Academic literature on the topic 'Glassware History'

The article deals with the main periods, the history of the emergence of Yusupov glassworks in the Arkhangelskoye estate and its importance in the development of Russian glass art. Yusupov glass-making in Arkhangelskoye was developing under the influence of European trends in shaping and decoration in synthesis with the Russian tradition and the specifics of Russian materials, raw material bases and national perspective on the wide range of techniques and technologies. The author pays special attention to the artistic, stylistic and technological features of the manufactured products, as well as to the decor specifics of cut glass technique. Author divided the history of the Yusupov factory into two main stages. The first one lasted from 1811 to 1820. During this time the enterprise was operating as a full-scale production and the process of manufacturing crystalware or glassware was going through all stages: from the preparation of the mixture and the cooking of “crystal material” to the decorative processing of finished objects. Although in fact such a cycle was fully followed only three times in the period of 1814-1816. However, the institution was regarded as a factory from 1811 until 1820, and only after the fire, the idea of reviving the production was finally rejected. During the second stage, from 1820 to early 1827, the factory was turned into a lapidary workshop, where the craftsmen were engaged in decorative processing of the purchased unfinished glassware. The identification of stylistic features and characteristic techniques of processing the products made in the estate factory and their evolution at different periods of the production history makes it possible to attribute the tableware of N. Yusupov’s enterprise in the collections of other museums. Moreover, the results could provide the basis for the re-emergence of the lapidary workshop in the modern Arkhangelskoye Estate Museum where craftsmen could reproduce the decorative techniques typical of the Yusupov factory based on the finished unprocessed glassware.

Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofe­evich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.

From ancient times to the present day, gout has been associated in the popular and scientific literature with wealthy men who overindulge in fancy foods, fine wine, and debauchery. Curiously, amongst diseases, gout was thought to be good, a malady to be accepted because of otherwise beneficial effects on health, and longevity. This narrative review critically examines the history of these associations and explores in detail the pathogenic factors contributing to development of gout prior to the 20th century. While lead toxicity has been previously implicated with wine, the specific association of gout and fine wine can be attributed to lead complexes in products such as sapa, a grape extract used to sweeten wine, in addition to lead nanoparticles leached from crystal glassware and lead glazed dinner plates. The health benefits of gout can be attributed to lead complexes in fine wine and lead nanoparticles from glazed dinnerware. These compounds have excellent antibacterial properties, thereby inhibiting the presence of pathogenic bacteria in foodstuffs. Probing the association of gout and fine wine provides a very well documented example of how the pathogenesis of disease becomes better understood with the passage of time and continuing, persistent scientific enquiry.

ArgumentGlass vessels such as flasks and test tubes play an ambiguous role in the historiography of modern laboratory research. In spite of the strong focus on the role of materiality in the last decades, the scientific glass vessel – while being symbolically omnipresent – has remained curiously neglected in regard to its materiality. The popular image or topos of the transparent, neutral, and quasi-immaterial glass container obstructs the view of the physico-chemical functionality of this constitutive inner boundary in modern laboratory environments and its material historicity. In order to understand how glass vessels were able to provide a stable epistemic containment of spatially enclosed experimental phenomena in the new laboratory ecologies emerging in the nineteenth and early twentieth century, I will focus on the history of the material standardization of laboratory glassware. I will follow the rise of a new awareness for measurement errors due to the chemical agency of experimental glass vessels, then I will sketch the emergence of a whole techno-scientific infrastructure for the improvement of glass container quality in late nineteenth-century Germany. In the last part of my argument, I will return to the laboratory by looking at the implementation of this glass reform that created a new oikos for the inner experimental milieus of modern laboratory research.

Introduction. The article is devoted to the analysis of objects discovered during the excavation of the “Kamennaya mogila” (Stone Grave) kurgan on Medovaya mountain (southern outskirts of Zheleznovodsk). Methods and materials. The comparative typological method was used as a worker. It is based on classification by material, processing method, shape, ornamentation, as well as on the study of types of gold jewelry, glass and black-glazed dishes, bronze horse plate foreheads and cheek pads, etc. Analysis. The typological and chronological analysis was carried out on gold jewelry (plaques, rings, pendants), antique ceramic and glassware, items of horse dress and weapons. Analogies to imported items from the crypt, found in the monuments of ancient culture and in the burials of the barbarian nobility, allow them to be dated to the 4th – 2nd centuries BC. Items of equestrian dress and weapons date back to the 3rd – 2nd centuries BC. Results. The author, regarding the social structure of the local population, ranked the monument as stratum No. 2 (nobility of the first level). A complex burial structure of the tomb with a significant number of ritual offerings is recorded. Burial items have numerous analogies in the status burials of the Bosporan, Meotian and Scythian nobility of the Northern Black Sea region and the North Caucasus of the 4 th – 2nd centuries BC. The sophisticated frame structure of the horse harness made of iron parts from the crypt of the Stone Grave is unique. Only a member of the nobility with a very high status could afford such a special bridle as a ritual offering.

En el present treball s’estudien els vidres de l’antiguitat tardana, és a dir els vidre del període romà baix imperial (s. IV-V) i del període visigòtic (s. VI-VIII), del territori de la província de la Tarraconensis oriental, actualment formada pels territoris de Catalunya i Andorra. En concret s’analitzen 118 jaciments, excavats al llarg del darrer segle, a partir de la lectura de les memòries d’excavació i de les publicacions específiques i, sobretot, a partir de l’estudi en directe dels materials arqueològics conservats -essencialment les ceràmiques-, tot i que també es tenen en compte les datacions estratigràfiques, numismàtiques i de 14C. Així, partir de datacions de cada jaciment, es presenta una proposta d’enquadrament cronològic de cadascun dels contextos documentats en ells. Els vidres d’aquests 118 jaciments han estat inventariats i s’ha procedit a la descripció formal i mètrica -amb dibuix i fotografia- de cada fragment amb forma i/o decoració. Posteriorment s’ha calculat en número mínim d’individus (NMI) i s’ha procedit ha estudiar-los en conjunt, en el marc del seu context, estratigràfic, estructural o del jaciments en sí. A partir de l’anàlisi estratigràfic i de la periodització dels contextos s’ha procedit a elaborar una proposta de classificació tipològica, utilitzant les classificacions de referència més habituals en l’ambit de l’estudi del vidre en el món romà, com és la de Clasina Isings (Isings 1957), i del món visigòtic, com és la de Danielle Foy (Foy 1995), tot i tenir en compte altres tipologies més específiques, com la de les llànties de l’antiguitat tardana d’Egipte (Crowfoot & Harden 1936) o de les llànties del nord d’Itàlia (Uboldi 1995). Amb aquesta tipologia, elaborada en base als contextos estratigràfics estudiats, es poden seriar les diferents vaixelles i objectes de vidre de l’antiguitat tardana. Amb ells es té un altre tipus de material, que junt amb el registre ceràmic, numismàtic i les datacions de 14C permeten ponderar la cronologia de tots els jaciments arqueològics d’aquest període i, de la mateixa manera, datar gran part dels jaciments rurals de l’antiguitat tardana, on els únics fòssils directors presents són la ceràmica de cuina i el vidre. Així doncs, amb aquesta tesi es donen a conèixer i s’articulen estructuralment totes les produccions vítries de l’antiguitat tardana de Catalunya i Andorra, i amb ella és poden iniciar altres treballs -més específics i definits- com pot ser l’anàlisi arqueomètrica dels diferents tipus de vidres i així aprofundir en la difusió, el comerç i la presència de l’artesanat vidrier d’aquest període a la Tarraconensis oriental.
En el presente trabajo se estudian los vidrios de la antigüedad tardía, es decir, los vidrios del periodo romano bajo imperial (s. IV-V) y del período visigodo (s. VI-VIII), documentados en el territorio de la provincia de la Tarraconensis oriental, actualmente formada por los territorios de Cataluña y Andorra. En concreto se analizan 118 yacimientos, excavados a lo largo del último siglo, a partir de la lectura de las memorias de excavación y de las publicaciones específicas y, sobre todo, a partir del estudio en directo de los materiales arqueológicos conservados -esencialmente las cerámicas-, aunque también se tienen en cuenta las dataciones estratigráficas, numismáticas y de 14C. Así, partir de dataciones de cada yacimiento, se presenta una propuesta de encuadre cronológico de cada uno de los contextos documentados. Los vidrios de estos 118 yacimientos han sido inventariados y se ha procedido a la descripción formal y métrica -con dibujo y fotografía- de cada fragmento con forma y/o decoración. Posteriormente se ha calculado en número mínimo de individuos (NMI) y se ha procedido a estudiarlos en conjunto, en el marco de su contexto, es decir, estratigráfico, estructural o del yacimientos en sí. A partir del análisis estratigráfico y de la periodización de los contextos se ha procedido a elaborar una propuesta de seriación tipológica, utilizando las clasificaciones de referencia más habituales en el ámbito del estudio del vidrio en el mundo romano, como es la de Clasina Isings (Isings 1957), y del mundo visigodo, como es la de Danielle Foy (Foy 1995), teniendo también en cuenta otras tipologías más específicas, como la de las lámparas de la antigüedad tardía de Egipto (Crowfoot & Harden 1936) o de las lámparas del norte de Italia (Uboldi 1995). Con esta tipología, elaborada en base a los contextos estratigráficos estudiados, se pueden seriar las diferentes vajillas y objetos de vidrio de la antigüedad tardía. Con ellos se tiene otro tipo de material, que junto con el registro cerámico, numismático y las dataciones de 14C permiten ponderar la cronología de todos los yacimientos arqueológicos de este periodo y, del mismo modo, fechar gran parte de los yacimientos rurales de la antigüedad tardía, donde los únicos fósiles directores presentes son esencialmente, la cerámica de cocina y el vidrio. Así pues, con esta tesis se dan a conocer y se articulan estructuralmente todas las producciones vítreas de la antigüedad tardía de Cataluña y Andorra, y con ella se pueden iniciar otros trabajos -más específicos y definidos- como puede ser el análisis arqueométrico de los diferentes tipos de vidrios y así profundizar en la difusión, el comercio y la presencia del artesanado del vidrio de este período en la Tarraconensis oriental.
In the present work the glass of the late antiquity is studied, that is: the glasses of the late roman period (s. IV-V) and the visigothic period (s. VI-VIII), in the territory of the province of the eastern Tarraconensis, currently formed by the territories of Catalonia and Andorra. Specifically, 118 sites are analysed, all excavated over the last century, from reading the excavation reports and specific publications, and above all, from the study of the preserved archaeological materials -essentially the ceramics-, although stratigraphic, numismatic and 14C data are also taken into account. Thus, based on the dating of each site, a proposal for a chronological framing of each of the contexts documented in them is presented. The glass of these 118 sites has been inventoried and a formal and metrical description has been made -with drawing and photography- of each fragment with shape and / or decoration. Subsequently, the minimum number of vessels/items (NMI) was calculated and studied together, within the framework of their context, stratigraphic, structural or the site itself. Based on the stratigraphic analysis and the periodization of the contexts, a typological classification proposal has been elaborated, using the most common reference classifications in the field of the study of glass in the roman world, such as of Clasina Isings (Isings 1957), and of the visigothic world, such as of Danielle Foy (Foy 1995), although taking into account other more specific typologies, such as the glass lamps of late antiquity in Egypt (Crowfoot & Harden 1936) or the glass lamps of northern Italy (Uboldi 1995). With this typology, elaborated on the basis of the studied stratigraphic contexts, the different tableware and glass objects of the late antiquity can be serialized. With them we have another type of material, which together with the ceramic, numismatic record and the 14C dating allow us to weigh the chronology of all the archaeological sites of this period and, in the same way, date much of the rural sites of late antiquity, where the director fossils present are only cooking wares and glass. Thus, with this thesis, all the vitreous productions of the late antiquity of Catalonia and Andorra are made known and structurally articulated, and with it other works can be initiated -more specific and defined- such as the archaeometric analysis of the glass vessels, and thus to deepen in the diffusion, the commerce and the presence of the glass crafts of this period in the Eastern Tarraconensis.

This thesis is an historical archaeological study of how Chinookan peoples at three villages and employees of the later multicultural Village at Fort Vancouver negotiated the processes of contact and colonization. Placed in the theoretical framework of practice theory, everyday ordinary activities are studied to understand how cultural identities are created, reinforced, and changed (Lightfoot et al. 1998; Martindale 2009; Voss 2008). Additionally uneven power relationships are examined, in this case between the colonizer and the colonized, which could lead to subjugation but also resistance (Silliman 2001). In order to investigate these issues, this thesis studies how the new foreign material of vessel glass was and was not used during the everyday practice of tool production.

Archaeological studies have found that vessel glass, which has physical properties similar to obsidian, was used to create a variety of tool forms by cultures worldwide (Conte and Romero 2008). Modified glass studies (Harrison 2003; Martindale and Jurakic 2006) have demonstrated that they can contribute important new insights into how cultures negotiated colonization. In this study, modified glass tools from three contact period Chinookan sites: Cathlapotle, Meier, and Middle Village, and the later multiethnic Employee Village of Fort Vancouver were examined. Glass tool and debitage analysis based on lithic macroscopic analytical techniques was used to determine manufacturing techniques, tool types, and functions. Additionally, these data were compared to previous analyses of lithics and trade goods at the study sites.

This thesis demonstrates that Chinookans modified glass into tools, though there was variation in the degree to which glass was modified and the types of tools that were produced between sites. Some of these differences are probably related to availability, how glass was conceptualized by Native Peoples, or other unidentified causes. This study suggests that in some ways glass was just another raw material, similar to stone, that was used to create tools that mirrored the existing lithic technology. However at Cathlapotle at least, glass appears to have been relatively scarce and perhaps valued even as a status item. While at Middle Village, glass (as opposed to stone) was being used about a third of the time to produce tools.

Glass tool technology at Cathlapotle, Meier, and Middle Village was very similar to the existing stone tool technology dominated by expedient/low energy tools; however, novel new bottle abraders do appear at Middle Village. This multifaceted response reflects how some traditional lifeways continued, while at the same time new materials and technology was recontextualized in ways that made sense to Chinookan peoples.

Glass tools increase at the Fort Vancouver Employee Village rather than decrease through time. This response appears to be a type of resistance to the HBC's economic hegemony and rigid social structure. Though it is impossible to know if such resistance was consciously acted on or was just part of everyday activities that made sense in the economic climate of the time.

Overall, this thesis demonstrates how a mundane object such as vessel glass, can provide a wealth of information about how groups like the Chinookans dealt with a changing world, and how the multiethnic community at Fort Vancouver dealt with the hegemony of the HBC. Chinookan peoples and the later inhabitants of the Fort Vancouver Employee Village responded to colonization in ways that made sense to their larger cultural system. These responses led to both continuity and change across time. (Abstract shortened by UMI.)

Although many texts discuss studio glass blowing in Australia, few focus on the South Australian situation and even fewer are written by studio glass blowers themselves. As a studio glass blower, I bring to this research experiential knowledge of practice to offer new insights into studio glass blowing. The study accesses knowledge that is implicit, embodied and tacit; knowledge derived from living and working within a particular community. In using this knowledge, I highlight the importance of both financial survival and the development of practice in creating a practitioner's perspective of studio glass blowing in South Australia. The study is designed as an ethnography. This incorporated a review of the literature and images found in published texts; interview and questionnaire data; anecdotal narratives and familiarity with the South Australian glass blowing community; and tacit knowledge of glass blowing practice, glass blowing skills and techniques. This tacit knowledge was accessed through an auto-ethnographic investigation of re-making the selected artefacts. The selection of these artefacts was based on my personal knowledge of glass blowing processes, first hand relationships with individual glassblowers, observation of artefacts and prior experience of working as a studio glass blower.

The effect of CO2 laser etching on the strength of soda lime plate glass has been investigated. The majority of common beverage glassware is comprised of soda lime glass. Laser etching is used to create patterns on such glassware for aesthetic reasons. Various etching conditions have been investigated in order to compare to the strength of un-etched glass. Three point bend tests were used to determine strength values. The resulting fracture strength of etched glass is based upon the flaws and resulting stress concentrations created during the laser ablation process. In addition to stress concentrations, the thermal history and residual thermal stresses play a role in the failure process. Samples were also cyclically washed to determine the effect of water and thermal cycling. Results were documented and compared via Weibull analysis. Nominal strength values were 114 MPA for unetched, 83 MPa for wash cycled, 43 MPa for etched, and 33 MPa for etched and wash cycled.