景華工坊 Keng Hwa Carving Studio

景華工坊 Keng Hwa Carving Studio 木雕工作室
專精傳統文化的文創設計，承接各種木雕製品訂單以及木雕課程，歡迎洽詢。

Woodcarving Studio
Accepts custom orders for various wood carving products and wood carving workshops.

木雕工作室 woodcarving studio

又是路過看到補一下🤣
07/06/2026

又是路過看到補一下🤣

20/05/2026

感謝 青雲亭 The Cheng Hoon Teng Temple 用心錄影分享～

感謝 青雲亭 The Cheng Hoon Teng Temple 用心安排這場分享會，讓馬來西亞有興趣的傳統藝術的人也有機會接觸和學習。
15/05/2026

感謝 青雲亭 The Cheng Hoon Teng Temple 用心安排這場分享會，讓馬來西亞有興趣的傳統藝術的人也有機會接觸和學習。

沒什麼，就是剛好看到有洞就補一下🤣
15/05/2026

沒什麼，就是剛好看到有洞就補一下🤣

【花罩修復紀錄｜殘缺，也能重新成對】花罩，又稱飛罩，是傳統建築與神龕中常見的鏤空木構件，多位於樑柱之間，作為半開放性的空間區隔。這類構件講究成對、對稱，但古蹟修復最常遇到的問題，就是：「只剩一邊。」這次修復的花鳥飛罩，為檳城民國初年的作品，...
10/05/2026

【花罩修復紀錄｜殘缺，也能重新成對】

花罩，又稱飛罩，是傳統建築與神龕中常見的鏤空木構件，多位於樑柱之間，作為半開放性的空間區隔。

這類構件講究成對、對稱，但古蹟修復最常遇到的問題，就是：

「只剩一邊。」

這次修復的花鳥飛罩，為檳城民國初年的作品，已有百餘年歷史。其中一側因白蟻蛀蝕而嚴重空陷斷裂，已無法保存。

因此便以殘件與另一側原件作為參考，重新描稿翻刻，依原貌比例與風格，補回缺失的一邊，使其重新恢復完整成對。

修復最難的，從來不只是重做一件新的。而是如何讓新的部分，仍保有老件原有的氣韻與時代感。

太工整，便不像老件；
太隨意，又容易失去比例。

有時候，老件缺的不是價值，
只是缺了一個願意把它補回完整的人。

景華工坊
木雕修復・傳統工藝保存

—

【Floral Hanging Screen Restoration】

Traditional hanging screens, known as “hua zhao” (花罩) or “fei zhao” (飛罩), were decorative openwork wooden partitions commonly found in traditional architecture and shrine interiors.

This Penang-made pair from the early Republican era is now over a century old. One side had been severely damaged by termites, leaving only half surviving.

Using the remaining fragments and the intact opposite side as reference, the missing section was carefully re-carved to restore the pair as a whole once again.

The challenge in restoration is not simply making a new piece — but allowing the new work to retain the spirit and character of the original.

Sometimes, old objects are not lacking in value.
They are simply waiting for someone willing to restore them with care.

Keng Hwa Carving Studio

最近一批清末民初的牌匾到了我手上，有一些小字已經脫落。其實也可以用電腦字去補，快速方便，但總覺得對待老文物，有些可惜也不是滋味。遠看是完整，但明眼近看還是不太自然。最後還是選擇用手慢慢描畫原字，再把缺的筆畫補回去。因為毛筆字每一筆都不一樣，...
07/04/2026

最近一批清末民初的牌匾到了我手上，有一些小字已經脫落。

其實也可以用電腦字去補，快速方便，但總覺得對待老文物，有些可惜也不是滋味。遠看是完整，但明眼近看還是不太自然。

最後還是選擇用手慢慢描畫原字，再把缺的筆畫補回去。因為毛筆字每一筆都不一樣，粗細、轉折，千篇一律的電腦規範字替代不來，也和原件格格不入。

是麻煩一點，但這樣對待老文物對待成果，心裡還是覺得比較踏實。補到最後，如果看不太出來哪裡是新的，那我覺得就差不多了。

駿馬騰春迎新歲，感謝相伴同行。願來歲平安順遂，萬事亨嘉。As Spring arrives with the spirit of the horse, thank you for your continued support. Wishin...
16/02/2026

駿馬騰春迎新歲，感謝相伴同行。願來歲平安順遂，萬事亨嘉。

As Spring arrives with the spirit of the horse, thank you for your continued support. Wishing you a peaceful year ahead and prosperity in all things.

【山門修復紀錄｜清華宮螭龍窗復刻工程】白蟻，把百年山門的螭龍窗吃空了。馬六甲干冬清華宮，建廟逾百年，是當地早期華人重要信仰中心。其山門馬六甲一代傳統的閩派廟宇格局，木作與雕飾，均帶有為地方特色。此次修復範圍，為山門兩側的螭龍圓窗木雕構件。其...
14/02/2026

【山門修復紀錄｜清華宮螭龍窗復刻工程】

白蟻，把百年山門的螭龍窗吃空了。

馬六甲干冬清華宮，建廟逾百年，是當地早期華人重要信仰中心。其山門馬六甲一代傳統的閩派廟宇格局，木作與雕飾，均帶有為地方特色。

此次修復範圍，為山門兩側的螭龍圓窗木雕構件。其中一側因長年曝曬與白蟻侵蝕，木質粉化、結構中空，已難以補強保存；另一側則仍維持完整原件。

若以一般做法，直接重做一對新件替代最方便。但那樣會使老廟原有的歷史痕跡和工藝一併消失。

因此我們選擇更費工的方式——
保留完好的原件，僅復刻受損的一側，依原貌精準對應。

本次工程由檳城景華工坊承接，由有在地傳承的傳統鑿花匠所承製，以延續老一輩木雕師傅的手工技法與刀路。我們依舊件逐一量測、描樣存檔，比對原始比例、刀路與層次關係，以傳統鑿花工法重新復刻，全程不以用機械雕花而是手工鑿刻完成，只求形制、氣韻與另一邊的原件一致。

目的只有一件事——
讓新件與百年前的原件並立時，看不出新舊差異。

當螭龍窗重新安回山門，光影穿過窗櫺，層次與線條回到熟悉的位置，那份屬於老廟的神采，也隨之歸位。修復古建築，從來不是把它變新，而是尊重留下來的每一分老工藝。

傳統工藝的價值，
不在於做得多快，
而在於是否有人願意，
照老規矩慢慢做。

—— 景華工坊
檳城在地非遺｜傳統木雕｜鑿花復刻

（部分照片取自清華宮官方網站）

Restoration Record | Replication of the Chi-Dragon Window, Cheng Wah Keong Temple, Malacca

Termites hollowed out the century-old chi-dragon window of the temple’s entrance gate.

Located on Jalan Kandang, Cheng Wah Keong Temple of Malacca has stood for over a hundred years as an important spiritual centre for the early Chinese community in the region. Its entrance gate reflects the traditional Minnan temple layout with localised characteristic of Malacca, containing intricate timber structures and carvings that embody strong local craftsmanship.

This restoration focused on the pair of circular chi-dragon windows flanking the main gate. On one side, after years of exposure to weather and termite damage, the piece had suffered structural hollowing and severe deterioration, making reinforcement no longer viable. The opposite side, however, remained intact as an original piece.

The easier approach would have been to replace both with a newly carved pair. Yet doing so would erase the historical traces and original craftsmanship preserved in the surviving work.

Instead, we chose the more demanding path:
to retain the original intact window panel and replicate only the damaged side, ensuring precise correspondence to the existing piece.

This project was undertaken by Keng Hwa Carving Studio, a Penang-based traditional carving studio rooted in local heritage transmission. Executed by our craftsmen trained in traditional woodcarving techniques, the work followed the methods and tools passed down from earlier generations. Each dimension was carefully measured, patterns documented, proportions and carving sequences analysed. The replacement panel was recreated entirely by hand using traditional chiselling methods — no mechanical carving was employed.

Our sole objective was clear:
When placed side by side, the new piece should be indistinguishable from the century-old original.

Once reinstalled, light filtered through the lattice once again. The depth, rhythm, and visual harmony of the gate is back to it's original form. Architectural restoration is not about making the old look new. It is about honouring what remains and allowing craftsmanship to continue across time.

The value of traditional craft does not lie in speed, but in the willingness to follow old methods patiently and faithfully.

Keng Hwa Carving Studio
Penang Heritage Craft | Traditional Woodcarving | Architectural Replication

（Some of the photographs used in this post are courtesy of the official website of the temple.）

信恆50" x 30" x 1½"天然木、合成漆、金箔書法：鄧啟平 老師
02/02/2026

信恆
50" x 30" x 1½"
天然木、合成漆、金箔
書法：鄧啟平 老師

康順34½" x 18" x 1¼"天然木、合成漆、金箔書法：蔡義斌 老師
27/01/2026

康順
34½" x 18" x 1¼"
天然木、合成漆、金箔
書法：蔡義斌 老師

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13, Lorong Ceylon
George Town
10050

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+60164120485

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