toreutics

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to·reu·tics

 (tə-ro͞o′tĭks)
n. (used with a sing. verb)
The art of working metal or other materials by the use of embossing and chasing to form minute detailed reliefs.

[From Greek toreutikos, of metal work, from toreutos, worked in relief, from toreuein, to work in relief, from toreus, a boring tool; see terə- in Indo-European roots.]

to·reu′tic adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

toreutics

(təˈruːtɪks)
n
(Art Terms) (functioning as singular or plural) the art of making detailed ornamental reliefs, esp in metal, by embossing and chasing
[C19: from Greek toreutikos concerning work in relief, from toreuein to bore through, from toreus tool for boring]
toˈreutic adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

to•reu•tics

(təˈru tɪks)

n. (used with a sing. v.)
the art or technique of decorating metal or other material, esp. by embossing or chasing.
[1655–65; < Greek toreutikós=toreú(ein) to bore, chase, emboss + -tikos -tic; see -ics]
to•reu′tic, adj.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.

toreutics

the art of ivory- and metalworking, especially relief work, embossing, and chasing. — toreutic, adj.
See also: Art
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.
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References in periodicals archive
Shirdel listed some of the province's more famous techniques for crafts production as khatam, an ancient Persian technique of inlaying, toreutics, artistic metalworking, kashani, making porcelain enamel, kalamkari, a type of hand-painted or block-printed cotton textile, and wood carving.
Finally, the Warren Cup, a masterpiece of Roman toreutics that had been for many years condemned to an undeserved obscurity as a result of its challengingly explicit homoerotic scenes, was first offered to the museum in the 1950s, but with the Archbishop of Canterbury as chairman of trustees there was no hope of it being purchased.
Their topics include the painted battle scene depicting Persian victory on the Munich Wood, the toreutics of Colchis in the fifth to fourth centuries BC, and Achaemenian seals found in Georgia.
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