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Lacquerware is a longstanding tradition in Japan [6] [7] and, at some point, kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. . While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Kor
Porcelain and stoneware are fired at the highest temperatures between 1200–1400°C or 2192–2552°F. Porcelain clay mixtures are fired to create a non-porous and very hard surface. [ 3 ] : p.98 However, the materials also create a very brittle surface which increases the potential for chips, cracks and breaks.
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.
Vitreous china is an enamel coating that is applied to ceramics, particularly porcelain, after they have been fired, though the name can also refer to the finished piece as a whole. The coating makes the porcelain tougher, denser, and shinier, and it is a common choice for items such as toilets and sink basins. [1] [2] [3]
The collector market of blue and white underglaze porcelain is notable due to Orientalism's popularity in Europe. Counterfeiting operations have developed both in foreign areas and within China [22] to profit from the collectability of Ming and Qing dynasty blue and white porcelain. From the baroque period onward, there was a slight decline in ...
Frit. A frit is a ceramic composition that has been fused, quenched, and granulated.Frits form an important part of the batches used in compounding enamels and ceramic glazes; the purpose of this pre-fusion is to render any soluble and/or toxic components insoluble by causing them to combine with silica and other added oxides. [1]
Initially blue from cobalt was almost the only pigment that could withstand the high temperature of a porcelain firing without discolouring, but gradually (mostly during the Ming period) others were found, or the extra cost of a second firing at a lower temperature to fix overglaze enamels was accepted. Copper-reds could produce highly ...
Blue and white ware did not accord with Chinese taste at that time, the early Ming work Gegu Yaolun (格古要論) in fact described blue as well as multi-coloured wares as "exceedingly vulgar". [16] Blue and white porcelain however came back to prominence in the 15th century with the Xuande Emperor, and again developed from that time on. [14]
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