Good Mold Chinese photos

A handful of nice mold chinese images I located:

NYC – Metropolitan Museum of Art: Guardian Figure
mold chinese
Image by wallyg
Pair of Guardian Figures
Tang dynasty, ca. late 7th-first half of the 8th century
Earthenware with remains of the pigments

The foreign facial attributes of this pair (see the other) of brilliantly sculpted guardian figures evidence of the strong Western presence in Tang-dynasty China. Originating in the Lokapala deity of the Buddhist religion, which came to China from the West, this sort of armored tomb guardian had an apotropaic function in Chinese burials.

Anoymous loan (L.2000.3.four, .five)

**
The Metropolitan Museum of Art‘s permanent collection includes far more than two million operates of art from about the world. It opened its doors on February 20, 1872, housed in a constructing positioned at 681 Fifth Avenue in New York City. Below their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mainly European paintings, quickly outgrew the accessible space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. Nevertheless, these new accommodations had been short-term following negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it constructed its permanent residence, a red-brick Gothic Revival stone &quotmausoleum&quot made by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures practically a quarter mile long and occupies more than two million square feet, much more than 20 occasions the size of the original 1880 constructing.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favourite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

NYC – Metropolitan Museum of Art: Astor Court – Cold Spring Pavilion
mold chinese
Image by wallyg
Historically, the finest scholars’ gardens of China have been in Suzhou (soochow), a serene city inland from Shanghai. The design of the Astor Court is based on a courtyard in the Garden of the Master of the Fishing Nets (Wangshi Yuan) in Suzhou. Like its model, this court has 3 common garden structures: a covered walkway, a small reception hall, and a half-pavilion along the west wall. Cold Spring Pavilion, identified by a tile plaque set in the wall, requires its name from the nearby pool. The exuberant upsweep of the roof corners is characteristic of Chinese architecture in the south.

Gray terracotta was a popular developing material in Chinese gardens. In this court, the bricks are arranged in alternating sets of four the huge suqare floor tiles the doorframes, the low balustrades, and the trim along the tops of the walls are all low-fired unglazed ceramic specially created for the Astor Court at an eighteenth-century imperial kiln close to Suzhou. The granite slabs and the wood components had been also crafted in China ccording to classic tactics. The elements were installed by a team of twenty-seven Chinese engineers and craftsmen who worked at the Museum from January by way of May 1980.

The Ming’s Scholar’s retreat, a garden court and reception hall, was the notion of Brooke Russell Astor and became a reality simply because of her steadfast and generous support.

**
The Metropolitan Museum of Art‘s permanent collection contains more than two million operates of art from about the globe. It opened its doors on February 20, 1872, housed in a creating located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 largely European paintings, quickly outgrew the accessible space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. Even so, these new accommodations were short-term soon after negotiations with the city of New York, the Met acquired land on the east side of Central Park, exactly where it constructed its permanent home, a red-brick Gothic Revival stone &quotmausoleum&quot created by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures virtually a quarter mile extended and occupies more than two million square feet, far more than 20 times the size of the original 1880 constructing.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

NYC – Metropolitan Museum of Art – Elegant Gathering in the Apricot Garden
mold chinese
Image by wallyg
Elegant Gathering in the Apricot Garden
Ming dynasty, ca. 1437
Following Xie Huan (Chinese, ca. 1370ca. 1450)
China
Handscroll ink and colour on silk

This painting documents a historical gathering of nine scholar-officials enjoying cultural pursuits whilst savoring spring weather in the Apricot Garden in Beijing on April 6, 1437. The host, Yang Rong, seated in front of an ornamental rock, has thoughtfully offered scholarly amusements, such as antiques, paintings, brushes and ink, and games, for his illustrious guests.

These portraits of prestigious court officials depict them safe in their positions and in total harmony with their surroundings. The meticulous attention to every single individual’s facial characteristics as effectively as the varied, descriptive brushwork in the rocks and trees in the surrounding garden are common of early Ming court taste.

Mounted following the painting are poems composed by all of the participants to commemorate this gathering, starting with a preface inscribed in a dignified clerical script by Yang Shiqi (13651444), the oldest member in attendance and, as chief advisor to the emperor, the highest-ranking government official of his day. An inscription by Weng Tonghe (18301904) on the brocade mounting preceding the painting identifies all the participants. Based on a composition by the noted court painter Xie Huan, the painting is most probably a contemporary copy produced for one particular of the other participants at the gathering.

Buy, The Dillon Fund Gift, 1989 (1989.141.3)

**
The Metropolitan Museum of Art‘s permanent collection contains more than two million functions of art from around the planet. It opened its doors on February 20, 1872, housed in a constructing positioned at 681 Fifth Avenue in New York City. Beneath their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the obtainable space. In 1873, occasioned by the Met’s acquire of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. Nevertheless, these new accommodations were short-term following negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it constructed its permanent house, a red-brick Gothic Revival stone &quotmausoleum&quot developed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures virtually a quarter mile long and occupies much more than two million square feet, a lot more than 20 instances the size of the original 1880 developing.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favourite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

Cool Mold China photos

Cool Mold China photos

A few nice mold china photos I found:

Image from web page 60 of “Staffordshire pottery and its history” (1913)
mold china
Image by Web Archive Book Images
Identifier: staffordshirepot00wedg
Title: Staffordshire pottery and its history
Year: 1913 (1910s)
Authors: Wedgwood, Josiah C. (Josiah Clement), 1872-1943
Subjects: Staffordshire pottery Potters Wedgwood ware
Publisher: London : S. Low, Marston &amp co. ltd.
Contributing Library: Robarts – University of Toronto
Digitizing Sponsor: University of Toronto

View Book Web page: Book Viewer
About This Book: Catalog Entry
View All Pictures: All Pictures From Book

Click here to view book on the internet to see this illustration in context in a browseable on the web version of this book.

Text Appearing Before Image:
the lathe soon after throw-ing, and therefore made thin and light. The claybody is homogeneous and smooth, showinggreater care in the preparation of the body.The ornamentation is delicate and artistic,and has been produced by sealing a soft piece ofthe clay on to the ware with a metal sealpressed more than the soft clay. There is no glaze,but a high fire has developed a ware so difficult as tobe practically forged solid. These items show thehand of the ex-silversmith in size and shape andfinish. The Burslem imitators—Garner and theWedgwoods—never made factors like these. Elers,though he might have stolen Dwights secrets, wentahead and showed the possibilities of potting. Heis stated also to have developed black ware of asimilar character by mixing oxide of man-ganese—the magnus of Dr Plot—with theclay body, and, though no identified pieces ofblack Elers ware can now be undoubtedly identified, 36 Q^/N^p i. Red china teapot, most likely by Elers. c. 1700.two. Sample of later date, with moulded spout. Stoke-on-Trent Museums.

Text Appearing Right after Image:
Samples of strong agate ware created by Wedgwood or Whieldon. c. 1760. From the Stoke-on-Trent Museums (see p. 74). To face p. 36 ELERS AND ART it is this black ware that his copyists chieflydeveloped.* For Nemesis overtook John Philip Elers, andin spite of all his secrecy, perhaps due to the fact of it,he was copied. Two potters, Twyford and Ast-bury,f a single of whom at least had currently produced potsafter neighborhood strategies in Shelton, set themselves in-dependently to obtain the arts of the Dutchman.To lull the suspicions of Elers, Twyford shammedstupidity, and Astbury, who was younger, passedhimself off as an idiot. Recommended by thesestrange qualifications, they asked and obtainedemployment and, in time, the information theydesired. They went back to Shelton with theiracquired arts, and, in a few years, the most in-telligent potters of North Staffordshire knew howto make civilized pottery. But by 1710 JohnPhilip Elers was tired of his exile and of the * Burton, English Earthenware, p. 74. t A list of tho

Note About Images
Please note that these photos are extracted from scanned page pictures that might have been digitally enhanced for readability – coloration and appearance of these illustrations might not perfectly resemble the original perform.

Mold
mold china
Image by Joshua Drew Vaughn
Not precisely positive what this is.

Good Mold Maker In China photos

Good Mold Maker In China photos

A handful of nice mold maker in china photos I located:

Benn & Adelaide Pitman Bedstead
mold maker in china
Image by elycefeliz
www.discoveringthestory.com/goldenage/bed/background.asp

This mahogany bedstead was created by Benn Pitman on the occasion of his marriage to his second wife, Adelaide Nourse. Adelaide carved the decorative motifs on the bed, which was made for the Pitman house on Columbia Parkway. The interior of the home was decorated with carved floral and geometrical motifs based on native plant life. Every thing in the property was carved by hand, from the baseboards to ceiling moldings and all its furnishings.

The bedstead is Contemporary Gothic in style and is composed of a headboard, footboard, and two side rails. The headboard is divided into 3 sections: two lancet panels with egg molding and a central trilobate arch. The central panel is carved with a flock of swallows flying in the evening sky. The birds are depicted in different stages of relief, some practically 4 and a half inches from the headboard. Others are shown in low relief to suggest a sense of depth. Just below and to the correct of the birds is a crescent moon in low relief. Hydrangea blossoms in high relief are carved into the lower section of this panel. In the reduced left is a carved inscription that reads, &quotGood evening, good rest.&quot Extending above this is an arched hood that is carved with 4 panels of overlapping daises. The 4 finials of the headboard are carved in the shape of wild parsnip leaves.

In the two lancet panels on either side are painted photos of human heads on gold discs representing evening and morning. These panels have been painted by Elizabeth Nourse (1859-1938), Adelaide’s twin sister, who was an internationally acclaimed painter. To the left is Morning, surrounded by painted white azaleas. To the appropriate is Night, surrounded by balloon vines. The corners of these side panels are carved with stylized leaves and berries.

This bed, which occupied the Pitman’s bedroom, was meant to symbolize and celebrate sleep. Quickly soon after its completion, it received significantly acclaim and was exhibited in 1883 by the Pitmans at the Fifteenth Annual Exhibition of the Work of the School of Style of the University of Cincinnati and also at the Cincinnati Industrial Exhibition. In 1909 the bedstead and the rest of the bedroom were described in the Cincinnati Industrial Gazette: &quotIt is such a space in which a sufferer of insomnia would totter drowsily upon entering. The entire combination is created to symbolize &quotnight&quot and so faithfully is repose portrayed that sleep practically overcomes one particular inside the door. The bed is a masterstroke of human genius…and the whole combination appears covered with such a constant nocturnal veil as to make the words &quotgood night&quot at the bottom very unnecessary.&quot

72.249.182.183/collection/search.do?id=15453&ampdb=objec…

Artist/Maker Benn Pitman (American, b.1822, d.1910)
Elizabeth Nourse (American, b.1859, d.1938)
Adelaide Nourse Pitman (American, b.1859, d.1893)
Date 1882-1883
Medium American black walnut and painted panels
Credit Line Gift of Mary Jane Hamilton in memory of her mother Mary Luella Hamilton, produced feasible through Rita S. Hudepohl, Guardian

Benn Pitman, an expatriated Englishman, arrived in Cincinnati from Philadelphia in 1853. Although educated to be an architect, he traveled to America to promote the phonetic shorthand technique developed by his brother Sir Isaac Pitman. Sometime among his arrival and 1872, he created an extraordinary interest and talent in woodcarving. Pitman embraced the Aesthetic Movement and turned to nature for inspiration.

In 1872, carved furnishings, doors and baseboards created by the Pitman loved ones, which includes his wife, Jane, and daughter Agnes, were exhibited at the Third Cincinnati Industrial Exposition.

He taught woodcarving at the College of Design of the University of Cincinnati (later the Art Academy) from 1873 to 1892. He also invented an electrochemical approach for relief engraving (1855), was court recorder for the Lincoln assassination trial (1865) and wrote a biography of his brother (1902).

Adelaide Nourse Pitman, the twin sister of Elizabeth Nourse and youngest of ten youngsters, was born on October 26, 1859, in the Cincinnati suburb of Mt. Wholesome. Her parents had moved to Cincinnati from Massachusetts in the early 1830s. Her father, a banker, suffered critical economic losses following the Civil War. As a result of this loss, the girls were needed to assistance themselves. The twins enrolled in the University of Cincinnati College of Style, which charged only minimal tuition. Whilst at the University, Adelaide joined Marie Egger’s china painting class and began a number of years’ study of wood carving beneath Benn Pitman. She worked on the carving of the Cincinnati Music Hall organ screen, carved a quantity of architectural elements for the interior of the Ursuline chapel in St. Martin, and received a silver medal at the 1880 Cincinnati Industrial Exposition.

On August 10, 1882, Adelaide married Pitman in Sandusky, Ohio. She was twenty-two and he was sixty. Following their marriage, she continued to operate, beneath his supervision, in copper, silver, and brass, as nicely as on decorative wood carvings for the Pitman property on Columbia Parkway.

In 1883 she gave birth to her 1st youngster, who died in infancy. The couple’s second youngster, born July 5, 1884, was named Emerson. The third and final child born to the couple was their daughter, Melrose, born on November five, 1889.

Tragically, Adelaide Pitman died on September 12, 1893 of tuberculosis. She was only thirty-3 years old.

Elizabeth Nourse was a painter, sculptor, wood-carver, etcher, illustrator and decorative artist who accomplished her greatest success following 1887 as an expatriate in Paris. Born a twin in Mount Healthier, she enrolled in 1874 at the Cincinnati University College of Design and style, graduating in 1881. She had planned to continue her research in New York, but with the death of her father and the marriage of her sister, Adelaide, to furniture-maker Benn Pitman her plans changed.

Nourse studied for a couple of months at the National Academy of Style and from 1883-86 worked as a portrait painter spending component of every single summer time sketching and painting in the mountains of eastern Tennessee. It was the nearby individuals who would turn into her subjects. In 1887 she exhibited 4 watercolors at the Cincinnati Industrial Exposition and quickly soon after she and her older sister, Louise, left for what was to be a go to to France. They spent the rest of their lives abroad.

www.cincinnatiartmuseum.org/