Jacobo Castellano, (Jaen, 1976), is one of the most complex and solid contemporary Spanish artists. He uses engraving to create a body of work based on the emotions and sensations that are hidden in his personal memory. In his work he uses elements such as curtains, wire, small piggy banks, coffins or those rhombuses that were placed on the top of the TV screen. These elements are superimposed creating structures that seem to be on the verge of collapse and that seem to want to hide something or point to a place to hide and protect themselves from imminent collapse. The work of Jacobo Castellano follows a defined line in which the recovery of remembrances stored in his memory leads to a deep reflection on essential issues such as identity, or life and death. Numerous collections of contemporary art have their production, like ARTIUM. Basque Center-Museum of Contemporary Art; CAAC. Andalusian Center for Contemporary Art; CGAC. Galician Center of Contemporary Art; Montenmedio Contemporary Art Foundation; or the Rafael Boti Provincial Plastic Arts Foundation, among others. Contents: Rincones polvorientos de la vida / Life's Dusty Corners, by Javier Hontoria El juego sin fin (notas de un coleccionista / The Endless Game (Notes of a Collector) by Luis Caballero Martinez Conversation with Joao Mourao and Luis Silva Text in English and Spanish.

Green men are figures or heads that were carved in churches, abbeys and cathedrals from the twelfth to the sixteenth centuries. Inspired by the illustrations in book margins where heads were used to terminate trails of foliage, they were usually carved in the form of human masks, cats' or demons' heads. The earliest architectural green men are found in the churches of the wealthy and influential, such as Henry I's private chapel in Derbyshire but they were still produced in lesser numbers into the nineteenth century. Richard Hayman discusses the origins and definitions of these fascinating figures and traces their many declines and revivals throughout history - a valuable guide for any church history enthusiast.

The Safaitic rock art of the North Arabian basalt desert is a unique and understudied material, one of the few surviving traces of the elusive herding societies that inhabited this region in antiquity. Yet little is known about this rock art and its role in the desert societies. Why did these peoples make carvings in the desert and what was the significance of this cultural practice? What can the rock art tell us about the relationship between the nomads and their desert landscape? This book investigates these questions through a comprehensive study of over 4500 petroglyphs from the Jebel Qurma region of the Black Desert in north-eastern Jordan. It explores the content of the rock art, how it was produced and consumed by its makers and audience, and its relationship with the landscape. This is the first-ever systematic study of the Safaitic petroglyphs from the Black Desert and it is unique for the study of Arabian rock art. It demonstrates the value of a material approach to rock art and the unique insights that rock art can provide into the relationship between nomadic herders and the wild and domestic landscape.

In the early 1800's, on a Hebridean beach in Scotland, the sea exposed an ancient treasure cache: 93 chessmen carved from walrus ivory. Norse netsuke, each face individual, each full of quirks, the Lewis Chessmen are probably the most famous chess pieces in the world. Harry played Wizard's Chess with them in Harry Potter and the Sorcerer's Stone. Housed at the British Museum, they are among its most visited and beloved objects. Questions abounded: Who carved them? Where? Ivory Vikings explores these mysteries by connecting medieval Icelandic sagas with modern archaeology, art history, forensics, and the history of board games. In the process, Ivory Vikings presents a vivid history of the 400 years when the Vikings ruled the North Atlantic, and the sea-road connected countries and islands we think of as far apart and culturally distinct: Nonrvay and Scotland, Ireland and Iceland, and Greenland and North America. The story of the Lewis chessmen explains the economic lure behind the Viking voyages to the west in the 800s and 900s. And finally, it brings from the shadows an extraordinarily talented woman artist of the twelfth century: Margret the Adroit of Iceland.

"How to plan, carve and paint your personal totem pole."

This well-illustrated guidebook includes the history of totem-pole carving and its West Coast native traditions, techniques and patterns. It examines the historic and modern tools involved. And it also presents great ideas for carving a totem pole, whether with traditional designs or more personal folk-art motifs.

Carving instructor Wayne Hill reveals how to select the right wood and use the correct tools to best advantage. Artist Jimi McKee shows how to create drawings and templates in authentic West Coast styles. There are also special notes on the meanings of figures, along with many instructions on painting your totem pole and recommendations for placement.

A folk-art family totem pole will be treasured for years to come. This handy illustrated guide includes all the background and information required to create one.

"With this new edition of Ice Carving Made Easy, Second Edition, Joe Amendola shares with all present and future ice carvers the resurgence of this historic art form. This book will guide and inspire thousands of chefs and artists to enjoy the artistic fulfillment, professionalism, and camaraderie of the exciting art of ice carving." —Larry Malchick, President, National Ice Carving Association "The information on the history, tools and accessories, different methods, types of ice blocks, and the safety and precautionary measures in ice carving will be of tremendous help to many young enthusiasts in their goal to become professional ice sculptors." —Hiroshi Noguchi, C.E.C., A.A.C., Executive Chef, Stouffer Orlando Resort Here is the first new American ice carving manual to be released in ten years! Written by a culinary master, Joe Amendola, it addresses current developments in the field of ice carving. It emphasizes American and European subjects and designs in an attempt to offset the exclusivity of oriental designs in available Japanese books. The organization of Ice Carving Made Easy, Second Edition allows for carvers of every proficiency to use the book with success—each stage of creating a carving is discussed, from manufacturing of ice to the final presentation. Such introductory topics as the handling of ice, hand and power tools, and templates are described in as much detail and given as much attention as the more complex sections about carving faces, fusing, and developing multiple block sculptures. Each of the 34 ice sculptures that Amendola presents is supported by step-by-step instructions that allow the novice and expert alike to create show-pieces that will add a special touch to banquets, buffets, and special events.

When was the Dome of the Rock built and what meanings was the structure meant to convey to viewers at the time of its construction? These are questions that have preoccupied historians of Islamic art and architecture, and numerous interpretations of the Dome of the Rock have been proposed. This book returns to one of the most important pieces of evidence: the mosaic inscriptions running around the two faces of the octagonal arcade. Detailed examination of the physical characteristics, morphology and content of these inscriptions provides new evidence concerning: the chronology of the planning, construction, and decoration of the building; the iconography of the Dome of the Rock; the evolution of Arabic epigraphy in the early Islamic period; and the public expression of religious concepts under the Umayyad caliphs.

"Feeding the Ancestors" presents an exquisite group of carved spoons from the Pacific Northwest that resides in the collections of Harvard's Peabody Museum of Archaeology and Ethnology. Carved from the horns of mountain goats and Dall sheep, and incorporating elements of abalone shell and metal, most of the spoons were collected in Alaska in the late nineteenth century and were made and used by members of the Tlingit tribe. Hillel Burger's beautiful color photographs reveal every nuance of the carvers' extraordinary artistry.

Anne-Marie Victor-Howe introduces the collectors and describes the means by which these and other ethnographic objects were acquired. In the process, she paints a vivid picture of the "Last Frontier" just before and shortly after the United States purchased Alaska. A specialist in the ethnography of the Native peoples of the Northwest Coast, Victor-Howe provides a fascinating glimpse into these aboriginal subsistence cultures as she explains the manufacture and function of traditional spoons. Her accounts of the clan stories associated with specific carvings and of the traditional shamanic uses of spoons are the result of extensive consultation with Tlingit elders, scholars, and carvers.

"Feeding the Ancestors" is the first scholarly study of traditional feast spoons and a valuable contribution to our knowledge of Pacific Northwest Coast peoples and their art.

This full colour coffee table book celebrates Zimbabwe Stone Sculpture – those who create it and those who honour it. The reader is invited to join Stuart Danks on a journey through the fascinating history of Zimbabwe Stone Sculpture and its relevance today.

Readers learn about the process whereby stone is mined, transported great distances, and then skillfully carved by hand into magnificent pieces of art, many of which can be found in museums, galleries, hotels, official buildings and homes throughout the world.

The book includes information about some of the main artists who have created the sculpture that continues to fascinate the world, accompanied by beautiful photographs of their work.

Specific instructions, photographs, and angle sketches for 24 projects -- from Bolivar Bull through Casper Camel to Sammy Stegosaurus. Only simplest tools and materials used. 94 illustrations. .,."excellent for the beginner."--"National Carvers Museum Review," "Both beginning and experienced woodcarvers will enjoy this book..."--"Workbench."

The success of Madame Tussaud's, from its beginnings in Paris before the French Revolution to its prolonged fame as a popular tourist attraction in London, bears out the fascination of waxworks. Yet Madame Tussaud was by no means the inventor of wax figures or their only exhibitor. Wax heads and models had been used since Roman times and were used for saints' statues by the Catholic Church and for anatomical teaching. There were also many rival shows, often travelling from town to town, as Tussaud's did for its first thirty years in England. Pamela Pilbeam sees Madame Tussaud herself and her exhibition as part of the wider history of wax modelling and of popular entertainment. Tussaud's catered for the public's fascination with monarchy, whether Henry VIII and his wives or Queen Victoria, as well as for their love of history, acting as an accessible and enjoyable museum (but also providing the perennial fascination of the Chamber of Horrors.)

This book aims towards a comprehensive explanation of the Ruthwell Cross. It seeks to define the form of the early medieval monument or monuments incorporated in the reconstruction. It considers the issues relating to workmanship and likeness to other sculpture. Conclusions are drawn as to the likely background of the artists, and probable sources for their models. The book also examines the questions of meaning, message and audience. Suggestions are made about the nature of the religious community for whom the monument was made. This book addresses a wide range of questions about the Ruthwell Cross and suggests why, how and for whom it was made. This discussion aims to present a more considered and detailed assessment of the monument's original form, creating a new basis for future consideration of the monument. The wide-ranging discussion of the people involved in its creation and their aims and methods will present a unified approach to these questions, linking historical figures with material evidence to postulate a context for the original Ruthwell monument.

The title of this book could be, "You don't have to draw to scrimshaw." I say this because I believe that almost anyone regardless their artistic talent can produce perfectly beautiful works of scrimshaw. The book started out as a series of handouts developed from procedures and exercises that i discovered while practicing and teaching scrimshaw. Another discovery I made while teaching was that not all students start with the same skills and talents and need different types of help. If the reader, regardless there level, will practice the exercises and follow the procedures in this book I believe they will find themselves producing some very beautiful works of scrimshaw. I have seen this happen repeatedly in class after class and have faith that, you, the reader can do the same thing. The author hopes that in some small why this book will bring more interest to this art form. The whales may be endangered but lets not let their memory or scrimshaw die.

The "Wu Family Shrines," one of the most important cultural monuments of early China, comprise approximately fifty stone slabs from the so-called Wu cemetery in Shandong province. Depicting emperors and kings, heroic women, filial sons, and mythological subjects, these famous carved and engraved reliefs may have been intended to reflect such basic themes as loyalty to the emperor, filial piety, and wifely devotion; centuries later, they vividly bring to life the art, social conditions, and Confucian ideology of the Eastern Han.This generously illustrated book examines the stone slabs and their rubbings as artifacts with a complex cultural history from the second century to the present, and addresses questions about the traditional identification of the structures as Han dynasty shrines of the Wu family. Written by a team of distinguished scholars in the fields of Chinese art and history, the book includes a novel examination of Han burial items in relation to burial belief, pictorial carvings, and funerary architecture. Distributed for the Princeton University Art Museum Exhibition Schedule: Princeton University Art Museum, March 5 - June 26, 2005

A large catalogue or, as the authors describe it, a 'descriptive handlist' of Greek, Etruscan, Roman, 17th-19th and Near Eastern intaglios, gems and finger rings from a private collection. Each example is chosen for its stylistic importance or for its subject matter and all are accompanied by a photograph.

Finest book for beginners discusses in direct language and no technical jargon what tools to use, how to use them and what woods are suitable for carving. 34 illustrated designs for creating cabinet panels, chests, doors, bookends, footstools, an ornamental mirror-frame, more.

There is no dearth of cookery books overflowing the well-stocked shelves of bookshops today, but Creative Carving of Fruits and Vegetables is a book with a difference. The author presents simple, easy to make, and highly attractive ways of carving fruits and vegetables for salads, garnishes, unusual and exotic dishes, light-as-air fruit-based desserts, as well as table decorations that will do any hostess proud. The book is a boon for both amateur and accomplished cooks. All that is needed to master the innovative and multihued fruit and vegetable creations is a little time and patience. The gratifying results will add that finishing touch that separates a mundane meal from the spectacular. Try them out and get compliments galore.