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Qing Handicrafts
Handicrafts (手工业 ''shougongye'') produced during the Qing dynasty (1644–1911) were objects designed and hand-made by craftsmen. They were heavily ornate, incorporating Tibetan, Middle Eastern, Indian, and European techniques. The design or decorative aspect of the craft was as important as the crafting technique itself and Qing artisans were particular about the materials they used, such as jade (''yu),'' stones, and wood. In their designs artisans drew heavily from a number of motifs, both mythical and natural. Certain areas in China became well-known for specific types of handicrafts; for example, Jingdezhen was known as the capital of porcelain. During the Qing era, Imperial Workshops built in Beijing brought together artisans and raw materials that were once only obtainable in disparate regions. This allowed for the combining of technologies and materials to produce new types of handicrafts. The tributary system also brought new sources for materials and artisans that wer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gu Erniang
Gu Erniang (Chinese: 顧二娘; fl. 17th – 18th centuries) was a famous Chinese inkstone artist who lived in the Qing dynasty, during the reign of Kangxi Emperor. Throughout her career, she was regarded as the best of her profession in China. There are at least one dozen surviving inkstones attributed to Gu, but most are likely to be forgeries. No existing inkstone has been proven to have been made by Gu. There is little existing information on Gu's personal life due to the lack of biographical writing about artisans during the Qing dynasty. Life Gu was born to the Zou (Chinese: 鄒) family, possibly around 1664. She married Gu Qiming, the heir to the line of Suzhou inkstone carvers established by his father, Gu Delin, who was highly acclaimed in his trade. Gu likely learned inkstone-making from her husband and father-in-law. Following the passing of Delin and Qiming sometime after 1692, Gu took over the household trade. She attained widespread fame for her inkstones during ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Qilin
The qilin (; ) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler. Qilin are a specific type of the mythological family of one-horned beasts. The qilin also appears in the mythologies of other cultures, such as Japanese and Korean mythology, where it is known as the kirin, and Vietnamese mythology, where it is known as the kỳ lân. Origins Earliest mention of this mythical horned beast is in the poem included in the Classic of Poetry (11th - 7th c. BCE). ''Spring and Autumn Annals'' mentioned that a ''lin'' () was captured in the 14th year of Duke Ai of Lu () (481 CE); '' Zuo Zhuan'' credited Confucius with identifying the ''lin'' as such. The bisyllabic form ''qilin'' ( ~ ), which carries the same generic meaning as ''lin'' alone, is attested in works dated to the Warring States period (475 - 221 BCE). Q''i'' denotes the male and ''lin'' denotes th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vase With Archaic Motifs
A vase ( or ) is an open container. It can be made from a number of materials, such as ceramics, glass, non-rusting metals, such as aluminium, brass, bronze, or stainless steel. Even wood has been used to make vases, either by using tree species that naturally resist rot, such as teak, or by applying a protective coating to conventional wood or plastic. Vases are often decorated, and they are often used to hold cut flowers. Vases come in different sizes to support whatever flower it is holding or keeping in place. Vases generally share a similar shape. The foot or the base may be bulbous, flat, carinate, or another shape. The body forms the main portion of the piece. Some vases have a shoulder, where the body curves inward, a neck, which gives height, and a lip, where the vase flares back out at the top. Some vases are also given handles. Various styles and types of vases have been developed around the world in different time periods, such as Chinese ceramics and Native Amer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
K'o-ssu
Kesi (; K'o-ssu in Wade-Giles) is a technique in Chinese silk tapestry. It is admired for its lightness and clarity of pattern. At first, this technique was chiefly used to protect scrolls containing paintings. It was also employed as a support for paintings, later going on to become an esteemed art form. This art form especially flourished between the eleventh and thirteenth centuries. The Sogdians from Central Asia during the mid-1st millennium brought their art and technique of textile tapestry to China (the Sogdians established flourishing communities throughout, and by the 6th century, their textile patterns were already being seen in China), and it is through this Silk Road influence, resulted in what became known as "kesi". During the Song dynasty, the art of the "kesi" reached its height. It is a tapestry weave, normally using silk on a small scale compared to European wall-hangings. Clothing for the court was one of the main uses. The density of knots is typically very ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trompe-l'œil
''Trompe-l'œil'' ( , ; ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface. ''Trompe l'oeil'', which is most often associated with painting, tricks the viewer into perceiving painted objects or spaces as real. Forced perspective is a related illusion in architecture. History in painting The phrase, which can also be spelled without the hyphen and ligature in English as ''trompe l'oeil'', originates with the artist Louis-Léopold Boilly, who used it as the title of a painting he exhibited in the Paris Salon of 1800. Although the term gained currency only in the early 19th century, the illusionistic technique associated with ''trompe-l'œil'' dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical ''trompe-l'œil'' mural might depict a window, door, or hallway, intended to suggest a larger room. A version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Textile With Peonies And Lattice 18th Century
Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns. Textiles are divided into two groups: Domestic purposes onsumer textilesand technical textiles. In consumer textiles, aesthetics and comfort are the most important factors, but in technical textiles, functional properties are the priority. Geotextiles, industrial textiles, medical textiles, and many other areas are examples of technical textiles, whereas clothing a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
