Azulejo vs Delftware
アズレージョ / デルフト焼
Azulejo comes from Ornament and Delftware from Ceramic Styles. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
Azulejo
Portugal's blue-and-white tile works as the skin of architecture, opening story, map and ornament onto the street until the city itself can be read as a printed plate.
Delftware
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Longing for Chinese porcelain, Delft produced tin-glazed pottery of its own. Windmills, ships and Eastern scenes painted in blue alone fixed 'blue and white' as a Western language of table and room, chinoiserie put into practice.
| Azulejo | Delftware | |
|---|---|---|
| Era | 15th century– | 1600s– |
| Family | Ornament | Ceramic Styles |
| Kind | Style | Style |
| Cues | Blue-and-white tile / Narrative panels wall-high / Repeating pattern / One body with the building | Painting in blue alone / White tin-glaze ground / Eastern motifs translated / From tiles to tableware |
| Best used for | Using a building's wall as a large plate the passerby can read · Covering rooms floor to ceiling in repeats for coolness and continuity | Pulling tableware and walls into one room through blue painting alone · Using Eastern motifs while admitting openly that they are translations |
| Type | Fire the inscription in the same blue and frame it into the wall | Keep marks small on the underside and leave the face to painting |
| Composition | Set the tile grid first, compose so breaks fall on the joints | Let each tile stand alone, with corner motifs linking them into a field |
| Material | Cobalt blue on white glaze, judged with the gloss reflection included | Cobalt on white tin glaze, painted in one pass with no correction |
| Caution | Laying a large picture out without regard for the joints misaligns grid and drawing, and the wall looks like a printed sheet pasted on. | Aiming to pass as real porcelain turns the thick earthenware body and the speed of the brush from virtues into faults. |