe earliest evidence is from the late 1st millennium CE, in medieval-era texts and archeological sites. Around 860 CE an Old Javanese charter issued by Maharaja Sri Lokapala mentions three sorts of performers: atapukan, aringgit, and abanol. Ringgit is described in an 11th-century Javanese poem as a leather shadow figure.

Wayang kulit, a style of wayang shadow play, is particularly popular in Java and Bali. The term derived from the word wayang literally means "shadow" or "imagination" in Javanese; it also connotes "spirit". The word kulit means "skin", as the material from which the puppet is made is thin perforated leather sheets made from buffalo skin.

Performances of shadow puppet theater in Bali are typically at night, lasting until dawn. The complete wayang kulit troupes include dalang (puppet master), nayaga (gamelan players), and sinden (female choral singer). Some of the nayaga also perform as male choral singers. The dalang (puppet master) performs the wayang behind the cotton screen illuminated by oil lamp or modern halogen lamp, creating visual effects similar to animation. The flat puppet has moveable joints that are animated by hand, using rods connected to the puppet. The handle of the rod is made of carved buffalo horn.

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In Cambodia, the shadow play is called Nang Sbek Thom, or simply as Sbek Thom (literally "large leather hide"), Sbek Touch ("small leather hide") and Sbek Por ("colored leather hide").

It is performed during sacred temple ceremonies, at private functions, and for the public in Cambodia's villages. The popular plays include the Ramayana and Mahabharata epics, as well as other Hindu myth and legends. The performance is accompanied by a pinpeat orchestra.

The Sbek Thom is based on the Cambodian version of the Indian epic Ramayana, an epic story about good and evil involving Rama, Sita, Lakshmana, Hanuman and Ravana. It is a sacred performance, embodying Khmer beliefs built on the foundations and mythologies of Brahmanism and Buddhism.

Cambodian shadow puppets are made of cow hide, and their size are usually quite large, depicting a whole scene, including its background. Unlike their Javanese counterparts, Cambodian shadow puppets are usually not articulated, rendering the figure's hands unmovable, and are left uncolored, retaining the original color of the leather. The main shadow puppet production center is Roluos near Siem Reap. Cambodian shadow puppetry is one of the cultural performances staged for tourists alongside Cambodian traditional dances.

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Shadow theatre in Thailand is called nang yai; in the south there is a tradition called nang talung. Nang yai puppets are normally made of cowhide and rattan. Performances are normally accompanied by a combination of songs and chants. Performances in Thailand were temporarily suspended in 1960 due to a fire at the national theatre. Nang drama has influenced modern Thai cinema, including filmmakers like Cherd Songsri and Payut Ngaokrachang.

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In Malaysia, shadow puppet plays are also known as wayang kulit. In Malay, wayang means "theater", while kulit means "skin/leather" and refers to the puppets that are made out of leather. Stories presented are usually mythical and morality tales. There is an educational moral to the plays, which usually portray a battle. Malay shadow plays are sometimes considered one of the earliest examples of animation. The wayang kulit in the northern states of Malaysia such as Kelantan is influenced by and similar to Thai shadow puppets, while the wayang kulit in the southern Malay peninsula, especially in Johor, is borrowed from Javanese Indonesian wayang kulit with slightly differences in the story and performance.

The puppets are made primarily of leather and manipulated with sticks or buffalo horn handles. Shadows are cast using an oil lamp or, in modern times, a halogen light, onto a cotton cloth background. They are often associated with gamelan music.

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There are several myths and legends about the origins of shadow puppetry in China. The most famous one has it that Chinese shadow puppetry originated when the favorite concubine of Emperor Wu of Han (156 BCE – 87 BCE) died and magician Shao-weng promised to raise her spirit. The emperor could see a shadow that looked like her move behind the curtains that the magician had placed around some lit torches. It is often told that the magician used a shadow puppet, but the original text in Book of Han gives no reason to believe in a relation to shadow puppetry. Although there are many earlier records of all kinds of puppetry in China, clear mention of Chinese shadow play does not occur until the Northern Song dynasty (960–1127). A 1235 book mentions that the puppets were initially cut out of paper, but later made of colored leather or parchment. The stories were mostly based on history and half fact half fiction, but comedies were also performed.

Shadow theatre became quite popular as early as the Song dynasty, when holidays were marked by the presentation of many shadow plays. During the Ming dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone.[citation needed] The earliest shadow theatre screens were made of mulberry paper.

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A more bawdy comedy tradition of shadow play was widespread throughout the Ottoman Empire, possibly since the late 14th century. It was centered around the contrasting interaction between the figures Karagöz and Hacivat: an unprincipled peasant and his fussy, educated companion. Together with other characters they represented all the major social groups in Ottoman culture. It was usually performed by a single puppet master, who voiced up to dozens of characters, and could be assisted by an apprentice handing him the puppets. The show could be introduced by a singer, accompanied by a tambourine player. Its origins are obscure, though probably deriving from an Asian source.[citation needed]

Karagöz theatre puppets have jointed limbs and are made from camel or buffalo hide. The hide is made transparent and colored, resulting in colorful projections. Puppets are typically 35–40 centimeters in height.

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1. Earthenware

Used extensively for pottery tableware and decorative objects. It is one of the oldest materials used in pottery.

The clay is fired at relatively low temperatures (1,000–1,150°C), producing a slightly porous, coarse product. To overcome its porosity, the fired object is covered with finely ground glass powder suspended in water (glaze) and is then fired a second time. Faience, Delft and majolica are examples of earthenware.

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2. Stoneware

Clay is fired at a high temperature (about 1,200°C) until made glass-like (vitrified). Because stoneware is non-porous, glaze is applied only for decoration. It is a sturdy, chip-resistant and durable material suitable for use in the kitchen for cooking, baking, storing liquids and as serving dishes.

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3. Porcelain

Very hard, translucent white ceramic. The earliest forms of porcelain originated in China around 1600BC, and by 600AD, Chinese porcelain was a prized commodity with Arabian traders. Because porcelain was associated with China and often used to make plates, cups, vases and other works of fine art, it often goes by the name of ‘fine china'.

To make porcelain, small amounts of glass, granite and feldspar minerals are ground up with fine white kaolin clay. Water is then added to the resulting fine white powder so that it can be kneaded and worked into shape. This is fired in a kiln to between 1,200–1,450°C. Decorative glazes are then applied followed by further firing.

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4. Bone china

Easier to make, harder to chip and stronger than porcelain – is made by adding ash from cattle bones to clay, feldspar minerals and fine silica sand.

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'Tebuk carving' comes from a piece of board or some pieces of board that are pounded using a saw saw (saw saw) so that it penetrates the shapes of flowers or patterns. There are two types of carvings of this type, namely the carving of tebuk not silat and carving tebuk silat.

'Carvings tebuk No Silat' are found in many old houses, namely the sections of the mosque, lambur, walls, doors, furniture and pulpits of the mosque. The shape of the carved flower is a cloud of larat, ceiling, calligraphy and symmetry. For the carving of the silat tebuk, the piercing and curved part out is inflicted and the part that curves in and the crushed is drowned. Indeed silat is a term that denotes the part that arises and sinks and the board is torn. The carved flowers found in this shape are larat clouds, crosses and symmetry.

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This carving is not translucent. It contains carved flowers that are shined and not silated. There are furniture, mosque pulpits, decorative items made of wood, ulu and gun sampir. The carved flowers are the same as the carvings of a pot.

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This carving is widely found on the ulu weapon such as ulu keris, stick head, coconut kukur, fishing box and so on. The carved flowers are the same as embossed carvings but are smoother and smaller.

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Melarik is a way the Malays carve wood. Larik carvings with an arrangement of gerlangs and interesting precarious. These carvings are often found on the first weapons, furniture, sticks, gasing, pillars of houses and so on.

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These carvings are thought to be new. The carvings were introduced by the Malaysian Handicraft Corporation. These sculptures are merely ornamental. Fish carvings are carved into certain parts and formed to sculpt fish, birds and so on. The parent wood is taken from wood or roots found in the river.

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Wayang Kulit performances are usually accompanied by a percussion or gamelan band as well as wind instruments (serunai) or stringed instruments (rebab). Wayang Kulit is performed in certain ceremonies or celebrations. The function of Wayang Kulit is as a medium of entertainment and is sometimes associated with ritual elements found in a society. This performing art spreads and forms a distinct identity in a society.