Hot and warm forging of a bird form by hand, and machanical hammer

Hot and warm forging of a bird form by hand, and machanical hammer

Forging is working with iron, and other metals.Warm and hot forming requires a forge to warm up the metals, The hot and warm metals can be formed into shapes with the help of hammers, anvil, pliers and other tools. The different warming, temperatures and cooling methodes give different reults and properties to the finished products.

689

iain

Norwegian

Intangible

411

Varm smiinig av fygel med hånd,og mekanisk hammer

19/06/2025

https://nordnorge.com/aktiviteter/smeden-i-sund-smir-skarver-pa-stein/ https://eng.handverksinstituttet.no/ https://norsksmedforening.wordpress.com/ Bergland, Håvar: Kunsten å smi: teknikk of tradisjon, Gyldendal yrkesopplæring, 2000 Bergland, Håvar: Knivsmeden : knvimakerarbeid og smiing Pehrson, Sjur Axel: Smedarbeid - vg2 og vg3, Yrkeslitteratur, 2009. Wefring, Christoffer-Gørrissen, Johan : Konstruksjons- og Verktøystål. Anvendelse og varmebehandling. Oslo, 1971 Norén, Karl-Gunnar-Enander, Lars: Nya järnsmidesboken. Nielsen Norén Förlag, 2008. Silje Sandø Rullestad:Den norrøne jernaldersmeden i tekst og kontekst Masteroppgave i arkeologi IAKH Det humanistiske fakultet Universitetet i Oslo Vår 2007 https://www.nb.no/items/8a8865bf9110dbe9f467b0267d2e3b9d?page=7&searchText=%22tor-vegard%20m%C3%B8rkved%22 https://www.nb.no/items/61c68e36aa516c4aa9cca0c97e99d4fa?page=3&searchText=kongeskarven https://www.nb.no/items/c0240c5d62c4528b227147d06f3d68ba?page=17&searchText=%22tor-vegard%20m%C3%B8rkved%22 https://www.nb.no/items/0b1664793a4dc5032499662692b054bc?page=0&searchText=%22kong%20olav%20V%22

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current,68.004948,13.207371;

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https://culturality.museum/wiki/index.php/Hot_and_warm_forging_of_a_bird_form_by_hand,_and_machanical_hammer

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The practice doesnt stand alone, it is a part of the concept that the practitioner excersises in the forge. The practice is part of the interpersonal experience the blacksmith offers to his visitors and groups. Entertainment, jokes, stories and anecdotes are told by the blacksmith are part of the demonstation of making the objects, and building a connection. The practitioner creates objects using the same practice in the lower seasons, without visitors attending, to keep up the stock.

Agnes Csenki

Both practical and theoretical knowledge is required, and a basic knowledge in metallurgy. Planning, and designing of products, a practical setup in the smithy or workshop is also helping the working process. Forging is a hard physical work, that requires physical strength knowledge of the properties of the material in use (iron, bronze, sopper, other metal), temperatures, tools and how the material reacts during the process. Most of the knowledge is practical. Speed, movements to create the wished form, knowledge of the use of different tools (pliers, hammers, brushes), knowledge of the properties and the effect of different temperatures to the metal to create the desired quality, how the metal will react in different stages of the work. Important to have good safety routines in personal safety and fire safety. Tor-Vegard has his own safety routines that he implies them to the visitors too in the workshop (for example hearing protection).

Tor-Vegard learned his skills from Hans Gjertsen, and was a trainee for two years under his supervision between 1987 and 1989. The practice is closely connected to the practitioner (Blacksmith of Sund). Tor-Vegard himself accepts trainees, his latest trainee was his son, who hopefully will carry on with the legacy of the previous practitoners in the Forge in Sund, as the new generation of the Blacksmith of Sund. The practice is well displayed in the workshop for visitors. All in general forging in Norway: It is possible to study forging in official Secondary education. That includes 2 years of theoretical and practical school studies and 2 years of practice at a company. Successful formal education results in a “svennebrev”, an official document, that secures quality and knowledge in the field. Forging course (smikurs); depending on the content and subject can vary form a few hours form several days (occasions). That provides a very basic knowledge of the skills and materials, an gives the possibility to create an object. From a practicing blacksmith who accepts trainees with a will to learn, outside formal education.

The bearer of the core of the practice is the blacksmith in Sund. Tor-Vegard worked alone in his workshop in the past years and was the soil bearer of the practice. Prior to him, it was Hans Gjertsen who carried and practiced the knowledge. Recently, the third generation of blacksmith, Tor-Vegards son, Hans is the candidate to carry on with the practice. He is a freshly graduated blacksmith.

The two generations of practitioners built a reputation around the cormorant sculptures, that is well known from Sund. The emblematic form and product is well recognisable. It contribites to the local identity, and many locals follow the practitioner and his work on SoMe. The practice contributes to the local communty to be on the touristic map, and it creates a huge visitor number each year in the small village of Sund. During the touristic season, the practice is a part of a social setting. The practitoner interacts with the visitors during the process of making scultputes in the workshop. The interactions, stories and the multy-sensory experience creates and deepens the interest among visitors, and a will to buy.

The practice cannot be divided form the practitioner: The Blacksmith of Sund. The origin of the hand forged cormorant dates to the time of the old blacksmith, Hans Gjertsen. He opened his workshop in 1947, but became well known after 1963, when he surprised the Kind of Norway, Olav V. with a hand forged cormorant, sitting on a rounded granite stone from the Lofoten mountains. The cormorant design became known as "Kongeskarv", that we can translate as "King Cormorant". That first known cormorant memorabilia from Lofoten paved the road for Hans Gjertsen to establish the forge as one of the oldest tourist attractions in Lofoten. Tor-Vegard was a trainee 1987-89 and took over the forge in 1989. Hans Gjertsen was relatively active until 2004 and passed away in 2006. Tor-Vegard as the second generation of the blacksmith in Sund changed and adapted the practice to his ways, and to the larger demands, and introduced new products using the same starting point (cormorants in different variations, pinguins). Tor-Vegard uses the mechanical hammers in a different scale and he purchased an new mechanical hammer too. He also stoped forming a crown onto the top of the "King Cormorants" head. The third generation of blacksmith just got introduced and further development is expected in the future.

Fishery Museum in Sund and the Forge in Sund are the closest related to the practice. In Norway, all in general, forging has a long traditon and history. In all fishing villages in Lofoten operated at least one forge at a time. Norwegian Fishing Village Musuem has a forge that disseminates forging, Lofotr Viking Museum is an important hub for different crafts, alongside iron age forging (the smithy unfortunately burned down in 2021, the reconsruction of the forge is still in progress). Forge Association: https://norsksmedforening.wordpress.com/; Hjerleid Håndverksskole https://www.hjerleid.no/no/vg2-smed, blacksmith groups on social media.

The workshop itself in Sund, that is a part of the Fishery Museum in Sund.

Sea-level rise,Increased rainfall,Deterioration of space

Sea level rising is a threat in a coalstal community, like Sund. The rising sea level would efeect the toursism, that per today scapes 80-90% of the practitioners income. Several bridges are connecting the islands, the steep mountains are avalanche danger. If the bridges are closed due to weather conditions and the roads close due to avalance, supplies would be hard to get, the visitors cannot reach the forge.

Diminishing youth interest,Reduced practice

Without successor, the practice is facing a threat.

Insufficient financial resources,Rapid economic transformation

If the practice is no longer economilcally profitable, it reduces the possibilities of the practitioner to carry on. Sund in Lofoten islands is a remote village. Poor connections make it difficult for visitors to arrie to Lofoten.

Loss of knowledge,Material shortage,Loss of cultural significance

Without the knowledge, materials and the significance, the practice is loosing its basis, that threatens the practice.

Sund is a traditional fishing village in the Lofoten Islands. These fishing villages were built on the cod fishery in Winter, and the production of stockfish. Northeast Atlantic Cod migrates from the Barents Sea to the Norwegian coast to spawn and can be found by the coastline of Lofoten from approx. January to April. That period is called the Lofoten-Fishing in Lofoten. Stockfish is unsalted, dried cod-a traditional food, produced by hanging and air-drying cod on wooden racks for 3-4 months. The winter fishery traditionally attracted fishermen from both south and north on the mainland. They were seasonally accommodated in the villages in cabins (rorbu). Stockfish was Norway’s most important commodity, and most of the production was sold to export. These fishing villages in Lofoten were owned by the crown until the late 18th century. Privileges were given to individuals: innkeepers, cargo-vessel owners, fish traders, who built up enough capital could buy them and the land surrounding. That was the start of the landowner system in Lofoten. Landowner or squires had monopoly on trade, land and properties in their villages, they rented out cabins to the travelling fishermen and bought the fish from them. Locals paid in free labour for the plot where their house stood. The forge had an important role in the fishing villages, as the blacksmith produced objects for the landowners, the locals need and served the fisheries needs: tools, equipment, nails, supplies for reparation work and other metal objects. The blacksmith workshop is part of the Fishery Museum in Sund, both are operated by Tor-Vegard Mørkved, the Blacksmith of Sund.

We can group the artefacts, connected to the practice. Preparing the material: metal cutter. Warming up and forming the metal: coal forge, airing system-blower to keep the fire at a high temperature, hammers, pliers, mechanic hammers, anvil. Polishing the finished product: brushes, polishing machine. Protective wear, as leather apron, leather gloves, protective shoes, glasses, hearing protection. Tor-Vegard wears his glasses, a hat, black top and trousers and a leather apron on top of it. The finished products.

The practice contributes to a small fishing village in Lofoten to be significant for visitors, arriving to Lofoten. The practitoner is an active member of the community, and lifts it throughout the practice.

The practice contributes to enviromental sustainability, with it´s waste management and optimised logistics and material use.

No

Responsible Consumption and Production,Partnerships for the Goals

Sundveien 118, 8384 Sund, Flakstad Municipality, Lofoten Islands, Nordland County, Norway

stable

MN_CP_03