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Small cup with the "Five Treasures", Chenghua reign mark, 2.9 × 7 cm, PDF.767. Doucai (Chinese: 斗彩; Wade–Giles: tou-ts'ai) is a technique in painting Chinese porcelain, where parts of the design, and some outlines of the rest, are painted in underglaze blue, and the piece is then glazed and fired.
Le Nove porcelain, Bowl with cover, 1765–70, painted with ruins, soft-paste porcelain The front side of the Cross of Lothair (c. 1000), a classic example of "Ars Sacra" Wine Pot, c. 18th century, China, Walters Art Museum. The decorative arts are arts or crafts whose aim is the design and manufacture of objects that are both beautiful and ...
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C (1,380 and 1,560 °F). The powder melts, flows, and then hardens to a smooth, durable vitreous coating.
China painting, or porcelain painting, [a] is the decoration of glazed porcelain objects, such as plates, bowls, vases or statues. The body of the object may be hard-paste porcelain , developed in China in the 7th or 8th century, or soft-paste porcelain (often bone china ), developed in 18th-century Europe.
The application of industrial porcelain enamel can be a complicated process involving many different and very technical steps. All enamelling processes involve the mixture and preparation of frit, the unfired enamel mixture; the preparation of the substrate; the application and firing; and then finishing processes. Most modern applications also ...
Hand-painted Chinese porcelain tiles on the floor of a Jewish synagogue in Cochin, Kerala, India. Porcelain tiles or ceramic tiles are either tiles made of porcelain, or relatively tough ceramic tiles made with a variety of materials and methods, that are suitable for use as floor tiles, or for walls. They have a low water absorption rate ...
Porcelain bowl with coloured glazes and an incised scene of two boys playing in a courtyard, Yongzheng reign (1722–1735) Imperial orders demanded both individuality in the design of porcelain while also demanding large quantities of it. Understandably, these demands came from different sectors of the court that expected particular designs.
The word fresco is commonly and inaccurately used in English to refer to any wall painting regardless of the plaster technology or binding medium. This, in part, contributes to a misconception that the most geographically and temporally common wall painting technology was the painting into wet lime plaster.
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