This mug was part of the tomb gifts of the ‘princess’ from Ryzhanovka. It rested in a bronze situla, which probably contributed to the fact that it was in perfect condition. The entire vessel is carved out of one piece of metal. The ornament consists of vertical forged stripes, centred around...
This tin dish, which has been identified as a church bowl, could have been used during baptism or other liturgical activities, for example, as a priest’s washbasin, a so-called lavabo. It probably comes from one of the wooden churches in Kęty, which was demolished on the orders of the Austrian authorities. These churches were located on Świętokrzyska and Wszystkich Świętych streets. They were pulled down after a serious fire in 1797.
What tales were engraved on the surface of the goblet? Who are the characters depicted on the dish? Thanks to the 3D technique, by turning the goblet, you can read the entire biblical story recorded in the Old Testament Book of Judges. We invite you to read and wander through the details and secrets of this precious object.
Witraż pochodzi z jednej z wrocławskich aptek, dla której około 1900 roku wykonał go warsztat witraży Adolfa Seilera we Wrocławiu. W centralnym punkcie witraża znajduje się moździerz aptekarski, wokół którego rozmieszczono rośliny lecznicze: tojad (Aconitum L.) pokrzyk wilczą jagodę (Atropa belladonna L.), mak lekarski (Papaver somniferum L.) oraz naparstnicę purpurową (Digitalis purpurea L.).
One of the most valuable objects in the Museum in Tarnów, due to its artistic status, is a goblet with a lid, and with a depiction of 12 months. It is associated with Saxony, with the Royal Glassworks in Dresden. It has a structure typical of celebratory chalices, and it is additionally enriched with a conical decorative lid.
Glass of sapphire and milky colours, with a goblet in the shape of a cylinder widening upwards, decorated with medallions and panels with a colour floral and plant pattern.
Pottery products, which have accompanied people from the dawn of history, are associated mainly with folk mementos these days, while the function of pottery was successfully taken over by industrial products, not limited by fragile material.
A large vase with a hemispherical goblet coated with cloisonné enamel. According to its donor, the vase comes from the Summer Palace of Beijing from the era of the Chinese emperors of the Qing dynasty. It was destroyed in 1860, and then again in 1900.
This bowl sits on a high base with a hemispherical goblet that opens up at the rim. Featuring white-metallised and decorated with a broad inscribed strip filled with geometrical and inscriptional black polish and set against a background of a delicate plant. There is an inscription written in italicised Arabic script with Nastaliq calligraphy and with a niche separating the beginning from the end. Inside it, there is an Arabic inscription praising Allah, always placed at the end of the sacred text.
What do a cobalt vase and a Japanese emperor have in common? This vase is a gift from the Japanese court donated to the Manggha Museum during the visit of the Japanese emperor, Akihito, and his wife, Michiko, on 11 July 2002. This porcelain vase with a wooden base is ornamented with the imperial chrysanthemum – an emblem representing the imperial title in Japan.
Ikebana is the art of arranging flowers which involves the creation of linear harmony and asymmetrical composition while keeping unity among the shapes, rhythms and colours of the material used. Elements used in compositions include branches, leaves, grass, and flowers, as well as vessels, and each of these elements has its own symbolic meaning.
This early form of the teapot, the design of which is ascribed to Johann Jakob Irminger, was amended by a painted decoration outside the factory more than twenty years after the vessel had been finished. The linear, graphical method of painting was ascribed to Christian Daniel Buschow, who operated in Bayreuth.
The terra sigillata vessel in the form of a bowl on a foot comes from the cremation tomb accidentally discovered in Lisów (Opatów district). The vessel was imported from a province of the Roman Empire. The form of the vessel is typical of the pottery workshop in Rheinzabern (south-western Germany), the largest centre producing vessels of this type in the northern provinces of the Roman Empire (Germania Superior), operating in 190–220. The vessel was made of clay, sealed in the matrix with a negative decoration, and subsequently baked in a furnace in the pottery workshop of Primitivus I.
A cylindrical, capped bottle closed with a handle. This bottle is richly decorated with an artistic decorative design of plants and various other figures. The vessel was used in a practical way for storing valuable spices from overseas, but was also prized for its beauty. It was richly decorated by a master coppersmith.
Welcome cup was a decorative container for drinking beer in guild inns during important celebrations. Its Polish name wilkom comes from the German greeting willkommen [welcome]. Each newly arrived guest had to empty the cup filled with an alcoholic beverage in honour of the guild. The production of such cups developed in Germany in the 2nd half of the 16th century, and later spread throughout Europe.
Immortalisation of a supper through mounting crockery, cutlery and preserved leftovers of the food. The resultant composition is supposed to be exhibited vertically. To present a table at such an angle introduces a gravitational disturbance.
Fifteen bowls of dried-up paint each have a matching cloth on which someone has wiped their dirty hands. Each such “soiling/cleaning“ set is ascribed to a site of genocide. Washing hands is a symbolic act of removing oneself from these events and thereby from any responsibility. However, the material testimony remains.
Among the memorabilia of the old town authorities stored in the collection of the Museum in Tarnów, a special place is occupied by a set of three identical tin jugs. These vessels were created in Gdańsk in 1639, probably in the workshop of the master Assmus Virian.
In the Korzec collection in Tarnów, which numbers 450 inventory items, a small vase of the kantharos type deserves special attention. Vases of this type served as decorations and were produced on the occasion of anniversaries or other events. The excellent quality of the product and the elegance of its form and decorations prove the high level of manufacturing quality in the 1st two decades of the 19th century. In Polish museum collections, a similar small vase can be found in the collection of the National Museum in Warsaw.
Sets of tableware were initially assembled of objects made in a different style, time, and places. Only in the 17th and 18th centuries uniformly decorated tableware, known today as services, began to appear. Until the beginning of the 19th century, there were no strict rules determining what dishes should be included in such a set; therefore, they were put together according to current fashions or the personal preference of the person ordering them...