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Lorraine Weideman





My Exploration of Traditional Hungarian Woodcarving
by Lorraine Weideman

     I fell in love with Hungarian woodcarving while traveling through Hungary from 1995 to 1999.  Initially, I found two things that were particularly inspirational – the first was in the city of Miskolc.  Hungarian veterans who fought along the Don River during the Second World War had recently erected a traditional Hungarian totem (or kopjafa as they are known in Hungarian) to commemorate their fallen comrades.  The mystical designs, carved into the heavy timber, were patiently explained to me with emotion-filled reminiscences and animated gestures.  Woodcarving is rather ubiquitous in that country, however, a later visit to a small village cemetery in Southeastern Hungary revealed similar decorative wooden grave markers that continued to intrigue and inspire me.
  In 1999, while planning the Vancouver Hungarian Millennium Festival, I met with local Hungarian master woodcarver Lázsló Józsa. 
His passion and skill, coupled with his eagerness to teach his craft, encouraged me to expand my artistic repertoire to include woodcarving.  I began researching Hungarian carving and quickly found it difficult to access the needed information - especially in English.  I didn’t give up, and with the help of some patient Hungarian friends, I managed to acquire a good deal of reference material.
     First, I learned basic chip-carving techniques, using a knife on basswood, and created a Hungarian decorative paddle.  Next, I was introduced to what is known as a “parting tool” - a gouge with a V-shaped blade.  I continued studying elements of Hungarian motifs, and chose yellow pine as my next “canvas.”  In traditional Hungarian folk carving, symmetry is important - a well drawn design is also essential.  The specialized tools I became acquainted with included the Japanese dozuki saw (which cuts only on the backstroke), the flush saw, assorted chisels and gouges, ceramic sharpening stones, and the unusual shot-filled rubber mallet.

     After several weeks of working on my own, I joined Józsa at his studio.  There I started work on a five foot kopjafa.  The wood stock was a 5 inch square, by 5 foot long piece of ponderosa pine, slightly tapered towards the top.  We first discussed the basic elements of the traditional kopjafa: the sphere, the tulip, the “X,” the “plates” (which act as dividers) and their variations.  I began by drawing these motifs on all four sides of the blank pine.  Traditionally, the bottom third of the piece is usually left plain, however, sometimes an inscription or other decorative designs are applied there.
     I found woodcarving to be quite mesmerizing.  Working in harmony with the wood grain, the aroma of freshly cut pine, the flying chips that blanket the ground – were new artistic experiences for me.  This medium brought me intimately closer to a rich and ancient tradition, and as an artist used to painting on canvas, it allowed me to express myself in new dimensions.