Academic literature on the topic 'Carving (Decorative arts) Australia'
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Journal articles on the topic "Carving (Decorative arts) Australia"
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Gaipova, Mukhayo. "THE ROLE OF THE REPRESENTATIVE OF THE DYNASTY IBRAGIMOVS IN THE DEVELOPMENT OF THE TASHKENT WOOD CARVING SCHOOL." JOURNAL OF LOOK TO THE PAST 4, no. 10 (October 30, 2021): 53–58. http://dx.doi.org/10.26739/2181-9599-2021-10-6.
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This article analyzes the specific methods and directions of wood carving in Tashkent. In addition, the activities of the schools of Tashkent, Ferghana, Bukhara, Samarkand and Khiva were studied in the schools of wood carving and decorative arts of Uzbekistan. These schools share many technical, methodological, and compositional similarities as well as differences.On its basis, the technical, methodological and compositional aspects of the Tashkent school and the activities of representatives of the Ibragimov dynasty were comprehensively studied
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Chuiko, L. "Soviet symbolism in decorative wood carving of the houses of Omsk." Experiment 15, no. 1 (2009): 51–54. http://dx.doi.org/10.1163/2211730x-01501010.
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Yan, Hui. "Decorative Arts on Manor House Wood Doors and Windows of Changjia." Key Engineering Materials 480-481 (June 2011): 1289–92. http://dx.doi.org/10.4028/www.scientific.net/kem.480-481.1289.
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In this paper, wooden doors and windows often decorated manor house as the research object, by analyzing the types, forms, and other decorative techniques, revealing the traditional architectural Shanxi reflected the deep cultural connotation, and the wood used in building, it is the practical and a combination of aesthetics, but also building the spirit of the carrier. Shanxi often manor house is a typical style of a northern Shanxi Merchants in Ming and Qing buildings. After nearly a century of uncompromising attention to quality as a building lasts. Shanxi pay attention to "roots", fortune after the regular family invested huge capital to build their own homes, therefore, often family has strong strength to his own aesthetic ideal, cultural awareness, spiritual pursuit, and local folk customs and so concentrated on their own construction and architectural decoration. Through the construction and decoration can be seen often at home that year strong economic strength, and their aesthetic, the pursuit of morality and local customs, should be studied in depth. Residential buildings have doors and windows. Door for people to access the main building; windows, mainly used for indoor ventilation and lighting. Ming and Qing Dynasties, construction of columns, beams, brackets and roof shape and other large areas of wood has a strict limit, the owner's wealth, only by aesthetics, etc. for doors, windows and other small wood decorations to reflect. With strong economic strength in the construction of a permanent home when the estate into a huge financial, human and material resources, producing countless exquisite wood carving decoration.
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Smith, Angela, and Nicholas Riall. "Early Tudor Canopywork at the Hospital of St Cross, Winchester." Antiquaries Journal 82 (September 2002): 125–56. http://dx.doi.org/10.1017/s0003581500073765.
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A fascinating example of early sixteenth-century carving is preserved in the church of the Hospital of St Cross, near Winchester, in the form of three sections of wooden frieze. The frieze is carved with a profusion of Renaissance imagery that has until now received little attention. The carved imagery of the frieze will be examined here in detail for the first time, along with its association with Richard Fox, Bishop of Winchester 1501–28. The relationship between the imagery of the frieze and the decorative detail in other works associated with Fox will be discussed and its similarities to French models. A traditional dating of the frieze to 1525 or thereabouts will be challenged in favour of an earlier date and its likely association with stallwork discussed.
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Marahole, Frans Falentinus, Amost Marahole, and Roy Marthen Rahanra. "The Influence of Suandei Fall on Art of Carving Artists in Woinap Village, Yapen Island District." Lakhomi Journal Scientific Journal of Culture 2, no. 3 (October 1, 2021): 125–32. http://dx.doi.org/10.33258/lakhomi.v2i3.505.
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The art of carving, known as carving, or decoration with various flora, fauna, figurative and even geometric motifs which is an ornate image with some parts being concave and some parts convex both horizontally and vertically and elliptically arranged in a very beautiful image. (Study of Cultural Anthropology)(1) The carvings, which are known in the works of Decorative Arts, still survive and are in demand and are found in various areas such as the Biak Numfor Islands, Yapen Islands, Waropen Wondama Bay and various other areas that are included in the Kuripasai cultural family, Mananarmakeri, and Sairei. A special highlight in this writing is the carving motifs that are still practiced by carving craftsmen in Woinap Village, Wonawa District, Yapen Islands Regency, where until now there are very few carvers. This carving motif was inspired by the legend of "Suandei" by Drs. Frits Maurid Kirihio, alumni of the University of Leyden, the Netherlands, in the 1950s, who was recorded in the book “Dongen Tanah Kita,(2) Descriptive analysis method is a method used to analyze data by describing or describing the data that has been collected as it is without intending to make conclusions that apply to generalization or generalization, Sugiyono (2014:21)(3) Excellence Carving motifs based on beliefs that have been practiced so far in the village of Woinap, Yapen Islands Regency. or skulls, all of which are manifested and the decorations that are usually displayed on family tools such as boats, wooden pans (sempe) art tools (tifa) net buoys, all take symbolic or philosophical meanings from their original form.(4) The indigenous people of Woinap are a community categorized as living in the outermost area of the Yap . Islands Regency en and still isolated from the rapid development of the era. However, it cannot be separated from local wisdom techniques that are often adopted from neighboring areas which are more innovative in people's lifestyles because culture is dynamic and always moves with the times, so the people of Woinap also move with the habit of living with the times by way of -a new way that is still considered cultural even though indigenous cultural values have been eroded.(5) The cultural heritage of the Papuan people in the saireri strait region, especially the unique carving art of the Woinap community, has an economic potential that can bring ecotourism and increase the PAD of the Islands district government Yapen.(6)
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Швец-Шуст, Валерия Юрьевна. "Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 240–53. http://dx.doi.org/10.46748/arteuras.2021.04.019.
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В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.
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Price, Sally, and John Michael Vlach. "The Afro-American Tradition in Decorative Arts: Basketry, Musical Instruments, Wood Carving, Quilting, Pottery, Boatbuilding, Blacksmithing, Architecture, Graveyard Decoration." Ethnohistory 39, no. 2 (1992): 242. http://dx.doi.org/10.2307/482426.
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Edwards, Jason, Amy Harris, and M. G. Sullivan. "Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 337–60. http://dx.doi.org/10.3828/sj.2020.29.3.6.
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In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.
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Chystikov, Oleksii. "To the Problem of Determining the Geometric Ornament Concept on the Example of Ukrainian Decorative and Applied Arts." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 37–48. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257480.
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The purpose of the study is try to outline the variability of understanding the “geometric ornament” concept; determine what are the main differences among this concept interpretations; after conducting an analysis, determine which meaning of the concept is the most logical and scientifically sound. The research methodology involves the use of analysis, comparison, and theoretical generalization methods. Scientific novelty. Emphasis is placed on the differences in researchers’ opinions in the interpretation of the “geometric ornament” concept. The features of geometric ornament are determined, and the difference between different types of ornament is distinguished. An attempt is being made to clarify which ornaments should be attributed to the geometric. Conclusions. The problem of defining the “geometric ornament” concept can be traced in many works of Ukrainian decorative and applied arts, such as carving, carpet weaving, embroidery, and Easter egg decorating. Due to the variability of the means of expression of objects and plots of the surrounding world, there are often differences in the affiliation of the ornament to a particular species. Analyzing the existing classifications of ornaments by different authors, it was found that there is no single classification that would include all existing ornaments. Moreover, the “geometric ornament” has mutually exclusive interpretations. Depending on the position of the form or content, the geometric ornament may include certain combinations of elements or neglect them. As a result, we conclude that the geometric ornament should be considered from the standpoint of the method of transforming figurative forms into correct geometric elements. Therefore, the geometric ornament may include geometrized elements of both visual and non-visual dimensions. In turn, the concept of “geometric ornament” is appropriate to use in the formal analysis of forms, where it is one of the species next to the plastic ornament and a solid spot.
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Suhaimi, Safia Najwa, Blair Kuys, Deirdre Barron, T. W. Allan Whitfield, and Zainurul Abdul Rahman. "The role of typicality and novelty in the aesthetic preference of industrial products: Product value transformation." Journal of Design, Business & Society 8, no. 1 (March 1, 2022): 87–110. http://dx.doi.org/10.1386/dbs_00034_1.
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This study explores the role of typicality and novelty in influencing the aesthetic preference for industrial products. Typicality and novelty’s effects on the aesthetic responses of designed objects have gained interest in the field of experimental aesthetics over the past decades, with a wide support towards the ‘Most Advanced Yet Acceptable’ (MAYA) principle. What is yet to be discovered is how both typicality and novelty influence the aesthetic preference for industrial products such as industrial machineries. Three industrial product categories that vary in their degree of functionality and decorativeness were identified including highly functional and low-decorativeness products, equally functional and decorative products and low-functional and highly decorative products. Online evaluations using 7-point Likert scales were distributed to participants from Australia and the Republic of China. An empirically validated scale for aesthetic preference, ‘Pleasing to See’ was employed in the evaluation. The empirical results show that typicality and novelty affect and influence the aesthetic preference differently across the tested industrial product categories. Given the findings, a quantifiable evaluation method that can benefit the product design industry especially in testing design concepts of industrial products is proposed. It is intended that the evaluative measures could help minimize the risks related to production, leading to an increased and transformed value of industrial products’ marketability.
Dissertations / Theses on the topic "Carving (Decorative arts) Australia"
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
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In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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Ren, Wei. "The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465116.
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The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design.
As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts.History of Art and Architecture
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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"從當代印章狀況探索篆刻創作之可能性." 2009. http://library.cuhk.edu.hk/record=b5894234.
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馮嘉儀.Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 43-49).
Abstracts in Chinese and English.
Feng Jiayi.
Chapter 第一章 --- 引言
Chapter 第一節 --- 導論
Chapter 第二節 --- 硏究範圍、目的和方法
Chapter 第二章 --- 中國當代篆刻發展槪略
Chapter 第一節 --- 從附庸到獨立
Chapter 第二節 --- 當代面貌的形成和蛻變
Chapter 第三節 --- 寫意印風的角色與問題
Chapter 第三章 --- 美學與功能的引申
Chapter 第一節 --- 視覺識別
Chapter 第二節 --- 文化創意產業
Chapter 第三節 --- 突顯圖像美
Chapter 第四章 --- 篆刻作爲藝術形式的思考
Chapter 第一節 --- 製作物料和工具
Chapter 第二節 --- 印面處理
Chapter 第三節 --- 展示手法
Chapter 第四節 --- 創作態度
Chapter 第五章 --- 結語
參考資料
圖錄
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Baker, Lesley Anne. "The development of decorative arts in Australia : Morris & Co. and imported taste, 1862-1939." Phd thesis, 2004. http://hdl.handle.net/1885/110342.
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This work inquires into decorative choices in the Australian states of New South
Wales, Victoria and South Australia, between the years of 1862 to 1939, with a view
to highlighting the activities and uniqueness of Morris & Co. within the general
commercial world in which the English firm operated.
Morris & Co. (1861-1940) produced items for interior decoration and stained glass
windows. Its ethos and activities were firmly rooted in the principles expounded by
its founder, William Morris. The essence of those principles was upheld by John
Henry Dearie following Morris’s death in 1896. The company’s products were so
distinctive that publications continue to discuss them separately from other styles
promoted during its lifetime. Customers who favoured Morris & Co. could be as
individual as the company itself. This particularly applied to Australian clients
because not only did the firm operate within a restricted business code but also
Australia presented commercial and social considerations which differed from the
British situation.
Chapter 1 presents an overview to allow the reader to understand basic precepts
governing Australian manufacturing and lifestyles and the workings of Morris &
Co. Chapter 2 looks at particular circumstances and opinions in the mid-nineteenth
century which affected Australian decorative manufacturing and Morris & Co. The Australian firms of Ferguson & Urie, Lyon, Cottier & Co. and W.H. Rocke & Co. are
introduced in this Chapter.
The purpose, assessments and outcomes of the first international exhibitions to
be held in Sydney, Melbourne and Adelaide are considered in Chapter 3. The
appearance of these exhibitions from 1879 allowed local manufacturers to present
their wares to many more people than previously possible and in competition with
the strong import industry. While Morris would later denigrate international
exhibitions his company’s first showing to the public occurred at such an event in
London and the educational possibilities he supported could be served by these
affairs. In Chapter 4 the various avenues of decorative arts education followed in
New South Wales, Victoria and South Australia are examined. Education and
responsibility to the public were important issues for William Morris. He not only
applied his beliefs in these areas to his own Firm but also he devoted considerable
time to their general dissemination. Australian manufacturers were encumbered
by circumstances irrelevant to Morris & Co. Nonetheless Morris’s opinions proved
relevant when authorities came to tackle the problem of design education in
Australia. The practices of Adelaide’s Clarkson Ltd. in stained glass window
manufacture are highlighted here.
Chapter 5 studies the beginnings of the stained glass window industry in
Australia, its British associations, Morris & Co.’s productions, the company’s first
commission for Australia and a comparison of its style with Australian work.
Chapter 6 focuses on Sydney’s Lyon, Cottier & Co., on the nature of the company as it converged with or diverged from the course of Morris & Co. Finally the concepts
of style and fashion are pondered. In Chapter 7 fashionable decorative choices in
Australia are considered. The Melbourne firm of W.H. Rocke & Co. is compared
with Morris & Co. in terms of style and presentation of goods.
There was only one Australian family to decorate extensively with Morris & Co.:
Adelaide’s Barr Smiths. Chapter 8 investigates this family’s background and initial
decorative preferences, the reasons why they subsequently favoured Morris & Co.
and the progression of their Morris & Co. decorations. The embroidery side of
Morris & Co. is taken into account.
For stained glass windows to become a reality numerous concrete and emotional
circumstances come into play. Chapter 9 discusses the practices and sentiments
which affected Morris & Co.’s productions in Australian churches. Chapter 10
studies Morris & Co. items individually conveyed to Australia during the twentieth
century, up until the company’s effective demise in 1939, with likely reasons for
introduction. Articles for interior decoration and stained glass windows are
examined.
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Welch, Andrew Ian. "Contemporary processes and historical precedents for handmade crafts practice in the context of technological change." Phd thesis, 2010. http://hdl.handle.net/1885/151659.
Full textBooks on the topic "Carving (Decorative arts) Australia"
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Victoria, National Gallery of, ed. Ancient Near Eastern glyptic in the National Gallery of Victoria, Melbourne, Australia. Jonsered: Paul Aströms Förlag, 2001.
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Clunas, Craig. Chinese carving. London: V&A, 1996.
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Kim, Akerman, and American Philosophical Society, eds. Aboriginal Australian and Tasmanian rock carvings and paintings, with A preliminary consideration of Aboriginal Australian decorative art. Carlisle, W.A: Hesperian Press, 2011.
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Tom, Wolfe. Carving golf ball spirits. Atglen, Pa: Schiffer Pub., 2009.
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Tom, Wolfe. Carving golf ball spirits. Atglen, Pa: Schiffer Pub., 2009.
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Tom, Wolfe. Carving golf ball spirits. Atglen, Pa: Schiffer Pub., 2009.
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Carving in soap: North American animals. Atglen, PA: Schiffer Pub., 2001.
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Gibson, Helen. Helen Gibson carves Saint Francis of Assisi. Atglen, PA: Schiffer Publishing, 1994.
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Maluku, Lembaga Kebudayaan Daerah. Kekayaan seni ukir di Maluku =: The richness of Maluku's art of carving. Ambon, Maluku: Lembaga Kebudayaan Daerah Maluku bekerjasama dengan Dinas Pariwisata, Provinsi Maluku, 2007.
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Shupin, Deng, and Zhonghua wen hua fu xing yun dong tui xing wei yuan hui. Zhongguo zhi ke xue yu wen ming bian yi wei yuan hui, eds. Zhonghua diao ke shi. Taibei Shi: Taiwan shang wu yin shu guan, 1987.
Find full textBook chapters on the topic "Carving (Decorative arts) Australia"
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Abiddin, Nur Irda Suriani Zainal, and Norwani Md Nawawi. "Decorative Elements of Traditional Wood Carving in Frieze Pattern on Terengganu Boats." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 21–30. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_3.
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Lo, Betty. "Decorative Techniques in Oriental Swords: Savoir Faire in Craftsmanship and Artistry." In Martial Culture and Historical Martial Arts in Europe and Asia, 239–79. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_8.
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AbstractOne important aspect in the study and appreciation of arms is the techniques and methods for their decoration. The wide range of materials and techniques used in the creation of swords and daggers were intended to add to the aesthetic qualities of functional items, either for everyday or ceremonial use. Throughout the ages, beautiful swords and daggers were worn by the elite and were presented to warriors and courtiers as gifts to symbolize victory, honor, virility, and to reinforce the bond of loyalty. They were also worn by men as jewelry of prestige and status. Techniques used by artisans to embellish these swords and bladed weapons are the subject of this paper. Examples from museums and private collections are selected to demonstrate the exquisite craftsmanship of gilding and coloring, inlay and damascening, stone and gem-setting, embossing, chasing and engraving, enameling, 3D carving, wiring and filigree, etching and openwork. This chapter focuses on how these techniques were used to produce distinctive details of decorated antique swords and daggers of Eastern origins from the Ottoman empire, Persia, and India.