"8701"^^ . . . . . . . . . . . . . "P\u00E2te-sur-p\u00E2te"@pt . "La technique du p\u00E2te-sur-p\u00E2te, aussi appel\u00E9e p\u00E2te rapport\u00E9e, est utilis\u00E9e pour la facture de porcelaine. Elle consiste \u00E0 d\u00E9corer une pi\u00E8ce color\u00E9e cuite au pr\u00E9alable avec de la barbotine blanche appliqu\u00E9e en couches successives, et model\u00E9e pour cr\u00E9er un dessin en relief. Apr\u00E8s cuisson, l\u00B4effet est semblable \u00E0 celui d\u00B4un cam\u00E9e, avec en plus des effets de transparence."@fr . "P\u00E2te-sur-p\u00E2te \u00E9 um termo franc\u00EAs que define o m\u00E9todo de decora\u00E7\u00E3o em porcelana, em que \u00E9 criado um desenho em relevo na pe\u00E7a ainda n\u00E3o cozida totalmente, n\u00E3o polida, geralmente com base j\u00E1 colorida e depois, utilizando um pincel, aplica\u00E7\u00E3o de sucessivas camadas de porcelana, geralmente branca. Como a forma principal da base j\u00E1 foi definida, ela \u00E9 coberta para fornecer os detalhes finos, antes da pe\u00E7a ser queimada. \u00C9 um processo muito trabalhoso, que pode levar semanas para aplicar as camadas sucessivas e permitir que se solidifiquem antes da pr\u00F3xima ser aplicada. O esquema de cores usual \u00E9 um relevo branco sobre um fundo de cor contrastante. O efeito de translucidez \u00E9 semelhante ao do m\u00E1rmore de Paros e os resultados lembram camafeus em pedra ou em vidro."@pt . . . . . . . . . "956451420"^^ . . . . . . . . "P\u00E2te-sur-p\u00E2te \u00E9 um termo franc\u00EAs que define o m\u00E9todo de decora\u00E7\u00E3o em porcelana, em que \u00E9 criado um desenho em relevo na pe\u00E7a ainda n\u00E3o cozida totalmente, n\u00E3o polida, geralmente com base j\u00E1 colorida e depois, utilizando um pincel, aplica\u00E7\u00E3o de sucessivas camadas de porcelana, geralmente branca. Como a forma principal da base j\u00E1 foi definida, ela \u00E9 coberta para fornecer os detalhes finos, antes da pe\u00E7a ser queimada. \u00C9 um processo muito trabalhoso, que pode levar semanas para aplicar as camadas sucessivas e permitir que se solidifiquem antes da pr\u00F3xima ser aplicada."@pt . . . "P\u00E2te-sur-p\u00E2te"@en . . "La technique du p\u00E2te-sur-p\u00E2te, aussi appel\u00E9e p\u00E2te rapport\u00E9e, est utilis\u00E9e pour la facture de porcelaine. Elle consiste \u00E0 d\u00E9corer une pi\u00E8ce color\u00E9e cuite au pr\u00E9alable avec de la barbotine blanche appliqu\u00E9e en couches successives, et model\u00E9e pour cr\u00E9er un dessin en relief. Apr\u00E8s cuisson, l\u00B4effet est semblable \u00E0 celui d\u00B4un cam\u00E9e, avec en plus des effets de transparence."@fr . . "P\u00E2te-sur-p\u00E2te is a French term meaning \"paste on paste\". It is a method of porcelain decoration in which a relief design is created on an unfired, unglazed body, usually with a coloured body, by applying successive layers of (usually) white porcelain slip (liquid clay) with a brush. Once the main shape is built up, it is carved away to give fine detail, before the piece is fired. The work is very painstaking and may take weeks of adding extra layers and allowing them to harden before the next is applied. The usual colour scheme is a white relief on a contrasting coloured background, which in England was often Parian ware. The effect is somewhat similar to other types of relief decoration, in particular sprigging. However, unlike Jasperware, for example, a mould is not normally used, and the ceramic artist is able to achieve translucency. The method also gives results resembling cameos in stone or cameo glass. The development of p\u00E2te-sur-p\u00E2te dates back to 1850 in France, and an accident that occurred at the Manufacture nationale de S\u00E8vres. The company was trying to reproduce a decorative technique from a Chinese vase, but misinterpreting the vase, the experiment took them along a different path from the Chinese potter. They perfected what became known as p\u00E2te-sur-p\u00E2te. Marc-Louis Solon took the style to England, and others to Germany and Austria. The period within 15 years either side of 1900 was the heyday of the technique. Many pieces made in the State, formerly Imperial Porcelain Factory in Leningrad after World War II are said to use it, but are perhaps sprigged, then hand-finished. designed many, mostly using the classic Jasperware \"Wedgwood blue\" and white."@en . . . . . . . . . . . . . . . . . . . . . "P\u00E2te-sur-p\u00E2te"@fr . . . . . . . . . . "11848763"^^ . . . . . "P\u00E2te-sur-p\u00E2te is a French term meaning \"paste on paste\". It is a method of porcelain decoration in which a relief design is created on an unfired, unglazed body, usually with a coloured body, by applying successive layers of (usually) white porcelain slip (liquid clay) with a brush. Once the main shape is built up, it is carved away to give fine detail, before the piece is fired. The work is very painstaking and may take weeks of adding extra layers and allowing them to harden before the next is applied."@en . . . . .