FURTHER STUDIES OF PORCELAIN GLAZES MATURING AT HIGH TEMPERATURES1

The investigation covers three fields of glazes: Series A contains 21 glazes with variations in composition as shown in the formula . Series B contains 10 glazes, each having the formula but having their clay content varying triaxially between Florida kaolin, North Carolina kaolin, and Kentucky ball clay No. 4. Series C contains 20 glazes with variations in composition as shown in the formula . The method of experimentation consists of grinding the corner glazes of each series wet, for 18 hours, cross blending the corner glazes to produce the intermediate glazes, applying the glazes by dipping to green porcelain discs, and firing them in commercial periodic and tunnel kilns to temperatures between cone 16½ and cone 19 flat. The glazes were examined with the naked eye and a 10 X pocket lens. The triaxial replacement of CaO by MgO and BaO , as tested, makes practically no change in the appearance of the glazes. With the pocket lens the bubbles in the glazes appear smaller and more numerous, near the BaO apex. When fired in the periodic kilns for 42 hours the transparency of all the glazes in- creases with the temperature. The glazes fired in the tunnel kiln to cone 19 flat in 31 hours are more opaque and smoother than in the periodic kiln at three cones lower temperature. The triaxial replacement of the Florida kaolin, by North Carolina kaolin and Kentucky ball clay No. 4 produces relatively little change in the fired appearance. The glazes containing all ball clay or a mixture of ball clay and North Carolina kaolin overfire at a lower temperature than do those containing all kaolin or a mixture of Florida kaolin and ball clay. The best glazes with 0.2 K₂O and 0.8 CaO have approximately an alumina: silica ratio of 1:9 and 1:11 for the field covered. These glazes are generally more trans- parent than the glazes with 0.3 K₂O; otherwise the results are similar. The conclusions are : (1) that the nature of the firing conditions are of the utmost importance in the development of a glaze, and (2) that an intelligent choice between glazes of equally desirable appearance requires a resort to petrographic method and mechanical tests.     

清凉寺窑汝瓷和张公巷窑青瓷釉的起源关系

为了探讨宝丰清凉寺窑汝瓷与汝州张公巷窑青瓷釉之间的关系,选取清凉寺窑汝官瓷釉样品31个,汝民瓷釉样品4个和张公巷窑青瓷釉样品32个,用中子活化分析(neutron activation analysis,NAA)测定每个样品中的24种元素的含量,并将NAA数据进行主成分分析及等级聚类分析.结果表明:常见着色元素Fe和Co汝官瓷釉的含量显著高于张公巷窑青瓷釉样品;汝官瓷釉料配方比较稳定,原料来源集中;汝民瓷釉料产地分散,且与汝官瓷釉料配方明显不同;张公巷窑青瓷釉料比较分散,但大部分样品与汝官瓷关系较近.由此,可以推断清凉寺窑与张公巷窑之间存在一定的联系.     

景德镇瓷坯料组成与性能的关系

景德镇瓷坏料通常是以两种或两种以上的瓷石与高岭土所组成。本文研究了以星子高岭土,大洲高岭土,南港瓷石和三宝蓬瓷石所组成的景德镇瓷坯料系统。分别测定了在１０５０、１１８０、１２６０和１３１０℃下烧成坯体的收缩率、吸水率、体积密度及显气孔率,讨论了不同烧成温度下所得瓷胎的性能与坯料组成的关系。     

景德镇历代青花瓷胎釉化学组成的多元统计分析

通过对４４个景德镇历代青花瓷的胎，釉化学成分别进行了多元统计分析，结果表明，根据景德镇历代青花瓷的胎，釉配方的演变规律，基本上划元，明，清三个阶段，综合胎，釉判别函数的判别时效，可较明确地推断未知样品的所属朝代。     

陶瓷与茶文化的联系及其影响

在我国茶文化发展历史长河中,唐、宋、明为其重要时期,唐代的青、白碗盏对烹茶文化,宋代黑釉盏瓶对斗茶文化,明代紫砂、青花瓷对泡茶文化都有重大的影响。唐、宋、明代的陶瓷器皿分别以其特有的审美功能,将茶文化提升到艺术的境界。     

晶相组成与中铝瓷机械强度关系的研究

本研究以粘土 ,长石和石英为基本原料 ,并引入煅烧铝矾土以满足配方中的Al2 O3 含量 ,制造出了中铝质高强度陶瓷材料 ,材料的抗折强度达到 14 0MPa。通过对中铝质陶瓷材料的XRD分析 ,研究了材料晶相组成与强度之间的关系 ,并探讨了其机理     

METHOD OF MEASURING STRAINS BETWEEN GLAZES AND CERAMIC BODIES1

A new test was developed for comparing the strains existing between different glazes or other ceramic finishes and the bodies to which they are applied. By its use these strains may be so adjusted that the finishes will be in suflicient compression to prevent crazing from subsequent expansion of the body without causing initial shivering. The new test is particularly valuable because the measuremen & are made on combinations of glaze and body prepared and treated almost exactly like those intended for regular use and because of the simplicity and cheapness of the apparatus required. A modification of the test provides a comparison of the moisture expansions of different bodies.     

影响中温日用细瓷粉体釉工艺性能的试验分析

通过对影响粉体釉稳定性能及水化效果等工艺性能的实验分析,优化了能提高中温粉体釉的添加剂种类及配比,为中温粉体釉的推广使用打下了基础。     

试论明代瓷器与家具在线型上的共通性

瓷器与家具是两个差异极为明显的工艺美术部类,在明代这两个部类都取得了辉煌的艺术成就。明代瓷器造型丰富,装饰多样。明家具更是在吸收借鉴以往历朝家具制造经验的基础上结合中国的文人文化,形成独具魅力的明式家具。它有与中国古建筑设计相统一的风格,有科学合理的使用功能和尺度,坚固牢实的榫卯结构,还有以线为主的造型形式。线在明家具中,具有极为重要的地位和作用。本文将探讨瓷器和家具造型中线型的共通性。两者的线在外观上有诸多的相似性,有相同的线的性格,以及由此而体现出的共同的文化内蕴,另外,从人机工程学的角度来审视二者在线上的处理,更有异曲同工之妙。     

DUPLICATION OF CHROME-BROWN ELECTRICAL PORCELAIN GLAZES WITH NONESSENTIAL MATERIALS*

This condensed report covers the development of a commercial glaze using cheap, nonessential materials in maximum amount. The results meet fully the more expensive glaze which is no longer available.     

论浅绛彩瓷在中国釉上彩瓷发展中的历史作用与影响

浅绛彩瓷为清末民初釉上彩中一代名品,在中国釉上彩瓷发展中具有承上启下、提升艺术家地位、推动艺术家个性觉醒等重要作用,对当代釉上彩瓷亦有重要影响,开启了文人画入瓷传统,形成各工序地位的尊卑差别。     

论浮梁瓷局在元代景德镇瓷业中的地位与作用

元代初年,元廷在景德镇设置浮梁瓷局。浮梁瓷局在元代景德镇瓷业发展中居于核心地位,对景德镇瓷业发展具有巨大的推动作用。     

THE WITCHERY OF GLAZES1

A paper showing the extent of research possible in glazes and the fascination of the work in that field. It is implied that the general chemist has little to offer to shorten the road that must be followed and that the work is reward enough for the labor involved. It is shown that the artistic temperament functions in this work along with the scientific temperament.     

钧瓷的兴衰与发展

从大量的历史文献资料及古代钧窑遗址出土的许多钧瓷残片证明,我国宋代五大名瓷之一的钧窑源于唐代,研制于五代,成熟于北宋初期,兴盛于北宋中晚期。经历了由民窑到官窑,又民窑再官窑的发展阶段,开辟了我国陶瓷颜色釉的先河,为瓷器的装饰艺术提供了广阔的空间。     

青花陶瓷风格与民族精神文化

元代,景德镇白地蓝花的青花瓷烧制成功后,陶瓷绘画进入崭新的时代,成为中国瓷器生产的主流,景德镇也由此成为中国的瓷都。元青花瓷质细洁而色白,釉下彩的蓝色彩绘,幽青可爱,造型雄浑,图案装饰雅俗共赏。具有典型的中国民族特色,它契合了我们民族精神文化。     

卫生瓷激光补釉用低温无铅无镉釉料的研究

研究了用激光局部成釉修复卫生瓷表面缺陷及使用的低温无铅镉熔块釉组成、制备工艺和性质。     

清代、民国时期的刻瓷艺术

刻瓷作为中国传统陶瓷装饰技法之一,采用钻石等硬质工具在瓷器上镌刻出山水、花鸟、动物、人物、书法等纹饰,根据画面需要再填以墨彩。刻瓷作品观之有形,触之有感,既有"金石之韵"又有"笔墨情趣",风格迥异,自成一科,极具魅力。一件体量不大的精美刻瓷作品,在制作过程     

构成的形式法则与陶瓷壁画设计

构成的形式法则应用于陶瓷壁画设计之中有着重要的现实意义。本文主要通过对构成形式美法则的分析、研究并结合陶瓷壁画设计,充分论述平面构成、立体构成、色彩构成、肌理效果在陶瓷壁画设计中的应用。     

论清代广彩瓷与中西文化交流的关系

广彩瓷是东西方文化、贸易交流的产物,既与中国传统瓷艺有着较深的渊源关系,又融合了西洋油画技法、装饰题材,自成格局。它是中外交流史上具有典型意义的文化现象。     

传统绘画与粉彩装饰之工笔花鸟形式语言比较

现代粉彩工笔花鸟装饰是在继承中国传统工笔花鸟画的基础上发展壮大起来的,两者在形式语言上存在着相似性,但又有显著差异。二者相同之处表现在丰富多样的构图、以线造型的技法和注重写实的色彩等各方面,不同之处则表现在适形的构图、材料的质感和复杂的工艺等方面。