Stone carving is an activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, stone work has survived which was created during our prehistory or past time.
Work carried out by paleolithic societies to create stone tools is more often referred to as knapping. Stone carving that is done to produce lettering is more often referred to as lettering. The process of removing stone from the earth is called mining or quarrying.
Decoration in Ottoman architecture takes on several forms, the most prominent of which include tile decoration, painted decoration, and stone carving. Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî, hatayî, and saz styles. Calligraphic inscriptions, most characteristically in a thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter.
Ottoman tiles attained a prominent role in decoration. Starting in the early 15th century, cuerda seca tiles in vivid colours were widely used in various buildings, using mostly vegetal arabesque motifs, of which the most dramatic early example is the Green Mosque and Green Tomb in Bursa (circa 1424). Various examples of tilework from this century seem to show possible Iranian influence and connections to Timurid art. A distinctive style of blue-and-white fritware, influenced by Chinese motifs and often attributed to an early stage of Iznik tilework, is evidenced by the late 15th century and characterizes the early 16th century. Iznik tiles became highly favoured during the rest of the 16th century and reached their artistic peak in the second half of the century. They featured stylized floral and vegetal motifs in blue, white, red, and green colours. The Iznik industry declined by the end of the 17th century, with production of lower-quality tiles shifting to Kütahya. In the early 18th century, a revival of tile art was attempted through the establishment of a new workshop at Tekfursaray in Istanbul, but ultimately the industry faded after this and tile decoration lost its importance.
Petra (Arabic: ٱلْبَتْراء, romanized: Al-Batrāʾ; Ancient Greek: Πέτρα, lit. 'Rock'), originally known to its inhabitants as Raqmu (Nabataean Aramaic: 𐢛𐢚𐢒 or 𐢛𐢚𐢓𐢈, *Raqēmō), is an ancient city and archaeological site in southern Jordan. Famous for its rock-cut architecture and water conduit systems, Petra is also called the "Rose City" because of the colour of the sandstone from which it is carved. The city is one of the New 7 Wonders of the World and a UNESCO World Heritage Site.
The area around Petra has been inhabited from as early as 7000 BC, and was settled by the Nabataeans, a nomadic Arab people, in the 4th century BC. Petra would later become the capital city of the Nabataean Kingdom in the second century BC. The Nabataeans invested in Petra's proximity to the incense trade routes by establishing it as a major regional trading hub, which gained them considerable revenue. Unlike their enemies, the Nabataeans were accustomed to living in the barren deserts and thus were able to defend their kingdom. They were particularly skillful in agriculture, stone carving, and rainwater harvesting.
A workpiece is a piece, often made of a single material, that is being processed into another desired shape (such as building blocks).
The workpiece is usually a piece of relatively rigid material such as wood, metal, plastic, or stone. After a processing step, the workpiece may be moved on to further steps of processing. For example, a part can made out of bar stock and later become part of a semi-finished product.
Cameo (/ˈkæmioʊ/) is a method of carving an object such as an engraved gem, item of jewellery or vessel. It nearly always features a raised (positive) relief image; contrast with intaglio, which has a negative image. Originally, and still in discussing historical work, cameo only referred to works where the relief image was of a contrasting colour to the background; this was achieved by carefully carving a piece of material with a flat plane where two contrasting colours met, removing all the first colour except for the image to leave a contrasting background.
A variation of a carved cameo is a cameo incrustation (or sulphide). An artist, usually an engraver, carves a small portrait, then makes a cast from the carving, from which a ceramic type cameo is produced. This is then encased in a glass object, often a paperweight. These are very difficult to make but were popular from the late 18th century through the end of the 19th century. Originating in Bohemia, the finest examples were made by the French glassworks in the early to mid-nineteenth century.
Anatolian Seljuk architecture, or simply Seljuk architecture, refers to building activity that took place under the Sultanate of Rum (late 11th to 13th centuries), ruled by an offshoot of the Seljuk dynasty that emerged from the Great Seljuk Empire (11th–12th centuries) alongside various other local dynasties. The Anatolian Seljuks patronized their own tradition of architecture whose surviving examples are generally found in present-day Turkey. Anatolian Seljuk architecture was eclectic and influenced by multiple traditions including Armenian, Byzantine, Iranian, and Syrian architecture. Unlike earlier Great Seljuk architecture to the east, their buildings were generally constructed in stone and featured significant stone-carved decoration as well as tile decoration. While the Seljuk Sultanate declined and ended in the late 13th century, architecture continued to flourish and diversify under the smaller Beylik states in Anatolia, which included the early Ottomans.
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An air hammer, also known as an air chisel, is a pneumatic hand tool used to carve in stone, and to break or cut metal objects apart. It is designed to accept different tools depending on the required function.
Nephrite is a variety of the calcium, magnesium, and iron-rich amphibole minerals tremolite or actinolite (aggregates of which also make up one form of asbestos). The chemical formula for nephrite is Ca2(Mg, Fe)5Si8O22(OH)2. It is one of two different mineral species called jade. The other mineral species known as jade is jadeite, which is a variety of pyroxene. While nephrite jade possesses mainly grays and greens (and occasionally yellows, browns, black or whites), jadeite jade, which is rarer, can also contain blacks, reds, pinks and violets. Nephrite jade is an ornamental stone used in carvings, beads, or cabochon cut gemstones. Nephrite is also the official state mineral of Wyoming.
Nephrite can be found in a translucent white to very light yellow form which is known in China as mutton fat jade, in an opaque white to very light brown or gray which is known as chicken bone jade, as well as in a variety of green colors. Western Canada is the principal source of modern lapidary nephrite. Nephrite jade was used mostly in pre-1800 China as well as in New Zealand, the Pacific Coast and Atlantic Coasts of North America, Neolithic Europe, and southeast Asia.
A stone sculpture is an object made of stone which has been shaped, usually by carving, or assembled to form a visually interesting three-dimensional shape. Stone is more durable than most alternative materials, making it especially important in architectural sculpture on the outside of buildings.
Stone carving includes a number of techniques where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, evidence can be found that even the earliest societies indulged in some form of stonework, though not all areas of the world have such abundance of good stone for carving as Egypt, Persia(Iran), Greece, Central America, India and most of Europe. Often, as in Indian sculpture, stone is the only material in which ancient monumental sculpture has survived (along with smaller terracottas), although there was almost certainly more wooden sculpture created at the time.