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Biscuit-ware
Biscuit porcelain, bisque porcelain or bisque is unglazed, white porcelain treated as a final product, with a matte appearance and texture to the touch. It has been widely used in European pottery, mainly for sculptural and decorative objects that are not tableware and so do not need a glaze for protection. The term " biscuit" refers to any type of fired but unglazed pottery in the course of manufacture, but only in porcelain is bisque a term for a final product. Unglazed earthenware as a final product is often called terracotta, and in stoneware equivalent unglazed wares (such as jasperware) are often called "dry-bodied". Many types of pottery, including most porcelain wares, have a glaze applied, either before a single firing, or at the biscuit stage, with a further firing. Small figurines and other decorative pieces have often been made in biscuit, as well as larger portrait busts and other sculptures; the appearance of biscuit is very similar to that of carved and smoothe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Getty Art & Architecture Thesaurus
The Art & Architecture Thesaurus (AAT) is a controlled vocabulary used for describing items of art, architecture, and material culture. The AAT contains generic terms, such as "cathedral," but no proper names, such as "Cathedral of Notre Dame." The AAT is used by, among others, museums, art libraries, archives, catalogers, and researchers in art and art history. The AAT is a thesaurus in compliance with ISO and NISO standards including ISO 2788, ISO 25964 and ANSI/NISO Z39.19. The AAT is a structured vocabulary of 55,661 concepts (as of January 2020), including 131,000 terms, descriptions, bibliographic citations, and other information relating to fine art, architecture, decorative arts, archival materials, and material culture. History The AAT project began in the late 1970s in response to the gradual automation of records by art libraries, art journal indexing services, and catalogers of museum objects and visual resources. Automation required consistency in cataloging as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pâte-sur-pâte
''Pâte-sur-pâte'' is a French term meaning "paste on paste". It is a method of porcelain decoration in which a relief design is created on an unfired, unglazed body, usually with a coloured body, by applying successive layers of (usually) white porcelain slip (liquid clay) with a brush. Once the main shape is built up, it is carved away to give fine detail, before the piece is fired. The work is very painstaking and may take weeks of adding extra layers and allowing them to harden before the next is applied. The usual colour scheme is a white relief on a contrasting coloured background, which in England was often Parian ware. The effect is somewhat similar to other types of relief decoration, in particular sprigging. However, unlike Jasperware, for example, a mould is not normally used, and the ceramic artist is able to achieve translucency. The method also gives results resembling cameos in stone or cameo glass. The development of pâte-sur-pâte dates back to 1850 in Fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sancai
''Sancai'' ()Vainker, 75 is a versatile type of decoration on Chinese pottery using glazes or slip, predominantly in the three colours of brown (or amber), green, and a creamy off-white. It is particularly associated with the Tang Dynasty (618–907) and its tomb figures, appearing around 700. Therefore, it is commonly referred to as Tang Sancai in Chinese. Tang sancai wares were sometimes referred in China and the West as ''egg-and-spinach'' by dealers, for their use of green, yellow, and white, especially when combined with a streaked effect. The Tang Dynasty three-color glazed pottery is the treasure of ancient Chinese ceramic firing techniques. It is a kind of low-temperature glazed pottery popular in the Tang Dynasty. The glaze has yellow, green, white, brown, blue, black and other colours. The yellow, green, and white colour-based are most predominant, so people call it "Tang Sancai." Because the Tang Sancai is unearthed in Luoyang earliest and is found the most in Luoy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Longquan Celadon
Longquan celadon (龍泉青瓷) is a type of green-glazed Chinese ceramic, known in the West as celadon or greenware, produced from about 950 to 1550. The kilns were mostly in Lishui prefecture in southwestern Zhejiang Province in the south of China, and the north of Fujian Province. Overall a total of some 500 kilns have been discovered, making the Longquan celadon production area one of the largest historical ceramic producing areas in China. "Longquan-type" is increasingly preferred as a term, in recognition of this diversity, or simply "southern celadon", as there was also a large number of kilns in north China producing Yaozhou ware or other Northern Celadon wares. These are similar in many respects, but with significant differences to Longquan-type celadon, and their production rose and declined somewhat earlier. Celadon production had a long history at Longquan and related sites, but it was not until the Northern Song (960–1127) period that large-scale production bega ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tang Dynasty Tomb Figures
Tang dynasty tomb figures are pottery figures of people and animals made in the Tang dynasty of China (618–906) as grave goods to be placed in tombs. There was a belief that the figures represented would become available for the service of the deceased in the afterlife. The figures are made of moulded earthenware with colour generally being added, though often not over the whole figure, or in naturalistic places. Where the colouring was in paint it has often not survived, but in many cases it was in '' sancai'' ("three-colour") ceramic glaze, which has generally lasted well. The figures, called ''mingqui'' in Chinese, were most often of servants, soldiers (in male tombs) and attendants such as dancers and musicians, with many no doubt representing courtesans. In burials of people of high rank there may be soldiers and officials as well. The animals are most often horses, but there are surprising numbers of both Bactrian camels and their Central Asian drivers, distinguish ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George II Of The United Kingdom
, house = Hanover , religion = Protestant , father = George I of Great Britain , mother = Sophia Dorothea of Celle , birth_date = 30 October / 9 November 1683 , birth_place = Herrenhausen Palace,Cannon. or Leine Palace, Hanover , death_date = , death_place = Kensington Palace, London, England , burial_date = 11 November 1760 , burial_place = Westminster Abbey, London , signature = Firma del Rey George II.svg , signature_alt = George's signature in cursive George II (George Augustus; german: link=no, Georg August; 30 October / 9 November 1683 – 25 October 1760) was King of Great Britain and Ireland, Duke of Brunswick-Lüneburg (Hanover) and a prince-elector of the Holy Roman Empire from 11 June 1727 ( O.S.) until his death in 1760. Born and brought up in northern Germany, George is the most recent British monarch born outside Great Britain. The Act of Settlement 1701 and the Acts of Union 1707 positioned his grandmother, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chelsea-Derby
Chelsea porcelain is the porcelain made by the Chelsea porcelain manufactory, the first important porcelain manufactory in England, established around 1743–45, and operating independently until 1770, when it was merged with Derby porcelain. It made soft-paste porcelain throughout its history, though there were several changes in the "body" material and glaze used. Its wares were aimed at a luxury market, and its site in Chelsea, London, was close to the fashionable Ranelagh Gardens pleasure ground, opened in 1742. The first known wares are the "goat and bee" cream jugs with seated goats at the base, some examples of which are incised with "Chelsea", "1745" and a triangle. The entrepreneurial director, at least from 1750, was Nicholas Sprimont, a Huguenot silversmith in Soho, but few private documents survive to aid a picture of the factory's history. Early tablewares, being produced in profusion by 1750, depend on Meissen porcelain models and on silverware prototypes, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overglaze Decoration
Overglaze decoration, overglaze enamelling or on-glaze decoration is a method of decorating pottery, most often porcelain, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln. It is often described as producing "enamelled" decoration. The colours fuse on to the glaze, so the decoration becomes durable. This decorative firing is usually done at a lower temperature which allows for a more varied and vivid palette of colours, using pigments which will not colour correctly at the high temperature necessary to fire the porcelain body. Historically, a relatively narrow range of colours could be achieved with underglaze decoration, where the coloured pattern is applied before glazing, notably the cobalt blue of blue and white porcelain. Many historical styles, for example mina'i ware, Imari ware, Chinese doucai and wucai, combine the two types of decorat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sprigging (pottery)
Sprigging or sprigged decoration is a technique for decorating pottery with low relief shapes made separately from the main body and applied to it before firing. Usually thin press moulded shapes are applied to greenware or bisque. The resulting pottery is termed sprigged ware, and the added piece is a "sprig". The technique may also be described by terms such as "applied relief decoration", especially in non-European pottery. The alternative way to achieve similar effects without sprigging is to mould the whole body, which is also common. Pâte-sur-pâte is a very labour-intensive, and so expensive, method of producing similar, but more refined, effects in contrasting colors, invented in China and then in France in the mid-19th century. Technique The clay body for the sprig is pushed into the mould, the back scraped flat, then released on a damp cloth pad. The greenware is wetted lightly with a brush, and the sprig is pressed lightly with another cloth pad to push out wa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Relief
Relief is a sculptural method in which the sculpted pieces are bonded to a solid background of the same material. The term '' relief'' is from the Latin verb ''relevo'', to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. When a relief is carved into a flat surface of stone (relief sculpture) or wood (relief carving), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze relief ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Casita Del Príncipe (El Escorial)
The Casita del Príncipe () is an eighteenth-century building located in San Lorenzo de El Escorial, Spain. It was designed by the neoclassical architect Juan de Villanueva for the private use of the heir to the Spanish throne Charles, Prince of Asturias, and his wife Maria Luisa. It was constructed in the 1770s and extended in the 1780s. The word ''casita'' is the diminutive of the Spanish word for "house". The building was designed without bedrooms, as its owners slept in the palace which had been built two centuries earlier for Philip II. Such buildings gave their royal occupants the opportunity to escape some of the formalities of court life. The Petit Trianon at Versailles offers a French example of the phenomenon. Setting The building is set in a formal garden. The garden is in turn set in a walled park. The garden, which is on several levels, is delineated by box hedges in 18th century style. It also features some exotic conifers, such as ''Sequoiadendron giganteum'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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