Oboe or shawm c. 1680

Editor: Here we have a stunning piece: a baroque oboe or shawm made around 1680 by Richard Haka. It's crafted from wood and metal, and has such a strong, elegant form. I’m struck by how its verticality and simple geometric forms create a powerful sense of balance. What stands out to you? Curator: The instrument's surface bears witness to both refinement and functionality. Note the meticulous turnings in the wood, juxtaposed against the cold precision of the metalwork. How do these contrasting textures and materials influence your perception of the piece's overall aesthetic? Editor: Well, the wood is very smooth, a uniform dark color which really highlights the cool metallic detailing, it seems. And that contrasts even more with the holes and perforations of the instrument itself. What’s your take? Curator: Precisely. Consider, too, how the play of light across the instrument's surface modulates the stark contrast between these elements, and thus enriches the object’s visual impact. To further deepen our understanding, how does its form compare to other Baroque instruments you've studied? Editor: I see more ornamentation, a more delicate aesthetic across paintings of instruments, at least. Is this perhaps related to function over form? Curator: It presents an interesting case. It urges us to reconsider our established understanding, by pointing toward a fusion of art, craftsmanship, and purpose. What do you make of this newfound perspective? Editor: Seeing it as art, beyond mere functionality, gives it a totally different dimension, actually. I'll never think of baroque music in the same way again. Curator: Indeed, its formal qualities stimulate introspection and dialogue about the role of decorative arts within broader socio-cultural contexts. We must explore all these things.