Tin-glazingTin-glazing is the process of giving tin-glazed pottery items a ceramic glaze that is white, glossy and opaque, which is normally applied to red or buff earthenware. Tin-glaze is plain lead glaze with a small amount of tin oxide added. The opacity and whiteness of tin glaze encourage its frequent decoration. Historically this has mostly been done before the single firing, when the colours blend into the glaze, but since the 17th century also using overglaze enamels, with a light second firing, allowing a wider range of colours.
Mosaïque byzantinethumb|right|Christ trônant au milieu des disciples, mosaïque paléochrétienne, abside de l’basilique Santa Pudenziana (Rome), vers 420. La mosaïque byzantine est un art sacré qui utilise la mosaïque dans des lieux de culte, dont l’apogée se situe entre les dans l'Empire byzantin, et qui plonge ses racines dans une longue tradition venue de la Grèce antique et de Rome.
Islamic miniatureIslamic miniatures are small paintings on paper, usually book or manuscript illustrations but also sometimes separate artworks. The earliest examples date from around 1000 AD, with a flourishing of the artform from around 1200 AD. The field is divided by scholars into four types, Arabic, Mughal (Indian), Ottoman (Turkish), and Persian.
Blue and white pottery"Blue and white pottery" () covers a wide range of white pottery and porcelain decorated under the glaze with a blue pigment, generally cobalt oxide. The decoration is commonly applied by hand, originally by brush painting, but nowadays by stencilling or by transfer-printing, though other methods of application have also been used. The cobalt pigment is one of the very few that can withstand the highest firing temperatures that are required, in particular for porcelain, which partly accounts for its long-lasting popularity.
MuraqqaA Muraqqa (Murakka, مورّقة, مُرَقّع) is an album in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perhaps other matter. The album was popular among collectors in the Islamic world, and by the later 16th century became the predominant format for miniature painting in the Persian Safavid, Mughal and Ottoman empires, greatly affecting the direction taken by the painting traditions of the Persian miniature, Ottoman miniature and Mughal miniature.
