仿古钧红釉钧花釉的研制

前言“唐宋人尚青、明清人尚红”。铜红釉是继青釉后发展起来的一种名贵产品。铜红釉初创于北宋时代的河南钧窑,后为景德镇所继承并使之发展成了一个多品种的红釉系列。故而铜红釉是以铜为着色剂、经烧成而呈现出各种效果的红釉的总称。钧红釉、钧花釉就是其中的两个釉色、     

熠熠窑辉 浅论祭红釉的工艺及特征

在我国陶瓷史上,用铜作为着色剂来装饰陶瓷器物的工艺由来已久。铜红釉泛指以铜为着色剂,配成釉料后经过烧成后而呈现出各种红色色调的色釉总称,其种类有：钧红、祭红、郎窑红、釉里红等。宋元时期,人们就已经能够烧造出高温铜红釉（如钧红）,但因材质,釉料配方及烧制工艺的局限性,红釉色调效果不甚理想。祭红釉属于以氧化铜（CuO）为着色剂的高温红釉的一种,因其釉面发色宝光内敛,汁水莹厚,色调庄严肃穆,深沉安定,而且釉面不流不裂,从而深受上至王公贵胄,下至平民百姓的喜爱。     

铜红釉的研制

1前言铜红釉分为钧红、郎窑红、桃花片、祭红、玫瑰紫等，是一种具有极高欣赏价值和收藏价值的名贵釉。铜红釉经还原焰烧成。江西、河南两地生产的铜红釉艺术瓷代表着我国以钢着色的红釉的最高水平。北方瓷区多以氧化焰烧成瓷器，因此掌握用还原焰烧成生产铜红釉艺术瓷的技术具有重要意义。笔者于1997年利用现代烧成设备成功地研制出了以铜着色的正红釉、茄紫釉、红绿同体窑变花釉。2坯釉料配方2．1原料铜红釉用原料如下：长石、石英、大同土、白云石、灰石、苏州土、BaCO3，CuCO3,SnO2，TiO2，Fe2O3和硬硼酸钙。2．2原料的化学组成原…     

古陶瓷中的“局部铜红釉装饰”与釉里红装饰

提出"局部铜红釉装饰"的概念,其包括张福康、李家治等学者论著中提到的"填红";以及另一种将铜红釉作为彩料,直接用毛笔蘸取,进行绘饰的装饰方法。从工艺原理的角度对"局部铜红釉装饰"和釉里红装饰进行了辨别。     

钧红釉给红釉家族带来的魅力

<正>宋代的钧窑使用铜的氧化物为着色剂,在还原氛围中烧成的铜红釉,称钧红。钧红是最早的红釉,其时的釉料装备不行精密、精确,除了铜以外,还混杂着别的金属氧化物。因而钧红釉具有红里泛紫的色彩,近乎玫瑰花、海棠花的紫赤色,所以又称为"玫瑰紫"和"海棠红"。钧红成品中,还常出现红、兰、紫三色互相交错、如火如霞的艳丽画面。钧红釉的创制,为陶瓷的装修技能拓荒了一个新的境界,明代的宝石红、霁红,清代的郎窑红、桃花片及一些窑变釉的出现,都与钧红有关。豇豆红是一种呈色多变的高温色彩釉,是清康熙时的铜红。为釉中贵重种类之一。釉色浅红,釉面多绿苔点。这种绿色苔点本是烧成技能上的缺陷,但在浑然一体的淡红中,掺杂点点绿斑,反而显得幽     

景德镇用煤窑烧成名贵的铜红釉

景德镇市曙光瓷厂、艺术瓷厂和东风瓷厂的科技人员,经过近两年对煤烧铜红釉的技术攻关,成功地试烧出了几百件煤烧铜红釉样品,样品中有大件的缸、瓶类制品,为景德镇市和全国用煤烧高温名贵的铜红釉作出了贡献。煤烧铜红釉已通过了技术鉴定。鉴定会认为用煤窑烧制的铜红釉产品具有如下的优     

谁道奇葩出深山 万垛松柴一瓶红——漫谈郎红

<正>郎红,即郎窑红,康熙年间江西巡抚郎廷极主持景德镇御窑厂窑务时几经努力,终于烧成,使中断了两百多年的高温红釉再次出现,故名"郎窑红"。它是一种高温铜红釉,完全按照明朝永乐、宣德的红釉来制作的,追求红宝石般艳丽温润格     

钧红釉与铜红釉系列的研究之一铜红釉郎窑红釉的研究与配方

“郎窑红”简称“郎红”,釉层较薄色如鸡血称鸡血红,釉层较厚、色彩深艳,犹如初凝牛血seger（塞格尔）称为牛血红。郎红釉是我国名贵的传统铜红釉之一。它是以铜为着色剂,用1300℃高温烧成,由于对烧成气氛温度要求很严烧制一件成功的产品非常困难。其烧造的历史较钧红、祭红都晚,到十八世纪初才开始露头。     

加水煅烧对油烧铜红釉呈色的粗浅看法

铜红釉是我国古代劳动人民杰出创造之一,其艺术和技术成就之高是举世公认的。铜红釉制造困难,特别是对烧成气氛敏感。自古至今都是在劳动强度大,连续工作时间长的古式柴窑内烧成。因此油烧铜红釉的试验成功,有着极其重要的意义。给铜红釉的生产开辟了新的途径。建国瓷厂油烧铜红釉采用了喷水混烧装置,即在还原阶段的中期,当温度升到1040℃开始加适量水混烧(六个喷咀约17Kg/小时),此时窑内火焰较净,升温增     

淘红釉与铜红釉系列的研究之一——铜红釉郎窑红釉的研究与配方

“郎窑红”简称“郎红”,釉层较薄色如鸡血称鸡血红,釉层较厚、色彩深艳,犹如初凝牛血seger（塞格尔）称为牛血红。郎红釉是我国名贵的传统铜红釉之一。它是以铜为着色剂,用1300℃高温烧成,由于对烧成气氛温度要求很严烧制一件成功的产品非常困难。其烧造的历史较钧红、祭红都晚,到十八世纪初才开始露头。     

A short but glorious porcelain glaze of Early Ming Dynasty: New finding of raw material and colorants in the copper red glaze

Copper red glaze is considered to be Chinese unique high-temperature copper colored glaze. The sample of Hongwu underglaze red of the Ming Dynasty was analyzed by scanning electron microscopy (SEM), synchrotron radiation micro-X-ray fluorescence spectroscopy (SR-μ-XRF), synchrotron radiation micro-X-ray diffraction (SR-μ-XRD) and transmission electron microscopy (TEM), the results show that there are nano-scale metal copper particles in the diffusion layer of the glaze, and irregular copper sulfide particles at the bottom layer. The presence of metal copper nanoparticles shows the glaze red, but under the influence of black copper sulfide, the appearance of underglaze red is relatively dull and dark. It is assumed that the pigments in Hongwu underglaze red are natural copper ores due to the existence of irregular particles. Referring to the record of "Bright red clay" in ancient literatures, a mixture of cuprite and chalcopyrite are probably the raw materials, the exhaustion of which may be the main reason for the interruption of copper red glaze after the mid-Ming Dynasty.     

铜红釉

本分析了铜红釉的化学组成，组成与釉呈色的关系；讨论了铜红釉难以烧成的根本原因，分析了生产工艺对铜红釉呈色的影响，介绍了几种现代铜红釉的曲型配方及生产工艺要点；对铜红釉的呈色机理作了初步探讨。     

桃花片铜红釉的着色机理

研究了表征桃花片铜红釉的3个特征——红釉区、绿苔点和泛绿区的化学成份和显微结构。首次通过实验揭示了桃花片铜红釉的着色剂是小于2μm的细分散的金属铜粒子;初次给出了泛绿区和绿苔点的化学成份和它们的结构特征。阐明了泛绿区是由许多含有硫化铜的微粒所引起的,而肉眼所能分辨的绿苔点实际上是一个绿色环状小圈,是该处基质玻璃釉中局部富二价铜离子而形成的。讨论了桃花片铜红釉的特殊色泽和色带形成的主要原因。     

用XPS测定汝瓷月白釉挂红中Fe和Cu的形态

本文针对前人对铜红釉和钧红着色的不同研究结果，选用ＸＰＳ对铜和铁在釉中存在形态进行了测定，得到了汝瓷月白釉挂红中着色元素Ｆｅ和铜的ＸＰＳ曲线，由测得电子能谱与其标准谱进行比较得到釉中Ｆｅ是以ＦｅＯ，Ｆｅ３Ｏ４和Ｆｅ２Ｏ３多种氧化物着色，且以Ｆｅ３Ｏ４为主；而Ｃｕ则是以ＣｕＳｉＯ３形态存在，实验没有发现一价铜的２Ｐ３／２电子谱。文章进一步用热力学分析了汝瓷月白釉挂红的烧制工艺，得到与以往用热力学分析     

浅论陶瓷铜红釉色的自然美

陶瓷铜红釉是我国著名的色釉之一，以自身的特殊语言来表现其风彩神韵－－自然美，有自己的美学追求。它的自然美依赖于原材料，工艺流程，窑火及陶瓷艺术家的运用与创新。本文从工艺条件的作用，火的艺术，自然美的艺术表现形式三大主要因素及特点出发，通过大量的例证论述陶瓷铜红釉色的自然美。     

圆明园琉璃瓦表面釉层变色机理的研究

主要利用光学显微镜、能量色散(EDXRF)、XPS、SEM、TEM对圆明园出土的部分绿色琉璃瓦釉-绿中泛红现象进行分析,以研究圆明园出土琉璃瓦的变色机理和烧制过程.通过以上分析表明,琉璃瓦的釉层属于一种铅硅系玻璃,其绿色和红色是由于釉中Cu元素存在价态与含量不同所致,并且绿色区域是以Cu2+形式存在,黑红色和鲜红色区域主要以Cu+和Cu0并存形式存在,而且黑红色区域Cu0的含量要高于鲜红色,所以Cu0对于呈红色起到主要作用.绿色到红色转变是釉层中Cu2+被圆明园遭到火烧时产生的C和CO还原为Cu0和Cu2O析出富集到表面所致,其本质与铜红釉呈色机理相同.     

Reproduction of Jun‐red glazes with nano‐sized copper oxide

Nano sized copper oxide was firstly employed for producing Jun‐red glazes. A series of Jun‐red glazes were prepared by adjusting the copper oxide nanoparticle content and the valance state of elemental copper in the glaze matrix. The coloring and microstructure of each glaze was investigated by spectrophotometer, X‐ray diffraction, scanning electron microscope, X‐ray photoelectron spectrometer, and transmission electron microscope. Under reducing conditions, the red glaze color gradually darkens with increasing CuO content from 0.5 to 1.0 wt%. Interestingly, the coloring of the samples fired under reducing atmosphere turned to be green‐blue, when the content of nanosized CuO was increased to 1.5 wt%. We also found that increased CuO content increases the size of phase separation in the glazes. As comparison, the coloring of samples fired without nanosized CuO are slightly blue under reducing atmosphere, which is attributed to the structural color generated owing to the Rayleigh scattering. Red color of the Jun glazes may arise from elemental copper nanoparticles. The current research utilizing modern nanotechnology provides a new insight into both the “furnace transmutation” and “color regulating” of the ancient Jun‐red glazes.     

不完全燃烧理论在铜红釉烧成气氛研究中的应用

在铜红釉烧成气氛的研究中,应用了不完全燃烧理论,详细推导了其计算过程。结果表明：用不完全燃烧理论确定铜红釉烧成气氛是切实可行的;该理论对实验陶瓷烧成过程,特别是对气氛敏感的在还原气氛下烧成的颜色釉生产指导性意义和控制理论依据。     

Technology of production of polychrome lustre

Lustre is a decoration consisting of a few hundreds of nanometres thick surface layer of silver and copper metal nanoparticles incorporated into the glaze. Polychrome lustreware with several combinations of colours and shines was produced in Abbasid Iraq in the 9th century AD. Three colour combinations, black plus red, white-silvery plus red-coppery and yellow-golden plus red-coppery, have been studied, and the materials and methods of production determined. Two separated firings the first for the copper and the second for the silver lustre were performed. The black, white, yellow and green colours of the silver lustres are associated with the different sizes of the nanoparticles and to their distribution in the layer. Although the addition of lead and tin in the initial mixture is demonstrated, their incorporation in the glaze has been found to be the key factor in the production of the red-coppery and yellow-golden lustre.     

The birth of copper-red glaze: Optical property and firing technology of the glaze from Changsha Kiln (8th–9th century)

Changsha Kiln rose and flourished alongside the development of China's Maritime Silk Road (8th–9th century). The kiln occupies an important place in the development of China's ceramic science and technology, notably as the source of high-temperature copper-red glaze. A variety of lime-colored glaze was one product of Changsha Kiln. Its surface was decorated with both copper-green and copper-red, and is the earliest known example of the successful firing of a copper-red glaze. This ware is representative of the birth of high-temperature copper-red glaze, but there has been a lack of research on its optical properties and the technology’s origin. In this paper, OM, SEM, TEM, optical coherence tomography (OCT), XRF, fiber optic spectrometry, and other analytical techniques were used to investigate the red and green glazes of Changsha Kiln. The key result of this paper is to reveal the optical properties of copper-green and copper-red in combination with colloidal absorption, ion absorption, and scattering, and to study the key factors for the origin of the high-temperature copper red glaze.