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Which clippings match 'Glaze' keyword pg.1 of 1
04 OCTOBER 2015

Lubna Chowdhary transforms spaces using colour

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TAGS

aesthetic qualitiesBritish artist • ceramic elements • ceramic tile • ceramic works • ceramicist • ceramicscolourcolourwayscraftcraftsmanshipdecorative artsdesign consultancyfemale artistgeometric abstractiongeometryglaze • glaze firing • hand-blended colours • hand-painted • handcrafted ceramic works • handcrafted works • handcrafting • individually crafted works • interior decorationinterior design • Lubna Chowdhary • material practicesmodularity • ready-made elements • traditional craftsmanship • truth to materialsvisual abstraction • visual geometry • visual pattern

CONTRIBUTOR

Simon Perkins
12 MARCH 2013

Examples of Chinese ornament selected from objects in the South Kensington museum and other collections

"We have long been familiar with the power of the Chinese to balance colours, but we were not so well acquainted with their power of treating purely ornamental or conventional forms ; and in the chapter in the Grammar of Ornament on Chinese Ornament I was led, from my then knowledge, to express the opinion that the Chinese had not the power of dealing with conventional ornamental form : but it now appears that there has been a period in which a School of Art existed in China of a very important kind. We are led to think that this art must in some way have had a foreign origin; it so nearly resembles in all its principles the art of the Mohammedan races, that we may presume it was derived from them. It would be no difficult task to take a work of ornament of this class, and, by simply varying the colouring and correcting the drawing, convert it into an Indian or Persian composition. There is of course, in all these works, something essentially Chinese in the mode of rendering the idea, but the original idea is evidently Mohammedan. The Moors of the present day decorate their pottery under the same instinct, and follow the same laws as the Chinese obeyed in their beautiful enamelled vases. The Moorish artist takes a rudely–fashioned pot or other object, and by a marvellous instinct divides the surface of the object, 'by spots of colour, into triangles of proportionate area, according to the form and size of the object; these triangles are then crossed by others."

(Owen Jones, 1867)

Owen Jones (1867). "Examples of Chinese Ornament Selected from Objects in the South Kensington Museum and Other Collections: By Owen Jones. One Hundred Plates", S. & T. Gilbert, 4 Copthall Buildings, E.C. Back of the Bank of England.

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TAGS

1867 • ceramic glaze • ceramicsChinesecolourcompositioncultural heritagecultural significance of objectsdecorationdecorative arts • enamel • enamelled vases • flowersformglazeIndianInternet ArchiveIslamicmaterial culture • Mohammedan • Moorish • Moors • motifMuslim • object surface • orientalismornamentalornamental formOwen JonesPeoples Republic of China • Persian • pigmentpotspottery • rudely fashioned • South Kensingtonsymbolic meaning • vase • visual appearancevisual designvisual grammar • visual heritage • visual motifvisual pattern

CONTRIBUTOR

Guannan (cassie) Du
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