Word Finder - decoration

definition

The act of adorning, embellishing, or honoring; ornamentation.

definition

That which adorns, enriches, or beautifies; something added by way of embellishment; ornament.

definition

Specifically, any mark of honor to be worn upon the person, as a medal, cross, or ribbon of an order of knighthood, bestowed for services in war, great achievements in literature, art, etc.

definition

The use of exotic sugars as decoys to distract the immune system of a host

The new decoration of the Premises contributed much to the magnificence of the spectacle.

It is therefore probable that most if not all of the sculptural decoration of the Parthenon was the work of pupils of Pheidias, such as Alcamenes and Agoracritus, rather than his own.

By this earl it was in great part rebuilt and fitted up in regard to decoration much as it now exists.

No traces of the decoration of the pediments and metopes have been preserved.

If you can survive the over decoration, the food is not to be missed.

In the Paris Exhibition of 1900 surface decoration was the prominent feature of all the exhibits of table-glass.

For the women it is simply a decoration.

A sculptured portico has come to light in the smallest of the five mounds, and much pottery, with incised and painted decoration, has been recovered.

All kinds of vessels were blown, both with and without moulds, and both moulding and cutting were used as methods of decoration.

The Roman glass-blowers were masters of all the ordinary methods of manipulation and decoration.

The vessels produced by the 16th-century glass-workers in Germany, Holland and the Low Countries are closely allied in form and decoration.

In the following year the first artists of Italy were engaged in its decoration, and the celebrated frescoes attributed to Orcagna were painted on its walls.

The Comtist system is utilitarianism crowned by a fantastic decoration.

The gorgeous decoration of the mausoleum of Iyeyasu at NikkO, and of the gateway of the Nishi Hongwan temple at KiOto, are the most striking instances of his handiwork or direction.

Namako for (fish-roe) grounds were essential for the mountings Scuiptiwed - Decoration.

The same fundamental rule applied, too, whether the field of the decoration was silk, paper or metal.

The difference between this process and ordinary inlaying is that for sumi-zogan the design to be inlaid is fully chiselled out of an independent block of metal with sides sloping so as to be broader at the base than at the top. The object which is to receive the decoration is then channelled in dimensions corresponding to those of the design block, and the latter having been fixed in the channels, the surface is ground and polished until an intimate union is obtained between the inlaid design and the metal forming its field.

Shibuichi inlaid with shakudo used to be the commonest combination of metals in this class of decoration, and the objects usually depicted were bamboos, crows, wild-fowl under the moon, peony sprays and so forth.

Even in the field of architectural decoration for interiors, tradition tells us scarcely anything about the masters who carved such magnificent works as those seen in the KiOto temples, the Tokugawa mausolea, and some of the old castles.

In 1520 a potter named Gorodayu Goshonzui (known to posterity as Shonzui) made his way to Fuchow and thence to King-te-chen, where, after five years study, he acquired the art of manufacturing porcelain, as distinguished from pottery, together with the art of applying decoration in blue under the glaze.

In decoration, the acanthus was first reproduced in metal, and subsequently carved in stone by the Greeks.

The decoration was confined to blue under the glaze, and as an object of art the ware possessed no special merit.

Not until the year 1620 do we find any evidence of the style for which Arita porcelain afterwards became famous, namely, decoration with vitrifiable enamels.

Specimens of the latter are still preserved in European collections, where they are classed as genuine examples of Japanese ceramic art, though beyond question their style of decoration was greatly influenced by Dutch interference.

There is evidence to show that the art of decoration with enamels over the glaze reached Kieto from Hizen in Awata.

Setting aside, however, the strong improbability that a style of decoration so widely practised and so highly esteemed could have remained unknown during a century and a half to experts working for one of the most puissant chieftains in Japan, we have the evidence of trustworthy traditions and written records that enamelled faience was made by the potters at Tatsumonjithe principal factory of Satsuma-ware in early daysas far back as the year 1676.

Not until the close of the 18th century or the beginning of the 19th did the more profuse fashion of enamelled decoration come to be largely employed.

About the time (1843) of the ao-Kutani revival, a potter called lida Hachiroemon introduced a style of decoration which subsequently came to be regarded as typical of all Kaga procelains.

The richness, profusion and microscopic accuracy of their decoration could scarcely have been surpassed; but, with very rare exceptions, their lack of delicacy of technique disqualifies them to rank as fine porcelains.

For many years after Tamikichis processes had begun to be practised, the only decoration employed was blue under the glaze.

Decoration with vitrifiable enamels over the glaze, though it began to be practised at Owari about the year 1840, never became a speciality of tile place.

But they receive their decoration, almost without exception, in Tokyo or Yokohama, where a large number of artists, called e-isuke-shi, devote themselves eiitirely to porcelain-painting.

The type generally known to them is exceedingly light ware, for the most part made of light grey, unglazed clay, and having hand-modelled decoration in relief.

The chief of the former is faience, having light grey, close Izumc pate and yellow or straw-colored glaze, with or without erwle to which is applied decoration in gold and green enamel.

Its diaphanous, pearl-grey glaze, uniform, lustrous and finely crackled, overlying encaustic decoration in white slip, the fineness of its warm reddish pate, and the general excellence of its technique, have always commanded admiration.

There remains, too, a wide domain in which the Chinese developed high skill, whereas the Japanese can scarcely be said to have entered it at all; namely, the domain of monochromes and polychromes, striking every note of color from the richest to the most delicate; the domain of truit and fiamb glazes, of yO-pien-yao (transmutation ware), and of egg-shell with incised or translucid decoration.

The faience of the Kioto artists never reached quite to the level of the Satsuma in quality of pdte and glowing mellowness of decoration; their materials were slightly inferior.

No new skill was developed, and what remained of the old was expended chiefly upon the manufacture of meretricious objects, disfigured by excess of decoration and not relieved by any excellence of technique.

Ninsei, in the middle of the 17th century, inaugurated a long era of beautiful productions with his cream-like fish-roe eraquel glazes, carrying jrich decoration of clear and brilliant vitrifiable enamels.

Every year large quantities of porcelain and faience are sent from the provinces to the capital to receive surface decoration, and in wealth of design as well as carefulness of execution the results are praiseworthy.

Sometimes he fixes the decoration himself, employing for that purpose a small kiln which stands in his back garden; sometimes he entrusts this part of the work to a factory.

In other respects the Hirado factories do not produce wares nearly so beautiful as those manufactured there between 1759 and 1840, when the Hirado-yakz stood at the head of all Japanese porcelain on account of its pure, close-grained pate, its lustrous milk-white glaze, and the soft clear blue of its carefully executed decoration.

The finest specimens of this porcelain had incised decoration, sparingly employed but adding much to the beauty of the piece.

In purity of tone and velvetlike gloss of surface there is distinct inferiority on the side of the Japanese ware, but in thinness of pale it supports comparison, and in profusion and beauty of incised decoration it excels its Chinese original.

All this work was in the style known as hira-makie (flat decoration); that is to say, having the decorative design in the same plane as the ground.

In the days of the great dilettante Yoshimasa (1449-1490), lacquer experts devised a new style, laka-makie, or decoration in relief, which immensely augmented the beauty of the ware, and constituted a feature altogether special to Japan.

Thus when, at the close of the 16th century, the Taiko inaugurated the fashion of lavishing all the resources of applied art on the interior decoration of castles and temples, the services of the lacquerer were employed to an extent hitherto unknown, and there resulted some magnificent work on friezes, coffered ceilings, door panels, altar-pieces and cenotaphs.

This new departure reached its climax in the Tokugawa mausolea of Yedo and NikkO, which are enriched by the possession of the most splendid applications of lacquer decoration the world has ever seen, nor is it likely that anything of comparable beauty and grandeur will be again produced in the same line.

Kawanabe ItchO is celebrated for his representations of flowers and foliage, and Morishita Morihachi and Asano Saburo (of Kaga) are admirable in all styles, but especially, perhaps, in the charming variety called togi-dashi (ground down), which is pre-eminent for its satin-like texture and for the atmosphere of dreamy softness that pervades the decoration.

Cabinets, fire-screens, plaques and boxes resplendent with gold lacquer grounds carrying elaborate and profuse decoration of ivory and mother-of-pearl are not objects that appeal to Japanese taste.