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Like other mosaics, Byzantine mosaics are made of small pieces of glass, stone, ceramic, or other material, which are called tesserae. [18] During the Byzantine period, craftsmen expanded the materials that could be turned into tesserae, beginning to include gold leaf and precious stones, and perfected their construction.
The height ranges from 30 cm to 1 m, and the diameter from 30 cm to 50 cm. The hole at the top has a diameter of circa 2 cm. Similar to a bell, the jar of a good suikinkutsu will ring when struck. A jar producing a good sound will create a good sounding suikinkutsu. Similarly, a cracked jar, like a cracked bell, will not produce a good sound.
The materials commonly used are marble or other stone, glass, pottery, mirror or foil-backed glass, or shells. The word mosaic is from the Italian mosaico deriving from the Latin mosaicus and ultimately from the Greek mouseios meaning belonging to the Muses, hence artistic. Each piece of material is a tessera (plural: tesserae).
When fired, the glass frit melts and binds the other components together. In the 13th century the town of Kashan in Iran was an important centre for the production of fritware. [30] Abū'l-Qāsim, who came from a family of tilemakers in the city, wrote a treatise on precious stones in 1301 that included a chapter on the manufacture of fritware ...
Ancient Roman decorative mosaic panels and floor mosaics were also produced during the 2nd century BC, particularly at sites such as Pompeii. Marble or limestone were cut into small cubes and arranged into representational designs and geometric patterns. Later, tesserae were made from colored glass, or clear glass backed with metal foils.
During the 1970s, small rock tumblers were a common hobby item, and jewellery decorated with tumbled semi-precious stones was very much in fashion. Likewise, dishes and decorative glass jars filled with tumbled stones (often including common rocks not suitable even for costume jewelry) were frequently used as household ornaments.
In the Shungan times, a single mould was used to make the entire figure and depending upon the baking time, the colour differed from red to light orange. The Satavahanas used two different moulds- one for the front and the other for the back and kept a piece of clay in each mould and joined them together, making some artefacts hollow from within.
Altar frontal of Italian opera di commessi, Dubrovnik Cathedral Detail of design with roses over crossed canes, 1882. 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 ...
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