Wyniki wyszukiwania - BazTech

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Panele ceramiczne Krystyny i Henryka Perlickich. O wystroju statków dalekomorskich z lat 70. i 80. XX wieku

Pospieszna B., Pospieszna B., Perlicki H.

Szkło i Ceramika

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2017

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R. 68, nr 4

36--38

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Ceramika dalekowschodnia z badań archeologicznych na Starym Mieście w Elblągu

Pospieszna B.

Szkło i Ceramika

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2015

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R. 66, nr 1

20--24

PL

W trakcie wieloletnich badań archeologicznych na Starym Mieście w Elblągu znaleziono kilkadziesiąt artefaktów porcelany chińskiej (china porcelain): czarki do herbaty i alkoholu, czajniczek o żłobkowanej powierzchni (molded „pumpkin-shaped” teapot), spodki na konfitury, talerzyki deserowe, miski na ryż. Były to naczynia o malarskiej dekoracji niebiesko-białej, zwane kraak porcelain z okresu Wanli oraz naczynia z dekoracją kwiatową (blue and white flora reserves) pokryte z drugiej strony brązową angobą z okresu Kangxi, były też wielobarwnie malowane emaliami w technice famille rose, china-imari and imari-rouge-de-fer z ery dynastii Qing.

EN

During many years of archaeological research in the old town of Elblag, dozens of Chinese porcelain artefacts (china porcelain) were found. They consisted of a variety of dishes, such as cups for tea and alcoholic drinks, teapots with a grooved surface (moulded “pumpkin-shaped” teapots), small dishes for jam, dessert plates, and rice bowls. The dishes were decorated with blue and white painting (under-glaze blue painting), so called Kraak- porcelain from Wanli-Period, and the dishes had floral pattern (Blue and White Flora Reserves), covered on the exterior of the bowl being decorated with Batavia brown engobe from the Kangxi-Period. There were multicolour-painted dishes (over-glazed enamels) in the pink family technique, china-imari and imari-rouge-de-fer from the Qing-Period.

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Kadyńscy malarze na ceramice

Pospieszna B., Pospieszna B., Sawicka A., Okoński L, Okoński L

Szkło i Ceramika

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2013

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R. 64, nr 4

18--21

PL

W artykule przedstawiono historię artystycznego warsztatu majoliki i terakoty, założonego w 1904 r. w Kadynach, nad Zalewem Wiślanym przez Wilhelma II. Autorka omówiła główne tendencje występujące w twórczości ceramicznej i malarskiej oraz ich ewolucję do lat 20. XX w. Przedstawiła także sylwetki najwybitniejszych malarzy na ceramice związanych z Kadynami.

EN

This article presents the history of artistic majolica and terracotta workshop, founded in 1904 in Kadyny, on the Vistula Lagoon by Wilhelm II. The author discussed the main trends in ceramic art and painting and their evolution up to the 20' Twentieth century also made silhouettes of the greatest painters on ceramics associated with Kadyny.

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Kadyny. Wilhelmińska fabryka terakoty i majoliki 1903/4-1945.

Pospieszna B.

Szkło i Ceramika

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2004

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R. 55, nr 3

36-40

EN

During the turn of the years 1903/1904 Wilhelm II established the "Royal Workshop of Majolica and Terracotta" at Cadinen, on the Vistula Bay. The factory employed such artists as Ludwig Menzel, Heinrich Splith, Gerhard Jenensch, Wilhelm Haverkamp, Berthold Karl Felderhof, Ernst Westphal, Adolph Amberg and August Vogel, Paul Heydel, and Karl Seeber. Until the out break of the First World War, the factory produced terracotta and majolica wares of these thematic cathegories: 1. statues, vessels, plaques and trinkets associated with the Imperial family 2. vessels, statues and architectural detail in historic stilistics and 3. decorative plaques, statues and vessels adorned with secession style motives. During tha late 1920's Wilhelm Dietrich, the factory director, brought into production a Cadinen style of animal motives and chocholate brown stoneware vessels of the Bottger type as well as creating a uniques decorative style. Vessels with so-called tracery ornamentation became popular. These wares were additionally characterised by a palette of colours consisting of cobalt blue and a warm and deep shade of brown, known as Cadinen red, as well as gilding which accented the decorative motives. The factory ceased to exist after 1945.