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The Japanese were early admirers of Chinese blue and white and, despite the difficulties of obtaining cobalt (from Iran via China), soon produced their own blue and white wares, usually in Japanese porcelain, which began to be produced around 1600. As a group, these are called sometsuke (染付).
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 ...
It is known mainly for its sometsuke underglaze cobalt blue and white porcelain, with the amount of blue often low, showing off the detailed modelling and the very fine white colour of the porcelain. This has a finer grain than most Japanese porcelains, allowing fine detail and thin and complicated openwork in forms.
The European custom has generally been to call blue and white wares "Arita" and blue, red and gold ones "Imari", though in fact both were often made in the same kilns arong Arita. In 1759 the dark red enamel pigment known as bengara became industrially available, leading to a reddish revival of the orange 1720 Ko-Imari style.
Some falsely used the names of famous artists or studios to mark pieces. [52] Early Japanese ceramics rarely had stamps or signatures, which can make dating some Satsuma ware difficult. [53] One characteristic of earlier pieces, however, is a high-quality glaze and finish, as later mass production led to dramatically inferior works. [54]
Tea-leaf jar with a design of wisteria (色絵藤花文茶壺, iroe fujihanamon chatsubo) [13] Nonomura Ninsei Blooming wisteria flowers painted over a warm white glaze in enamels of red, purple, gold and silver; base is orange and has a stamp mark reading "Ninsei"; passed down in the Kyogoku family of the Marugame domain, present day Kagawa ...
Tobe ware (砥部焼, Tobe-yaki) is a type of Japanese porcelain traditionally from Tobe, Ehime, western Japan. It is of the sometsuke ( 染付 ) blue and white pottery type. The ware started making its appearance when Katō Yasutoki, 9th lord of the Ōzu Domain (1769–1787), started hiring potters from Hizen.
360° panorama. Harmony in Blue and Gold: The Peacock Room (better known as The Peacock Room [1]) is a work of interior decorative art created by James McNeill Whistler and Thomas Jeckyll, translocated to the Freer Gallery of Art in Washington, D.C. Whistler painted the paneled room in a unified palette of blue-greens with over-glazing and metallic gold leaf.
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