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Kintsugi (Japanese: 金継ぎ, lit. 'golden joinery'), also known as kintsukuroi (金繕い, "golden repair"), [1] is the Japanese art of repairing broken pottery by mending the areas of breakage with urushi lacquer dusted or mixed with powdered gold, silver, or platinum. The method is similar to the maki-e technique.
The Japanese aristocracy preferred plain silks over woven or dyed designs. [121] A total of seven National Treasures have been designated in the weaving and dyeing category, including: two mandalas , two monk's surplices or kesa , one brocade, one embroidery with a Buddhist motif and a set of garments presented to a shrine.
Tokanabe ware was typically black with a stippled texture and hand-painted raised relief designs. Some pieces were also produced in brown, gold or orange. It was stamped Nippon until 1921, when the US Congress passed legislation requiring all products manufactured in Japan for export to the United States to be marked Made in Japan.
Kutani ware (九谷焼, Kutani-yaki) is a style of Japanese porcelain traditionally supposed to be from Kutani, now a part of Kaga, Ishikawa, in the former Kaga Province. [1] It is divided into two phases: Ko-Kutani (old Kutani), from the 17th and early 18th centuries, and Saikō-Kutani from the revived production in the 19th century.
The most common "Iro-Nabeshima" is a technique in which a design is painted over a vessel with a blue-and-white design, and then the vessel is fired again with a low-temperature oxidizing flame. "Iro-Nabeshima" generally uses only the three colors red, yellow, and green, and occasionally black and purple are used, but as a rule, gold leaf, as ...
Kakiemon (Japanese: 柿右衛門様式, Hepburn: Kakiemon yōshiki) is a style of Japanese porcelain, with overglaze decoration called "enameled" ceramics. It was originally produced at the kilns around Arita, in Japan's Hizen province (today, Saga Prefecture) from the Edo period's mid-17th century onwards. [1]
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 ...
The Japanese porcelain-makers rather over-reached themselves, and in the 1880s there was something of an over-reaction, and Japanese porcelain acquired a reputation for poor quality, and prices and demand fell. Cheap wares could sell, but the better quality wares suffered, although small amounts of the highest quality wares found a market. [30]