8 research outputs found

    Ceramika dalekowschodnia z badań archeologicznych na Starym Mieście w Elblągu

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    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.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

    Cadinen painters on ceramics

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    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.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

    Conclusion: The Relevance of Normative Power in a Changing Europe

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    The concluding chapter provides an answer to the central question of the book, whether the European Union’s democracy promotion in South Eastern Europe, Eastern Europe, and Central Asia can be understood through the prism of Normative Power Europe and, subsequently, what insights the answer to this question offers for reconceptualizing NPE itself. The chapter does so in two steps. In the first step, it summarizes the empirical conclusions established throughout the book regarding the process and effects of the EU’s democratization policy in the studied regions. In the second step, it draws from these conclusions to rethink Normative Power Europe from both a conceptual (what it is) and operational (how it should be studied) point of view
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