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Japan has a system of recycling marks, recycling identification marks (リサイクル識別表示マーク), which indicate and classify recyclable materials. They are similar to the resin identification codes , in that they have surrounding arrows, with text inside to indicate the type of material.
The patterns are diverse, including geometric designs such as chintz and snowflake patterns, stylized drawings of plants, vegetables, and utensils, and pictorial landscapes, but all of them are characterized by their purely Japanese designs, which distinguishes them from Imari ware, which was modeled on Chinese traditions. [4]
The mon of the Toyotomi clan, now used as the emblem of the Japanese Government; originally an emblem of the imperial family—a stylized paulownia.. Mon (紋), also called monshō (紋章), mondokoro (紋所), and kamon (家紋), are Japanese emblems used to decorate and identify an individual, a family, or (more recently) an institution, municipality or business entity.
A mark is a written or imprinted symbol used to indicate some trait of an item, for example, its ownership or maker. [1] [2] Mark usually consists of letters, numbers, words, and drawings. [3] Inscribing marks on the manufactured items was likely a precursor of communicative writing. [4] Historically, the marks were used for few purposes: [5]
The types of ceramics can be divided into five groups: unglazed earthenware; glazed earthenware (施和的器 seyūtōki or 低火度前 teikadoyū): fired at relatively low temperatures 800–900°C using lead as the medium, the technique was introduced from the Korean peninsula in the 7th century.
Various certification marks (see article for list) signifying conformance with a government or private organization's requirements Shipping symbols [ 2 ] from ISO standard 780 "Pictorial marking for handling of goods" [ 3 ] or ASTM D5445 "Standard Practice for Pictorial Markings for Handling of Goods" [ 4 ] which depict shipping boxes as ...
Maki-e Maki-e enlargement. Maki-e (蒔絵, literally: sprinkled picture (or design)) is a Japanese lacquer decoration technique in which pictures, patterns, and letters are drawn with lacquer on the surface of lacquerware, and then metal powder such as gold or silver is sprinkled and fixed on the surface of the lacquerware.
Most scholars date satsuma ware's appearance to the late sixteenth [1] or early seventeenth century. [2] In 1597–1598, at the conclusion of Toyotomi Hideyoshi's incursions into Korea, Korean potters, which at the time were highly regarded for their contributions to ceramics and the Korean ceramics industry, were captured and forcefully brought to Japan to kick-start Kyūshū's non-existent ...