A Most Ancient Skill – Not what you think (Acanthus Part 2) By Ralph Duncan

In our previous discussion of the Acanthus, we explored the origin of the use of the leaf in carvings and ornaments and its cultural adaptations and interpretations. We noted that the different characterizations of the acanthus were largely a result of variances in culture. However, it could also be argued that the tools available at any given time in history played as large, or even larger role in how the Acanthus was interpreted. 

While the precise timeline of carving tools is somewhat a mystery, we can see at least a preference in tools by the carving itself. When speaking specifically of ancient wood carvings (around 400-500 bc) we see mostly flat surfaces and flat-edged carvings. The picture below is a copy of one I produced in my shop. Visible are the surfaces of the leaves all at one level and are rendered by incising flat planes with knives only. 

The knives I have in my shop, are fundamentally the same tools that have been used for centuries to produce very elaborate carvings. 

While we do not know when curved and rounded carving gouges appeared on the stage, we do see very delicate carvings appearing around the 14th century. In many cases, these carvings still exist and are regarded as some of the most beautiful and sophisticated carvings in history. It is clear that the production of these carvings included the addition of tools other than straight knives.  

Tools began to be manufactured, by family-run companies that are still in existence today. Companies have designed and produced hundreds of variants on the carving gouge. Some of the same tools that my ancestors used are still in existence today. Many examples I have in my shop.

While these tools did gain popularity, the master carver did not give up his knife. We see many carvings appearing that showed both signs of marks created by knives as well as curved gouges. Look at the “curly” carved pattern in this picture. Several cuts were likely made with the knife, while still others have curved and beveled surfaces that could only be made successfully with a gouge. 

As we look back at one of our acanthus examples, the impact of the development of sophisticated shapes and curved tools foster carvings with sweeping curves and delicate forms. 

The pursuit of wood carving is an endeavor from which there is no graduation. It is a constant and humbling challenge to produce, or reproduce, a quality piece in the same manner as the expert craftsmen of centuries gone by.

Visit Ralph's page to read his past posts. 

There you can also view some of his artwork.

The Hands ~ by Ralph Duncan

Although I am not a prolific blogger, I hope I can offer you some interesting thoughts and stories.  Most of what I'll write will be about my experiences and adventures that inspire and inform my art. Here’s a little bit about why I make art. Enjoy.

It was an interesting day that unexpectedly became a day of reflection and in some sense, a day of drawing a line in the sand. I know—what does this have to do with hands? Or what does this have to do with art for that matter?

It started with my afternoon trip to the Bellevue Arts Museum. I made a point of going because the exhibit of furniture maker John Cederquist was at the museum and I didn’t want to miss it. As I walked through his exhibit and the following sculptural exhibit of Wanxin Zhang, I kept wanting to put my hands on the pieces; to feel the shape and the texture. But—there was the sign—DO NOT TOUCH ART—I’m not sure why some of us feel the need to touch things. Perhaps it is this feeling that without touching something, without the feel of the shape, the texture, the softness, the harshness, the curves, and the sharp edges – one has not really engaged in the subject.

Ironically, as the day progressed, I was walking the streets of Seattle and came across an interesting bookstore.  Browsing the store, I found a wonderful book titled, “Hands at Work.”  

As I thumbed through the book, I read stories about people who work with their hands. My mind went back to the gallery and my thoughts about wanting to put my hands on the art. My thoughts drifted to my father when I said my last goodbye to him and touched his hands roughened by a life of working with his hands; of the things those hands taught me when I was young. 

I remembered the old tools I inherited and the feeling of self-worth and history when working with a tool that is decades old. I wondered what craftsman had his or her hands on this tool and of the intertwining of the oil and sweat from their hands and mine.

I read the stories and explanations of why these men and women chose to make a life by working with their hands.

“They talk of living in their hands and needing to get their hands dirty, cold, or wet. For them, the materials they use are alive and responsive; their hands teach them things they didn’t know and connect them to different times, places, and people.”

People are losing the ability to make things for themselves…We’re missing out on the incredible creative process that engages the mind and translates to the hands.

THIS...is why I must make art.

By Ralph Duncan