关于陶瓷彩绘装饰艺术的研究

基于新时代创新发展背景下,受新观念、新思想等因素影响,陶瓷彩绘装饰方式、风格、艺术特点等发生显著变化,传统化陶瓷彩绘装饰工艺较单一,无法充分地凸显出陶瓷艺术价值,并在彩绘装饰过程中,也会影响装饰效果.对此,还需在此方面重点分析,无论模式装饰方式还是彩绘风格等,均能有较强的时代性、创新性,推动陶瓷彩绘装饰多元化发展,在整...     

汲古取新 情真韵远——读《吴淑云花鸟瓷绘作品选》

正作为陶瓷艺术品,乃是由陶瓷的材质、造型与装饰所组成。彩绘是陶瓷艺术品重要的装饰手段之一,依赖于陶瓷造型为载体,陶瓷造型却又因装饰之得体合度、精奇出新而更彰显其艺术性。因为造型本身已是一种艺术,装饰也是一种艺术。因此,优秀的陶瓷彩绘作品,必然是两者之完美结合。陶瓷彩绘之与绘画,因缘深远。然陶瓷彩绘艺术品毕竟不同于平面的绘画。这是因为,一是陶瓷造型的千变万化,使陶瓷器表的展开图之丰富性,为纸张等平面绘画所不能比拟;二是受陶     

中国画对陶瓷装饰的影响探析

从元代起中国陶瓷进入了以彩绘为主时期,明清是陶瓷彩绘的鼎盛时期,中国画被大量运用到陶瓷上,成为陶瓷装饰的主导。从文化等角度探讨中国画对陶瓷装饰的影响。     

追求艺术,锲而不舍

中国的陶瓷装饰工艺历史悠久,有丰富的文化积淀,在陶瓷器皿上进行彩绘,是陶瓷装饰的一项重要手段,经过美化了的陶瓷作品,既能提高陶瓷作品的文化品位,又能给人以美的视觉享受,陶冶人们的情操. 陶瓷彩绘艺术作品,讲究的是造型严谨、形象生动、格调高雅、意境深长,给人以无限的遐想和回味的空间.特别是进行中国画山水题材的创作彩绘,应该是器型与装饰彩绘的完美结合,装饰彩绘的技艺水平将直接影响作品的艺术效果.作者应该有工笔画或大写意的功力,才能创作出造型生动、线条流畅、构图完整和色彩丰富的陶瓷作品.     

潮州陶瓷彩绘装饰艺术

潮州陶瓷彩绘装饰是继承人类制瓷技术经过集体传承和历史积淀而不断发展的一项陶瓷装饰艺术。其艺术形成和地方风格的形成与社会的进步、经济的发展、文化艺术的繁荣紧密相连的。陶瓷山水画彩绘是陶瓷装饰艺术的一个重要表现内容,潮州陶瓷山水画的一个显著的     

谈陶瓷彩绘花鸟画的创作

<正>中国的陶瓷装饰工艺历史悠久,中有丰富的文化积淀,在陶瓷器皿上进行彩绘,是陶瓷装饰的一项重要手段,经过美化了的陶瓷作品,既能提高陶瓷作品的文化品位,又能给人以美的视觉享受,陶冶人们的情操。形态各异的瓷器,配上精美的装饰纹样,能有效地提高瓷器的实用性、观赏性和艺术性,提高其经济、技术含量,使其身价倍增。运用中国画花鸟技法对陶瓷进行彩绘装饰,是提高陶瓷作品的经济技术含量的重要手段之一,也是陶瓷彩绘技艺人员乐于选择的题材内容。     

陶瓷彩绘的艺术

陶瓷彩绘即是在瓷胎器皿上,根据人们的审美需求,利用各种陶瓷材料和工艺技术进行描图、填色、烧成。陶瓷彩绘总体有釉上和釉下,还有两者之间的釉中,其彩绘门类有古彩、粉彩、青花、颜色釉、综合装饰等等。彩绘陶瓷应注意到陶瓷本身所独具的特点,例如,胚胎的性质、釉水的配制、造型的变化等。随着陶瓷行业的发展陶瓷彩绘经历了漫长的演变过程。陶瓷彩绘作为依附于陶瓷这一载体的装饰形式,具备着弥补造型缺     

陶瓷装饰彩绘的构图

陶瓷装饰彩绘的艺术形式、风格,社会功能的从属性,生产方式的工艺性,这三者是有着一定的相互联系,社会功能的从属性决定其生产方式。陶瓷装饰彩绘在形式上的装饰性也不完全是由个人的爱好,而往往是在适应客观对象的要求,克服工艺制作局限的过程中自然产生的。陶瓷装饰彩绘的装饰性,表现在构图、造型、色彩等多个方面。     

铁锈花与文人画

陶瓷彩绘的历史可以追溯到六,七千年前的原始彩陶艺术,以后绵延不断,如秦始皇陵兵马俑,汉代彩陶。但都是在烧成的素坯上用红、黑、白等土料施绘而成。这种彩绘不能耐久常新。唐三彩已初具陶瓷彩绘的意味。而利用金属氧化物作绘料的陶瓷高温装饰,应当说出现于宋代磁州窑。磁州窑铁锈花装饰在宋代诸窑中是独树一帜的,它不仅开创了陶瓷装饰艺术的新局     

浅谈陶瓷彩绘牡丹花的创作

陶瓷装饰彩绘的题材十分丰富,花鸟彩绘是陶瓷彩绘中的一种重要表现形式,牡丹花是人们乐于选择的表现题材内容之一。陶瓷彩绘牡丹题材的作品在体现出作品美感的同时,也体现作品文化积淀厚重,更具生命力。     

景德镇渣胎碗纹饰管窥谈

就景德镇民窑制作的青花瓷碗的史实,阐述纹式装饰的个中奥秘,并随其体现的情感特征,意象式的线型语汇、象征形式以及现代审视的观点,择其要点,一叙管窥之见。     

FIRING CERAMIC WARE WITH GAS1

The significance of the terms oxidizing and reducing kiln atmospheres to the ceramists and the gas engineer is discussed. The applications, advantages, and comparative costs of various fuels used in the ceramic field are considered.     

Rietveld Quantitative Analysis of Buen Retiro Porcelains

Porcelains represent the foundation of the ceramic discipline. The variable-phase assembly within porcelains makes these materials very complex ceramics. Fine porcelains from Buen Retiro were produced between 1760 and 1808 by Spanish court ceramists. The factory and its records were totally destroyed in 1812 during the Peninsular War. Recently, some pieces of porcelain and remains of whiteware belonging to the ancient factory were discovered during an excavation. In the present work, some of the secret formulas that enabled the Spanish ceramists to produce porcelains have been investigated by quantitative full-phase analysis (including amorphous content) using the Rietveld method. Three porcelains belonging to the Sureda period (1803–1808) and another from an earlier time of the factory (1760–1783) have been analyzed. The phase results are discussed and conclusions are derived by using appropriate phase equilibrium diagrams. It has also been found that the Rietveld quantitative amorphous content analysis is effective in determining the glassy content in porcelains.     

艺术陶瓷产品开拓欧盟市场的策略

我国艺术陶瓷产品在国外享有较高的声誉,但在欧盟市场占有率偏低。本文通过分析欧盟艺术陶瓷的市场特点、存在的问题,探讨我国艺术陶瓷在欧盟市场的发展策略。     

“建水陶”的审美内涵与装饰语言新气象

始于宋代的建水制陶业在清代发展出“刻填装饰”与“无釉磨光”相结合的装饰工艺。清末民初的几代陶艺师凭借自身的传统文化修养在这一独特的“刻填”工艺的基础上创造出了充满文化气息的“建水陶”陶艺品种。然而,由于区位条件及复杂的社会原因使“建水陶”的发展在其后的数十年中陷于停滞状态。近年来,随着文化消费热的兴起,“建水陶”呈现复苏的景象。但单纯的经济驱动力只能让“建水陶”的生产停留于工艺品的层面,大多“建水陶”作品因陶艺师自身的局限而没有构建起自己的艺术语言。在“建水陶”的审美价值普遍被误读的今天,青年陶艺家向进兴的陶艺作品为释放“建水陶”内在的艺术魅力提供了可实践的经验,让我们得以重新理解“建水陶”装饰语言的文化内涵。     

MINERALS AND MINERAL RELATIONSHIPS OF THE CLAY MINERALS *

The invitation to be the Edward Orton, Jr., Fellow Lecturer of the American Ceramic Society for 1945 is a very great honor and a privilege which one interested in the mineralogy of clays must heartily appreciate. Dr. Orton was a geologist as well as a founder of this Society, and no doubt in issuing this invitation you had in mind the maintenance of this historic relationship. Those of us who follow him cannot add to that relationship, but I hope that I can help to foster it. Perhaps not all geologists know of this common ground between ceramics and geology as you do, and no doubt you would have me remind my geologic colleagues of this and of the mutual contributions which its maintenance entails. Another common bond of interest is that ceramists have made use of mineralogic and petrographic techniques to an extent not matched in any other applied science. In particular, they have utilized the petrographic microscope, and ceramists and mineralogists alike have found in X rays a wonderful new method of research. Clays, the subject of this lecture, should provide a common meeting ground and one which no doubt would win the hearty approval of Dr. Orton.     

关于日用陶瓷的设计与创新

日用陶瓷具有物质功能和文化功能双重属性 ,在市场经济条件下 ,日用陶瓷要加快发展 ,就必须赋予日用陶瓷更多的艺术与文化 ;要增强陶瓷的文化功能 ,就要引领陶艺、绘画、雕塑等艺术家参与日用陶瓷设计 ,并认真研究各国、各民族的特色艺术与文化 ,有针对性地设计开发出适应市场需要的产品     

当代生活陶艺设计中媒介语言运用综述

生活陶艺的设计是通过泥、火、釉三大媒介语言来传达的，陶土与釉料的可自由发挥度与烧制方式带来的不可预期性的奇妙结合，给艺术家的灵感、想象和智慧提供了极为开阔的活动空间，使技艺、激情和思想可以自由驰骋其中。     

ON THE STRENGTH OF HEAVY CLAY PRODUCTS

The published strengths of standard clay products have been formulated in simple equations (1) for placing the information in a simple compass for architects and ceramists, (2) to show the law of variation in terms of properly chosen variables, (3) to aid in appropriate selection of variables in devising future tests. The author assumed that a plus or minus variation or “tolerance” of 10% from the averages found by tests would be acceptable to manufacturers and ceramic engineers and has endeavored to keep well within these limits.     

Using phase diagrams to deal with moisture expansion

Consensus has it that the post-fabrication moisture expansion of fired clay-based materials is governed by the presence of amorphous and/or vitreous phases. In this work, very simple calculations using the lever rule and the phase diagram of the Al₂O₃–SiO₂–K₂O (A–S–K) system, were used to show that the experimentally observed dependencies between moisture expansion and the A/S and K/A weight ratios in clay-based compositions can be correlated with the amount of liquid phase formed during the initial melting of the composition, which remains in the fired body as a vitreous phase. This correlation might, if judiciously used, help ceramists in the choice of additives and/or processing conditions, while avoiding changes in the firing temperatures. Also, the results obtained throw a sharper light in the dual and, in this respect, antagonistic role played by the liquid phase during firing.