Woodcut engraving is used to adorn different parts of ancient bohas.
It has two aspects, the actual wood engraving and the engraving used as the basis of the wax or paint decorations
which is mentioned in the sheet dedicated to these techniques
"(cf. Polychromy)".
This article deals with the different uses of wood engraving for decorative, technical or identity purposes.
The engravings observed suggest that they were made using wood chisels or knives.
Pocket knife and wood chisels in "V"
ENGRAVING ON THE CHANTER (PIHET)
The study of historical bohas makes it possible to observe several examples of simple-shaped engravings, that is to say a straight line hollowed out in a "V" and
a more complex engraving on the BdG-2011-2-Capdeville
- The chanters of BdG-2015-2-Blanchard-2 and BdG-2013-4-Cabanac have a line over the entire height of the flat part of the top of the pihet up to the extra thickness of the bottom of the pihet;
BdG-2015-2-Blanchard-2
BdG-2013-4-Cabanac
- The chanters of BdG-2013-8-Dardey, BdG-2013-5-Lestage, BdG-2011-2-Capdeville, BdG-2013-1-Mondineu-2 and BdG-2013-2-St-Martin-de-Chalosse have a line
starting about one centimeter from the top above the pole to the extra thickness of the bottom of the pole;
Note on this chanter a line hollowed out in a "V" which goes around the bottom of the pihet
BdG-2013-8-Dardey
BdG-2013-5-Lestage
Note on this pihet three lines hollowed out in a "V". One made around the top of the pihet and two that go around the bottom of the pihet
BdG-2011-2-Capdeville
BdG-2013-1-Mondineu-2
BdG-2013-2-St-Martin-de-Chalosse
- The pihet BdG-2011-2-Capdeville has a simple line made with a wood lathe on the top of the pihet and a more sophisticated purely decorative pattern on the bottom of the pihet;
BdG-2011-2-Capdeville
- The BdG-2013-8-Dardey pihet features a single line pattern that goes around the bottom of the pihet and a more evolved decorative pattern on the top of the pihet.
BdG-2013-8-Dardey
- On the pihet BdG-2011-1-Benquet, two types of marks appear, the role of which seems technical:
On the top of the pihet reed side there is a mark which matches with an identical mark on the stump of the pihet.
This allowed the musician to position the pihet in the position that suited him best and that he had materialized by these two marks.
BdG-2011-1-Benquet
On the profile of the melodic pipe of the boha BdG-2011-1-Benquet, there are three notches over the entire height of the pihet.
Two are positioned high above the playing hole and one straddles it.
The usefulness of these marks has not been determined, they could equally well be used to hold the wax to tune the instrument to the mark straddling the hole
giving the limit corresponding to the desired chord, or even constitute a repair to help the musician to position his finger in order to obtain a correct note.
BdG-2011-1-Benquet
- There is only one pihet with a woodcut of the identity type. Note that there is another pihet with an identity engraving but polychome.
It can be last name, first name or nickname or even place
The copy presented below has two names in capital letters CABANAC and CATDRIC separated by a diamond,
BdG-2013-4-Cabanac
ENGRAVING ON THE CHANTER (PIHET) STRAIN
The stump of the pihet BdG-2014-2-Bellegarde presents 6 "V" lines made with a wood lathe on the top of the pihet on the reed side.
There are also two types of recessed crosses in the middle of the pewter diamonds and rectangles.
BdG-2014-2-Bellegarde
The stump of the pihet BdG-2015-4-Dupin is decorated with a "V" line and a staircase of 5 steps made with a wood lathe.
There is a single indented line in the middle of the tin polygons.
BdG-2015-4-Dupin
The stump of the pihet BdG-2013-5-Lestage comprises a step decorated with notches on all turns of the pihet. These notches are reminiscent of the pewter saw teeth of the neighboring motif.
BdG-2013-5-Lestage
The strain of the pihet BdG-2012-1-Mondineu-1 presents a slight "V" line which goes around the pihet, highlighting a stall.
BdG-2012-1-Mondineu-1
The strain of the pihet BdG-2013-2-St-Martin-de-Chalosse has a very beautiful zigzag line in relief on all turns of the pihet.
These notches are reminiscent of the pewter saw teeth of the neighboring motif.
BdG-2013-2-St-Martin-de-Chalosse
The stump of the pihet BdG-2013-8-Dardey features simple patterns all around the pihet. The intersecting lines are reminiscent of the tension strings of a drum.
There are also two rows of notches going around the pihet.
BdG-2013-8-Dardey
ENGRAVING ON THE BLOWPIPE
Typical example of what a knife work can be, the blowpipe of the BdG-2013-5-Lestage has two rather deep "V" grooves
and having such deep and irregular notches. It also has a series of deep notches on the edge of the nesting towards the stump of the blowpipe.
BdG-2013-5-Lestage
The BdG-2011-2-Capdeville blowpipe has a simple "V" line that goes around the pihet.
Note the presence of lines drawn with a hot iron. Several rather long in the direction of the blowpipe and a few indents.
We can also guess at each end a line going around, it seems also with a hot iron.
BdG-2011-2-Capdeville
The blowpipe of the BdG-2013-2-St-Martin-de-Chalosse includes only two very fine lines made with a wood lathe. They go around the blowpipe.
BdG-2013-2-St-Martin-de-Chalosse
GRAVURE SUR LA SOUCHE DU PORTE-VENT
The BdG-2013-8-Dardey blowpipe features only two fine lines made with a wood lathe. They go around the blowpipe.
BdG-2013-8-Dardey
The strain of the BdG-2015-4-Dupin blowpipe comprises a single fine lines made with a wood lathe. She walks around the blowpipe.
BdG-2015-4-Dupin
The BdG-2013-5-Lestage blowpipe stump has three rows of patterns separated by a "V" line that goes around the blowpipe stump.
The first line is decorated with crosses in the style of the tension strings of a drum.
The second adorned with oblique lines inclined in the same direction thus creating polygons delimited by the separation lines.
the third comprising alternating inverted oblique lines thus forming triangles delimited by the separation lines.
BdG-2013-5-Lestage
The stump of the BdG-2013-3-Mougneres blowpipe includes a set of crosses integrated into the pewter decoration.
These crosses are formed by connecting the opposite angles of each of the pewter squares of the 5 rows of the decorations.
