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Ceramic

Ceramic.

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Ceramic

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  1. Ceramic A ceramic is an inorganic, nonmetallicsolid prepared by the action of heat and subsequent cooling.[1] Ceramic materials may have acrystalline or partly crystalline structure, or may be amorphous (e.g., a glass). Because most common ceramics are crystalline, the definition of ceramic is often restricted to inorganic crystalline materials, as opposed to the noncrystalline glasses, a distinction followed here.

  2. Felt • Felt is a textile that is produced by matting, condensing and pressing fibres together. Felt can be made of natural fibres such as wool or synthetic fibres such as acrylic. There are many different types of felts for industrial, technical, designer and craft applications. While some types of felt are very soft, some are tough enough to form construction materials. Felt can vary in terms of fibre content, colour, size, thickness, density and more factors depending on the use of the felt.

  3. Pottery • Pottery is the ceramic act of making pottery wares,[1] of which major types include earthenware, stoneware and porcelain. The place where such wares are made is also called a pottery (plural "potteries"). Pottery also refers to the art or craft of a potter or the manufacture of pottery.[2][3] • The definition of pottery used by ASTM is "all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products."[4] Some archaeologists use a different understanding of this definition by excluding ceramic objects such as figurines which are made by similar processes and of similar materials but are not vessels.[5]

  4. Hacivat and Karagöz • Karagöz (meaning blackeye in Turkish) and Hacivat ( shortened in time from "Hacı İvaz" meaning "İvaz the Pilgrim", and also sometimes written as Hacivad) are the lead characters of the traditional Turkishshadow play, popularized during the Ottoman period. The central theme of the plays are the contrasting interaction between the two main characters. They are perfect foils of each other: Karagöz represents the illiterate but straightforward public, whereas Hacivat belongs to the educated class, speaking Ottoman Turkish and using a poetical and literary language. Although Karagöz has definitely been intended to be the more popular character with the Turkish peasantry, Hacivat is always the one with a level head. Though Karagöz always outdoes Hacivat’s superior education with his “native wit,” he is also very impulsive and his never-ending deluge of get-rich-quick schemes always results in failure. Hacivat continually attempts to “domesticate” Karagöz, but never makes progress. According to Turkish dramaturge Kırlı, Hacivat emphasizes the upper body with his refined manners and aloof disposition, while Karagöz is more representational of “the lower body with eating, cursing, defecation and the phallus."[1] Other characters in the plays are different ethnic characters living under Ottoman domain such as Armenians, Albanians, Greeks, Frenks, Arabs and Akarabs(Arabs with white skin, usually depicting the people of Aleppo), each with their unique, stereotypical traits. Karagöz-Hacivat plays are especially associated with Ramadan. Until the rise of radio and film, it was one of the most popular forms of entertainment in Turkey. It survives today mainly in a toned-down form intended for audiences of children.[1]

  5. Ebru • Ebru is a traditional Islamic and Turkish painting art, and can be defined as painting on water and transferring this painting onto paper. This style is also called marbling. • A gum called tragacanth is added to the water to yield a thickened liquid, and horse hair brushes are used to apply paints which are insoluble in water.

  6. Kilims • Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. Kilim weaves are tapestry weaves, technically weft-faced plain weaves, that is, the horizontal weft strands are pulled tightly downward so that they hide the vertical warp strands.[4] • When the end of a color boundary is reached, the weft yarn is wound back from the boundary point. Thus, if the boundary of a field is a straight vertical line, a vertical slit forms between the two different color areas where they meet. For this reason, most kilims can be classed as "slit woven" textiles. The slits are beloved by collectors, as they produce very sharp-etched designs, emphasizing the geometry of the weave. Weaving strategies for avoiding slit formation, such as interlocking, produce a more blurred design image.

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