MARQUETRY - translation to arabic
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MARQUETRY - translation to arabic

TECHNIQUE OF INLAYING SMALL PIECES OF WOOD, IVORY, ETC. INTO A SUFACE OF DECORATIVE VENEER
Wood inlay; Wood Inlay; Marketry; Inlaid works; Marqutry; Marquetarian; Wood-inlay
  • Casket, early 18th century, attributed to [[Andre-Charles Boulle]], oak carcass veneered with [[tortoiseshell]], gilt copper, pewter and ebony, in the [[Art Institute of Chicago]]
  • 210px
  • Marquetry picture, Germany 1776

MARQUETRY         

ألاسم

تَطْعِيم

marquetry         
تطعيم ، تطعيم الخشب
marquetry         
اسْم : تطعيم بالصدف والعاج

Definition

Marquetry
·noun Inlaid work; work inlaid with pieces of wood, shells, ivory, and the like, of several colors.

Wikipedia

Marquetry

Marquetry (also spelled as marqueterie; from the French marqueter, to variegate) is the art and craft of applying pieces of veneer to a structure to form decorative patterns, designs. The technique may be applied to case furniture or even seat furniture, to decorative small objects with smooth, veneerable surfaces or to freestanding pictorial panels appreciated in their own right.

Marquetry differs from the more ancient craft of inlay, or intarsia, in which a solid body of one material is cut out to receive sections of another to form the surface pattern. The word derives from a Middle French word meaning "inlaid work".

Examples of use of MARQUETRY
1. One thinks of wooden marquetry, of crumpled cellophane, of targets, unknown semaphores and flags.
2. At the barked command, I put cloth covers over my shoes to protect the acres of intricate marquetry flooring and climbed the white State Staircase to the Great Hall.
3. A few of these homes remain diamonds in the rough, but one, known as The Peacock House for its distinctive feathered Nuristani marquetry panels, is already a shining jewel.
4. Ruf and her team talk the talk: they go on about how "Cosey Fanni Tutti made a conscious attempt to locate one aspect of her artistic practice within the pornographic industry"; how Kaye Donachie "considers that painting is an appropriate medium through which to probe beliefs"; how Lucy McKenzie "maintains a hyper–awareness of the context in which art, including her own, is being made and situated"; and how, "using as his raw material such motifs as 1'30s marquetry, 1'70s bedspreads and pickled onions, Enrico David produces an art that is full of unresolved conflicts". None of which is of any help at all.