In modern Persia most glazed ceramics, except for better-quality tiles, are coated with an additional clear overglaze Plate XIV. Porcelain insulators for utility poles have been made locally for years, but they are mold-cast, and the consistency of the raw material does not lend itself to free working or throwing on the wheel. Although little pottery has been exported since the Revolution, most production seems to be continuing. Some white-ground polychrome wares from Yazd and Meybod have also been exported.
The quality of the ceramics exported to France, however, was so poor that orders have been discontinued.
By the early Qajar period glass produced in Persia was imitative of European styles see glass , crystal. Jay Gluck also ordered a reproduction made from a photograph of a tall glass pitcher preserved since at least c. No raw materials were used, however, but only recycled bottles and panes, which yield a more brittle glass; the technique was also far inferior to that of revival kilns in Majorca and Venice, and no export market developed. In the 20th century Shiraz has been a major center for silver work, including combinations of embossed and engraved designs often incorporating motifs from nearby Persepolis Gluck and Gluck, p.
Many of the artisans in these two cities were Jewish, and Jewish themes were included in the decoration of a number of objects made between the s and the Revolution, primarily for the tourist market Loeb, a; idem, b, p. Carved stone has not played a significant role in the 20th-century architecture of Persia.
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On the other hand, the treatment of a particular stone, sang-e sabz lit. In practice this procedure is left to the buyer and takes place gradually. After turning them the craftsman oils the surface so that the engraved designs stand out in the natural light gray of the stone.
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These objects are fragile and have thus earned an unfair reputation for shoddiness. Lathe-turned stone vessels are also made at Qom Gluck and Gluck, p. In many parts of Persia wood is so valuable that door jambs, lintels, and roof beams are removed and carried away when populations are relocated, as after an earthquake or a flood. Wood from fruit and nut trees peach, pear, walnut, almond , as well as beech, poplar, and willow, is used for furnishings cabinets, chests, trunks, doors, cradles and small decorative or functional objects like combs, spoons, and spindles.
Jewelrymaking through History
Strips of bone and rare woods are glued together in bundles; then each bundle is sliced horizontally to produce a variety of thin star and other shapes, which are glued in mosaic patterns onto furniture and small objects like boxes. A final polishing and varnish provide a shiny, protective outer surface. In recent years brass strips have been added to these designs. Tribal Carpets and Traditions , Washington, D. English, City and Village in Iran. Parthians and Sassanians , tr.
Smith, Hosts and Guests. The Anthropology of Tourism , Philadelphia, a, pp.
Metalworking Through History Encyclopedia Handicrafts – talkingtransition
Dryland Ecology in Social Perspective , London, Photograph courtesy of Judith Lerner. Submitted tags will be reviewed by site administrator before it is posted online. If you enter several tags, separate with commas. Topic select a topic Black-Michaud, Sheep and Land , Cambridge, The Zucker Collection , London, Enderlein, Orientalische Kelims , Berlin, Wertime, Lori and Bakhtiyari Flatweaves , Tehran, Neumann, Persiche Seiden , Leipzig, Tanavoli, Locks from Iran.
Pre-Islamic to 20th Century , Washington, D. Iranian Rugs and Textiles , New York, December 15, Last Updated: December 15, This article is available in print. The alphabetical entries each offer a general history of the jewelry piece or type; a Did you know?
Features include a list of entries, abbreviations, and a time line. The entries represent 63 categories, and provide information on precious metals, gemstones, body adornment, jewelry-making materials, and miscellaneous topics. This book will be valuable for library collections and for personal enjoyment, for an audience ranging from researchers to general readers. It is well organized, easy to use and interesting reading if you wish to sit down and read it through, but it is also a handy reference tool for times when you need to know that one special thing.
I know that I will use it over and over again for just that. This book is a treasure of useful and unconsidered information. Easy to use and attractively arranged, Jewelrymaking through History would make a popular resource for school libraries or amateur jewellery designers.
It makes for fascinating reading. Try our Search Tips. Topics Libraries Unlimited Librarianship: Available for Course Adoption.