The production of bone china
required changes in the entire production technology, from the
preparation of the liquid paste for casting through to the firing
process. Apart from clay, kaolin, feldspar and quartz, pre-fired
bonemeal was added, thus producing a snow-white paste. In order to
preserve intact the thin and fragile shape, the firing was done in the
same way as for stoneware: at first at a high temperature and then,
after glazing, at 100 degrees less. The glazing of this porcelain was
done by means of a spray, applying a very thin layer of glaze; as
Vinogradov noted in his records, porcelain glaze should never be thicker
than two sheets of paper.
The characteristics of this new material
were greatly appreciated by such leading modelers as Eduard Krimmer,
Anna Leporskaya and Vladimir Semyonov. The new cup and service shapes
they created emphasized the thinness, transparency and whiteness of the
enamel while keeping classical proportions and clear, pure contours.
Later on, Tatiana Linchevskaya, Nina Slavina and E. Yeropkina were also
to work with bone china. The new material and its technical
possibilities opened up ever greater scope for creativity. The
ceremonial set inch. White Flower inch. , resembling fully opened white
campanulas with its emphatically swept edges, designed by Slavina, is
evidence of this. This work, together with other work by Slavina, was
decorated with the silver medal of the Academy of Arts of the USSR and
is now in the collection of the Museum of Russian Applied Arts and in
the factory museum. The decoration by Alexei Vorobyevski, Tamara
Bespalova-Mikhalyova, Mikhail Mokh and Inna Olevskaya lent these pieces
of bone china an air of costly elegance.
Their works immediately
achieved the level of collectors' items, and came to secure a firm place
as presents to be given at the highest level.
The main aim remained,
however, to ensure that bone china would also become items of mass
consumption and production. To this end a new production unit was set up
at the Leningrad factory exclusively for bone china. All the
installations for this, including the technical innovations, were
developed within the factory itself. Later on, the production of bone
china based on the Leningrad process was extended, with the help of the
factory, to Lithuania and the Bulgarian city of Vidin.
The Imperial
Porcelain Factory (now known as the Lomonosov Porcelain Factory) was
founded by Empress Elizabeth in 1744 in Saint Petersburg, Russia.
Lomonosov Porcelain Factory was the first porcelain manufacturer in
Russia to develop and commercially implement the alabaster porcelain
technology. This fine delicate porcelain is a more brilliant white than
the usual kind, and thin almost to the point of being translucent.
From
its first porcelain bear, hand-made by the inventor of Russian
porcelain, Dmitry Vinogradov, Lomonosov has continued the tradition of
creating life through porcelain. This quality, demanded by the Imperial
Romanov Family, can still be found two and a half centuries later, when
more than 300 different types of figurines are made at the factory for
people throughout the world to enjoy. And every one of them is handmade
and hand-painted. It is this special attention to detail of Lomonosov
artists which infuses each figurine with life, soul, individuality.
Standards
of excellence set by Lomonosov sculptors, such as B.Vorobyev,
I.Riznich, P.Veselov received high international acclaim at World
Exhibitions in Brussels, New York, London etc.
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