A p r i l 2 0 0 9 V I K I N G 9

A triangel skjerf eske (triangle scarf box) from 1857

The unusual triangular-shaped box was designed to store

the headdress of a bride from Voss, Norway. In the old

country, there typically weren’t cupboards for storage, so the

purpose of an elaborately decorated box was twofold: to keep

precious contents—such as wedding attire—safe, and to adorn

open shelves. Boxes were a point of pride and meant to be

seen, never hidden.

Contemporary ArtisanDick Enstad, a retired industrialarts teacher and longtime folkartist from Eagan, Minn., wasinspired to build this box (above)aftftf er seeing one like it at theVeVeV sterheim Museum in Decorah,Iowa. He used a svidecor decora-tive technique by heating metaland burning it to the wood. Theironwork was done by blacksmithToToT m Latané. Enstad teases thatoftftf en a box’s rosemaling or carv-ing overshadows the construc-tion—itself no easy feat.

n 1965, when young people were humming along with the Beatles’ song

“Norwegian Wood,” Norway was just beginning to explore offshore oil pos-

sibilities on the Continental Shelf. Today, of course, Norway is better known for

advanced maritime and energy technologies than sixties melodies. Neverthe-

less, there are plenty of artists and craftsmen who haven’t forgotten their roots.

The precision and creativity required for modern innovations are exactly the skills

required to transform a block of prized Norwegian wood into the ornate yet utili-

tarian spoons, boxes, bowls and baskets of long ago.

In a world where the trends and tastes of the day seem to last only as long as the

hours between sunrise and sunset, it can be satisfying to remember what endures.

Viking uncovered five lovingly preserved artifacts at the Shaw-Olson Center for Col-

lege History at St. Olaf College in Northfield, Minn., to discover how the techniques

of the old masters—often rural peasants and farmers—have inspired today’s working

folk artists, the keepers of centuries of culture and tradition.

WOOD

8 V I K I N G A p r i l 2 0 0 9

NorwegianB Y M A R Y J O T H O R S H E I M A N D P H O T O G R A P H S B Y A M B E R P R O C A C C I N I

“I’VE MADE A STACKED TINE BOXFOR EACH OF MY KIDS AS A

WEDDING GIFT.” —Bob Hoover, artisan and teacher

M o n t h 2 0 0 8 V I K I N G 0010 V I K I N G A p r i l 2 0 0 9 A p r i l 2 0 0 9 V I K I N G 11

Ale bowl with horsehead handles (kjenger)

Norwegians have been carving and decorating wooden

drinking vessels since what seems like the beginning of

time. Many were cups or bowls carved from the burls of trees or

solid logs. The horse heads are a symbol of fertility. In the Middle

Ages, the bowls were typically shaped like boats, often consid-

ered to be another symbol of fertility. Occasionally, ale bowls

feature swan, lion or chicken heads. Bowls carved by hand out of

wet wood are often imperfectly round.

“Life in the Forest” by Norwegianartist Dagfin Werenskiold (1892–1977)

Werenskiold’s painted and

relief-carved panels cap-

ture the heartbeat of the forest by

weaving images of forest animals

throughout the flora and tree forms.

“Life in the Forest” was originally

intended for the Oslo Cathedral to

adorn a special side entrance for

the Norwegian royal family, but with

characteristic humility, King Haakon

VII demurred, preferring instead to

enter with the congregation. After

the project was abandoned, We-

renskiold decided to transfer the

designs to polychromed wood.

Contemporary Artisan

For Becky Lusk, a professionalwoodcarver in Coon Valley,Wis., folk arts are in her blood.“I’ve grown up around it,”she says. “My grandpa is awoodcarver, and my motheris a rosemaler. Learning theseart forms keeps me connectedto my family and my heritage.Plus, I love the process of start-ing with a plain block of woodand creating something.” Luskincorporates all kinds of animalimagery into her ale bowls,including horse and dragonheads, hens, geese and ducks.

Contemporary Artisan

Professional woodcarver Debo-rah Mills, Brooklyn, N.Y., remem-bers encountering Dagfin We-renskiold’s carved and paintedbas-relief panels at the OsloCity Hall. “It was very inspiring,”she says. “I loved his vigorousdesigns. They felt so alive.”

Mills’ “Peacock Shelf” wasinspired by a bibelskap (bibleshelf) with a brightly poly-chromed decorative top fea-

turing gilded scrolls andwheat sheaves. Mills’

peacock shelf sharesa folk art sensibil-ity with Werenski-old’s panels. Theirtechniques involvebright colors, gild-

ing and grand, styl-ized animals.

h th the teheh thehere tereheh rheh theh rheh itie ie te ierir trirere iere tere iere atatiti aitirir trir arir trirere iere tere iere aere iere tere iere ggh ghheh gheh r grh rh gh rhere gereheh rheh gheh rheh rir grirere iere gere iereh th gh thheh theh gheh thehere tere gere tereheh rheh theh rheh gheh rheh theh rhehere iere tere iere gere iere tere iere agai ai gi airir arir grir arirere iere aere iere gere iere aere iere tat gtatiti aiti giti aitirir trir arir trir grir trir arir trirere iere tere iere aere iere tere iere gere iere tere iere aere iere tere iere et eta eatat etataga eagatat gtat etat gtat“LEARNING THESE ART FORMS

KEEPS ME CONNECTED.”—BECKY LUSK, PROFESSIONAL CARVER

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12 V I K I N G A p r i l 2 0 0 9

Flatskrud candle box, 1806

Traditional karveskrud or flatskrud (chip carving or flat-plane

carving) decorates the lid of this antique pine lysskrin (can-

dle box), dated 1806. Chip carving is also a common technique

on mangle boards, the traditional engagement gift from a bach-

elor to a potential bride. She, of course, would indicate her feel-

ings by whether she accepted the gift.

Contemporary Artisan

Howard Sherpe of Westby,Wis., divides his time betweenhis advertising and graphicsbusiness and running a websitethat sells his Norwegian chipcarved bread boards, mangleboards (above), custom platesand relief patterns. Sherpebegan ten years ago by carvingtraditional geometric designs,but over time his work hasevolved. “I’m always trying tolearn more,” he says. “I studythe old masters constantly tofigure out what they did. It’s noteasy to master these skills.”

deded td tdeteded tded ae aeete aete iete iete aiae ae ie aetat itatete aete iete aete lt ltete lete ilit it lt itete iete lete iete aia laiatat itat ltat itatete aete iete aete lete aete iete aete“I LIKE CARVING FOR THE DETAIL ANDTHE HISTORY. DETAILS IN THE WOODARE LIKE THE DETAILS IN OUR LIVES.”

—HOWARD SHERPE, CARVING ENTHUSIAST

Contemporary Artisan

Judy Ritger, an artist in RiverFalls, Wis., is passionate aboutrosemaling and kolrosing. Inher video, “Kolrosing withJudy Ritger: Reviving a LostArt,” she notes kolrosing isn’ta fine art. “It was intendedto add a touch of beauty toeveryday objects,” she says.It can be as easy or as diffi-cult as you like—some of thesimplest designs are plain,geometric lines. Ritger advisesnew practitioners to carve withpatience and caution. But,“if some of your lines aren’tperfectly straight, it doesn’tmatter. Just learn to live witha flaw here and there. It is ahandmade product, after all.”

Kolrosed wooden spoon, 19th century

Kolrosing, literally creating floral patterns with coal, is similar

in some designs and patterns to rosemaling. After carving

fine lines into a wooden surface with a sharp knife, ashes or coal

are traditionally rubbed into the grooves to highlight the design.

Today, it’s common to use finely ground coffee in place of messy

coal dust. In the early days, craftsmen wore kolrosing knives on

their belts as part of their daily dress for easy access.

To master the timeless art of Norwegian woodworking, you need time, pa-tience and good instruction. The Sons of Norway Cultural Skills Program is anexcellent resource for craftsmen and women of all skill levels. Units includerelief carving, chip carving, figure carving, rosemaling and many more. For in-formation on how you or your lodge can participate, contact LaDonn Jonsen atculturalskills@sofn.com or 800-877-4299.

BECOMEA FOLK

ARTIST

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ABOUT THE AUTHOR: Mary Jo Thorsheim founded Norway Art in1979 to import Scandinavian art to America. Read more about herbusiness at www.norwayartonline.com.