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Pietra dura (Italian: [ˈpjɛːtra ˈduːra]), pietre dure ([ˈpjɛːtre ˈduːre]) or intarsia lapidary [1] , called parchin kari or parchinkari (Persian: پرچین کاری) in the Indian subcontinent, is a term for the inlay technique of using cut and fitted, highly polished colored stones to create images. It is considered a decorative art ...
Inlay (ivory, red sandalwood, copper) on wooden casket. In a wood matrix, inlays commonly use wood veneers, but other materials like shells, mother-of-pearl, horn or ivory may also be used. Pietre dure, or coloured stones inlaid in white or black marbles, and inlays of precious metals in a base metal matrix, are other forms of inlay. Master ...
The start of the practice dates from before the seventh century AD. The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother-of-pearl) within the solid wood matrix of floors and walls or of tabletops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcass.
Casket, early 18th century, attributed to André-Charles Boulle, oak carcass veneered with tortoiseshell, gilt copper, pewter and ebony, in the Art Institute of Chicago. Marquetry (also spelled as marqueterie; from the French marqueter, to variegate) is the art and craft of applying pieces of veneer to a structure to form decorative patterns or ...
The beginnings of modern wood engraving techniques developed in the late 17th century, by which time publishers of quality books only used the relief printing of wood blocks for small images in the text such as initials, taking advantage of relief printing blocks to be fitted into the same forme or set-up page as the letterpress type of the text.
The pressure exerted by the press on the paper pushes it into the engraved lines and prints the image made by those lines. In an intaglio print, the engraved lines print black. Wood engraving is a relief printing technique, with the images made by carving into fine-grained hardwood blocks. Ink is rolled onto the surface of the block, dry paper ...
In Calcutta, popular art naturally mirrored Western printing techniques, which were primarily produced by Europeans and became widely available in the city's bazaars. This influence is evident in the Battala woodcuts. Like their Western counterparts, these prints were hand-colored, but without the use of stencils.
Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. [1]
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