Some cool mold chinese pictures:
Image from page 58 of “Metals and metal-working in old Japan” (1915)
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Title: Metals and metal-operating in old Japan
Year: 1915 (1910s)
Authors: Gowland, William, 1842-1922 Japan Society of London
Subjects: Art metal-function Metallurgy Metal-function
Publisher: [London? : s.n.]
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries
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Text Appearing Prior to Image:
Chinese Smiths Forging an Anchor. It represents the forgings of a ships anchor in the sixteenthcentury, taken from an old Chinese metallurgical treatisepublished in 1636 a.d. The heavy mass was suspended by chains, which have been heldby eight men stationed in a gallery, who moved it about onthe anvil as essential by the smiths. Cast-iron.Cast-iron does not appear to have been recognized to theJapanese in prehistoric times it is, nonetheless, recorded that inthe year 700 a.d. a regulation was created restricting to theGovernment the coinage of cast-iron coins, a date muchearlier than its use in Europe.
Text Appearing Following Image:
Q V . O 1^ SOo i 53 ) The last problem of these iron coins was produced some years ago and even though they are not in circulation as legal currency,they are still extensively utilized for contributions to offertoriesand collections at religious services. I could add that twothousand can be purchased for sixpence, so that donations maybe made by the most parsimonious. Two common lanterns (toro) at Nikko are the only largeart objects of cast-iron identified to me. They had been presented tothe shrine in 1641 by Date Masamune, lord of Sendai. The metal has been chiefly employed by the art craftsmanin little castings, such as kettles and other vessels for heatingwater or w^ine, and many of these are masterpieces of modellingand decoration. They are cast by the approach of cera pevdiita, aprocess which will be described when.daaling with the casting ofbronze. When these castings are taken from the moulds inwhich they have been cast, though they may be ideal so faras the ornamental styles, which had been modell
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Classic Chinese Bench
Classic Ming-style Chinese bench with straightforward and elegant design. Notice the natural flow of the geometric patterns of straight lines, squares and rectangles. The seating location has a floating panel, with an indented molding. The legs end in a horse hoof style. The light brown finish permits the wood grain to show beautifully. In addition to supplying bench seating, it would also operate as a tiny coffee table and at the end of a bed.
NYC – Metropolitan Museum of Art – Iris and B. Gerald Cantor Roof Garden – Frank Stella on the Roof – Adjoeman
Image by wallyg
From May 1, 2007 to October 28, 2007, the exhibit, Frank Stella on the Roof was on show in the the Iris and B. Gerald Cantor Roof Garden–an installation of current functions in stainless steel and carbon fiber by the prolific American artist Frank Stella. Because his initial showings in New York in the late 1950s, Stella has occupied a prominent location among leading artists and has continued to expand the boundaries of what abstract painting and sculpture can be. Stella’s fame was cemented by early retrospectives at the Museum of Contemporary Art. This exhibition, in tandem with Frank Stella: Painting into Architecture, marks the artist’s first solo presentation at the Metropolitan.
Chinese Pavilion (2007, nevertheless in progress right here, model here), a carbon epoxy composite, is the centerpiece of the exhibit and has never ever just before been exhibited. The structure of the piece explores the sort of leaf formation that has been a single of the artist’s chief architectural themes. There are other sculptures there, which includes two much more oversized pieces — "adjoeman" (pictured here, which means "showing off" or "decorative" in Balinese) and "memantra" (which indicates the "verbal form of mantra, a prayer or incantation") — both produced of some of the very same stuff utilised to construct stealth bombers, stainless steel and carbon fiber.
The Metropolitan Museum’s Iris and B. Gerald Cantor Roof Garden opened to the public in 1987. Annual installations have featured selections of contemporary sculpture from the Museum’s collection and, most lately, presentations of operates by person artists. Frank Stella on the Roof will mark the tenth annual single-artist installation on the Roof Garden.
The Metropolitan Museum of Art‘s permanent collection contains much more than two million functions of art from about the globe. It opened its doors on February 20, 1872, housed in a constructing 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 mostly European paintings, speedily outgrew the available space. In 1873, occasioned by the Met’s buy 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 temporary following negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" developed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures nearly a quarter mile extended and occupies more than two million square feet, far more than 20 occasions the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favored 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