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From the History of Glass: Glass Imitates and Impresses...

In Western studies, glass products of the Chinese Qing era (1644-1911) from multilayer glass appear under the name "cameo-carved", that is, products decorated with carvings similar to the decor of cameos (antique and later Western carved stones imitating them). In a two-layer glass, combinations of milky white and red are used; pink and green or blue; white and blue; red and orange; yellow and green colors; in a three-layer - a combination of pink, yellow and green fawn is often used. In most cases, lighter glass is used as a background.

Traditional Chinese Snuff Box Biyanhu
Traditional Chinese Snuff Box Biyanhu
Art glass of the Qian-Lung period (1711-1799) is the fused, blown in a furnace and molded vessels, which, regardless of the thickness of the walls, appear to be monolithic. Their legs are usually tightly connected to the body of the vessel, acting as part of a single shape. On products imitating ancient bronze (for example, incense burners in the form of tripods), stylized zoomorphic-geometric images drawn from the same source vary (often a mask). Monochromes use calligraphy (for example, lines from poems authored by the emperor Qian-Lung (1711-1799)).

History of Glass in China
 History of Glass in China

The heyday of the court workshops ceased to the beginning of the era of Jia-ching (1796-1820), and already in the XIX century, most of the best quality decorative glass products were created in private Beijing workshops. This also applies to the production of snuffboxes biyanhu, which constituted a special group of applied things, the appearance of which in China was due to European influence. Immediately becoming collectibles, Qing snuffboxes are stored today in many museums (including Beijing Gugun, London Victoria and Albert Museum, St. Petersburg State Hermitage Museum) and in collections of private collectors around the world.

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