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Shiwan figures functioned as the Chinese equivalent of English Staffordshire figurines. The human figures sometimes contrast flesh areas left in unglazed biscuit with glazed clothes and hair. Gestures and facial expressions are often dramatic. [ 7 ]
Early blue and white porcelain, c. 1351. The Mongol Yuan dynasty enforced the movement of artists of all sorts around the Mongol Empire, which in ceramics brought a major stylistic and technical influence from the Islamic world in the form of blue and white porcelain, with underglaze painting in cobalt.
The animals are most often horses, but there are surprising numbers of both Bactrian camels and their Central Asian drivers, distinguished by thick beards and hair, and their facial features. The depictions are realistic to a degree unprecedented in Chinese art , [ 3 ] and the figures give archaeologists much useful information about life under ...
Tang dynasty tomb figure, sancai horse, 7–8th century, also using blue, as on the saddle. Sancai (Chinese: 三 彩; pinyin: sāncǎi; lit. 'three colours') [1] is a versatile type of decoration on Chinese pottery and other painted pieces using glazes or slip, predominantly in the three colours of brown (or amber), green, and a creamy off-white.
Huishan clay figurine (Chinese: 惠山泥人; pinyin: Huìshān ní rén) is a traditional Chinese folk art in Wuxi, Jiangsu Province, China, with a history of more than 400 years. [ 1 ] [ 2 ] The production of Wuxi Huishan clay figurines began at the end of the Ming dynasty and developed in the Qing dynasty with specialized Huishan clay ...
It was created in a matter of months by the New York architect Peter Marino with a mixture of classical and modern elements. In the modern section, Japanese blue-and-white porcelain is presented on historic tables, in front of panels lacquered with anthracite grey and cinnabar. Marino carried out further redesigns in 2010. [3] [4]
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