斑斓中彰显纯粹繁花处开出沉静——读“中国瓷器缠枝纹装饰(元·明·清)”

缠枝纹或缠枝花是中国古代最常见最具意义和民族特色的装饰纹样之一,它被广泛运用于包括瓷器在内的各种器物的装饰之中。一般认为,缠枝纹出现于汉代,流行于魏晋南北朝,发展于唐宋,而大盛于元明清三代。《中国瓷器缠枝纹装饰(元·明·清)》三卷书稿,聚焦缠枝纹大盛的元、明、清三代,总结出中国瓷器缠枝纹发展的历史脉络和风格演变。这套丛书在诸多细节问题和个别案例的艺术特质分析上相当深入,是一部具有开拓性质且具有相当理论视野和深度的学术著作,读者将由此获得见仁见智的审美判断和审美体验。     

雍正青花缠枝纹的图式及装饰文化探析

缠枝纹是我国传统装饰纹样中的一种重要形式,其在青花瓷装饰中的应用也十分广泛。本文以雍正青花缠枝纹为研究对象,探究其纹饰图样的骨架构成及这一装饰形态背后的形式法则。     

中国古代陶瓷乳钉装饰特征研究

乳钉纹是青铜器的常见装饰纹饰之一,后逐渐作为装饰纹样运用到陶瓷器皿上,在陶瓷装饰文化中发挥了重要的作用.笔者从乳钉纹在不同种类陶瓷上的运用,从装饰技法、视觉效果等方面探讨了中国古代陶瓷乳钉纹装饰特征.     

浅论隽永秀美的永宣陶瓷上的缠枝莲花纹饰

在我国古代艺术品装饰纹样中,缠枝纹同云纹,如意纹,回纹,莲瓣纹等同属比较常见的传统纹饰,自魏晋至今两千余年,因其寓意的连绵不断,生生不息,被赋予了人格精神和文化的象征,所体现的是对自然美的描绘以及美好愿望的传递。而被人民广泛运用到陶瓷,雕刻,刺绣等诸多领域中。成为表达社会意识和人们思想情感的载体。     

元青花中缠枝莲纹分析及其艺术思想探究

莲纹是中国装饰图案中重要纹样之一,在丰富多彩、变化繁多的莲纹装饰里,缠枝莲纹是近千年来最为广泛的纹样之一。在陶瓷上、金银器、玉器、石木竹雕、壁画等都有广泛的应用。它婉转缠连,串起了人们思想解放和对美好生活的追求,同时对使用者、欣赏者的心灵起到熏陶作用。尤其是在陶瓷上,更是散发着无限的魅力,缠枝莲纹中莲花体现的面、莲枝体现着线、莲叶体现着点。点线面组合带来不失活泼的稳重感,正是儒家思想的体现:分寸和度。本文从追溯缠枝莲纹的兴起,分析缠枝莲纹在元青花中作为主要装饰和附饰的组织方式和艺术风格,从中总结其表达的思想以及对缠枝莲纹再设计。找到传统图案和现代设计的结合方式,为传统图案注入新的生命力,也为目前陶瓷艺术设计带来新的设计思考。从继承传统中学习,再创新设计,同时也是我们学习陶瓷艺术设计不断探索的目标。     

论传统装饰中卷草纹的发展和运用

“木秀于林，风必摧之”在中国的陶瓷装饰艺术史上，卷草纹可谓之为“秀木”。卷草纹是中国最古老的传统纹样之一。它所具有的丰富形象，带给人们绚丽的色彩感觉，并且具备独有的装饰风格和浓郁的艺术感染力。中国古代有很多的传统装饰纹样，逐渐发展到了现代，更加显现出其艺术感染力。卷草纹的艺术魅力也使它成为这个艺术领域的佼佼者，并且具备...     

清宫乾隆珐琅彩瓷缠枝纹装饰艺术特色探析

乾隆珐琅彩瓷是集风格之大成者,既传承康熙、雍正前朝传统,又具独特的创新。乾隆珐琅彩瓷缠枝纹受到巴洛克、洛可可装饰风格的影响,具有母题的吉祥、构图程式、花叶繁丰,色彩绚丽的特点,整体风貌集中西风韵于一身,凸显皇家的高贵与荣华,代表了中国珐琅瓷器装饰艺术的最高峰。     

“鹿纹”元素在陶瓷装饰中的运用

"鹿纹"是传统吉祥纹样中的经典纹样之一,其蕴含的深厚文化精神与寓意,从古至今都被人们运用在生活的方方面面。本文通过对中国传统艺术形式上的"鹿纹"元素资料的整理与分析,对鹿纹纹样在陶瓷装饰中的文化意蕴、历史演变、图案寓意等有了一个较为全面地了解,在现代设计中,如何将"鹿纹"元素与现代设计相结合使其既不丢失传统艺术元素,又能融入时代气息,富有设计感,是笔者在设计创作和本文中重点思考和探讨的。     

青花缠枝莲纹的起源及审美

缠枝莲纹兴起在宋代，在元、明、清三代非常盛行。特别是青花缠枝莲纹作为主题纹饰或辅助纹饰被大量运用在陶瓷器面上。中国人为何如此喜爱缠枝莲纹呢？为何特别喜爱莲花？为何喜爱缠枝的表现形式？为何喜欢用青花来表现它呢？试对其起源和审美加以讨论。     

国画技法与青花瓷装饰的融合研究

国画是传统艺术的重要表现形式,国画创作充分反应了东方文化独特艺术内涵及人文精神,生动体现了中国民族的审美情趣及民族价值观。而青花瓷作为古代传统文化的重要载体,无论是陶瓷制作还是陶瓷艺术的展现都将国画风格作为其主要艺术基调。将国画技法同青花瓷装饰的融合体现文化艺术的包容性,同时国画技巧同青花瓷装饰的融合也是文化发展创新的结果。笔者从国画技法概述着手,研究了国画技法与青花瓷装饰的融合策略。     

试论服装服饰元素在古代陶瓷装饰中的显现

中国是世界上迄今为止唯一一个延绵不断的文化大国,它拥有深厚的文化底蕴。中国的陶瓷文化和服饰文化有着悠久的发展史,它们就像一对孪生姐妹,在这璀璨的中华文明中占有重要的一席。陶瓷装饰在不同的历史时期内,服装服饰都有其特有的文化价值和审美理念,本文主要对服饰式样在古代陶瓷装饰上的应用作一总结,使其古为今用。     

元代丽水保定窑青瓷化学组成的研究

应用质子激发Ｘ荧光分析技术测定了元明时期丽水保定窑青瓷胎和釉的化学组成,对保定窑青瓷胎和釉的主量化学组分和痕量化学组分的均匀性进行了分析。应用模式识别方法,将保定窑青瓷与历代青瓷的化学组成进行比较。     

Progress of ceramic research in the Shanghai Institute of ceramics, Academia Sinica

Research activities in the Shanghai Institute of Ceramics of the Chinese Academy of Sciences started in the early fifties after the founding of the People's Republic of China. The Institute is now an establishment devoted essentially to studies of inorganic materials with a broad spectrum of research projects relating to single crystal studies, glass (amorphous material) research, oxide and non-oxide ceramics research, ferroics studies, fast-ion conductor research, inorganic coating materials studies and research on ancient Chinese porcelain and glazes. Problems concerned with processing, characterization, microstructure and properties are involved. Other major branches of ceramic science and engineering are being studied in other institutions run by the Building Materials, Light Industries and Metallurgy Departments of the Government and some Universities and Institutions of Technology. This review gives an account of the works that are being carried out in the Shangai Institute. It is, however, not intended to be a complete coverage.     

Flame-synthesis of carbon nanotubes on silicon substrates and their field emission properties

We reported the flame-synthesis of patterned multiwalled carbon nanotubes (CNTs) on silicon substrate by a shadow mask and their field emission properties. It was found that CNTs with tangled and curved morphology were preferentially grown around the cracked edges of Ni dot pattern. A crack-induced catalyst-activation growth mechanism was proposed. The patterned CNTs fabricated by such a simple flame-synthesis method exhibited good field emission characteristics with uniform emission patterns and reproducible and stable emission behaviors, although the CNTs possessed many defective graphite layers and showed relatively higher turn-on and threshold field than other reported CNTs grown by chemical vapor deposition. Our results demonstrated that such a low-cost and scaleable CNT pattern fabrication process can be expected to have favorable applications in field emission devices.     

中国古陶瓷的断源断代

基于不同产地、时代的古陶瓷在原料配方、原料的来源和处理技术的变化和不同,其最终的元素组成模式也存在相应的特点和差异。这种差异使得利用古陶瓷的元素组成来进行古陶瓷的断源断代成为可能。随着现代分析技术的发展,可以提供快速、便捷和良好重复性的X荧光成分分析技术已日渐成为古陶瓷研究中的一种重要的分析手段。本文提出了X荧光成分法能真正应用于古陶瓷的断源断代的3个前提条件:(1)完备的古陶瓷物理化学数据库;(2)一套适合于古陶瓷无损测试分析的标准参考物;(3)分析者具有良好的古陶瓷工艺知识和多元统计分析知识的基础,并进行了系统的剖析。     

用铅同位素特征研究中国古代铅(钡)玻璃

研究了我国出土的一些早期古代铅（钡）玻璃,尤其是先秦时期铅（钡）玻璃的铅同位素比值特征,总结了我国铅矿床铅同位素组成特征,并将两者进行对比研究,从原料来源的角度判定了我国出土的先秦铅（钡）玻璃等是中国本土制造的．     

浅谈稷山螺钿漆器的设计与制作

漆,是我们的先民早于世界发现并使用的涂料,漆器是由简单髹涂技法逐渐发展为使用多种材质表现文化艺术价值的多种髹漆技艺的集中展现。螺钿髹漆技法源自夏商,盛于西周,兴于唐宋,成于元明清,历代能工巧匠经过千年的传承,形成了具有代表性的非物质文化遗产,稷山螺钿漆器髹饰技艺就是其中之一。观古人器物的精和美,无非材质不变、工序不变,匠人的不计时日、持之以恒,把我们优秀的传统文化通过技艺、图案、器型等文化符号展现给后人,延续至今。为此,应该把传统工艺作为我们艺术创作的基础,传统文化作为我们艺术创作的主线,传统作品作为我们艺术创作的继承和展示。     

关于中国古玻璃研究的几点看法

概要介绍玻璃的本质、古玻璃的名称,分析了当前中国古代玻璃研究的状况和若干需要深入研究的问题。指出了中国南方古玻璃的特点及与东南亚和南亚各国进行玻璃技术交流的情况。同时对中国南方古玻璃研究的相关问题进行了讨论。     

Microstructures of isotropic pyrolytic carbons

Microstructures of isotropie pyrolytic carbons have been examined by transmission electron microscopy, scanning electron microscopy and optical microscopy. Crystallite arrangements within the 0·5 μm dia growth features which make up these carbons differ greatly between high- and low-density carbons. Preferred orientations of crystallites are high in relatively large regions of the growth features of the high-density carbons while in the low-density carbons, the crystallites are in a tangled arrangement much as occurs in glassy carbons. The majority of the density defect in the low-density carbons is in the microporosity associated with this tangled structure and not in the large inter-growth-feature pores. Observations are made which suggest that the growth features are initially formed as free-floating particles before deposition on the substrate.     

Chromaticity changes of inorganic pigments in Chinese traditional paintings due to the illumination of frequently‐used light sources in museum

Optical radiation can cause permanent damage to the color of Chinese traditional paintings, which have extremely high responsivity in the museum illumination. In order to obtain quantitative influence laws of artificial illumination on inorganic pigments in Chinese traditional paintings and provide basis for choosing light sources, a long periodic illumination experiment was carried out to examine how prolonged exposure of three light sources (tungsten halogen, metal halide and white light emitting diodes), frequently‐used in museums, affect the chromaticity of five inorganic pigments [azurite (blue), cinnabar (red), orpiment (yellow), ancient graphite (black), clam shell powder (white)], commonly used in Chinese traditional paintings. Through the experiment, we found that the illumination causes a color change to inorganic pigments, and the degree of which is related to the photochemical stability of pigments and the high energy shortwave radiation in the light source spectrum. We also obtain the color change laws of the five pigments and the quantitative relationships of color damage for different painting types. These results can provide data basis for related research on Chinese traditional painting illumination and choice basis for light sources in museum lighting designs.