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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.
For example: Hon'ami Kōetsu's (本阿弥 光悦; 1558 – 27 February 1637) white raku bowl called "Mount Fuji" (Shiroraku-Chawan, Fujisan) listed as a national treasure by the Japanese government. [17] Kintsugi, a specific technique that uses gold lacquer to repair broken pottery, is considered a wabi-sabi expression. [8]
Hirado ware (Japanese: 平戸焼, Hepburn: hirado-yaki) is a type of Japanese porcelain mostly made at kilns at Mikawachi, Sasebo, Nagasaki, and it is therefore also known as Mikawachi ware (三川内焼, Mikawachi-yaki).
Tsurunokubi, "cranes' necks", are s-curved Japanese wooden throwing sticks used to shape the interiors of narrow-necked pieces such as bottles and certain vases. Kanna are cutting, carving and incising tools made of iron and used to trim pieces, for carving, sgraffito and for scraping off excess glaze.
"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 seen in Imari, is not used. In China and other Japanese kilns, celadon glaze is generally used alone, but Nabeshima often combines celadon with blue and white glaze and colored paintings, such as ...
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.
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 ...
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