基于特征提取的古陶瓷鉴定研究

特征提取本质上就是利用一定的规则将高维样本数据转移到低维特征子空间中,有利于特征分类及提取的一类方法。对图像进行特征提取是定量化研究古陶瓷的基础性工作,为后续古陶瓷鉴别提供条件。本文以景德镇窑不同历史时期撇口碗图像为研究对象,对其器型轮廓特征提取进行了Matlab分析与实现。实验结果表明,不同时代撇口碗器型轮廓具有明显的时代特征,是区分不同时期撇口碗和研究撇口碗器型结构的关键性指标。     

耀州窑陶瓷纹饰的数字化保护方法研究

耀州窑陶瓷有着深厚的历史底蕴和无穷的艺术魅力,但仍面临着许多发展的困境。为了使其更好地发展,针对研究对象的特征,对耀州窑陶瓷纹饰的数字化保护方法进行探究。以耀州窑陶瓷纹饰为研究对象,考虑各种数字化技术的优缺点,制定一个简便、易操作、节省资金并且可以充分还原纹饰图案的同时,即结合平面数字化技术、手绘和平面绘图软件,使其不因图片的放大和缩小而产生变化的耀瓷纹饰数字化方案。耀州窑陶瓷纹饰的数字化保护实现了传统意义上保护方式所不能达到的展示要求与保真效果,从而可以更加高效和便捷地保护和传播弥足珍贵的艺术文化资源。     

富平银沟遗址青瓷标本的类型学分析

富平银沟遗址位于陕西省渭南市富平县华朱乡东北部银沟村。经过为期两年的考古调查与勘探,在该地区发现和搜集了大量的精美陶瓷产品。其中青瓷产品占比最大,具有很高的研究价值。本文主要通过选取银沟地区青瓷器形较为完整,并具有典型代表性的青瓷标本进行类型学的整理分析。根据器形,青瓷标本可分为碗、盘、盒、钵、香炉、瓶、罐、壶等。通过与耀州窑典型青瓷器的器形与纹饰对比,从器物的类型学解析银沟遗址青瓷器的烧造年代时期。     

耀州窑刻划花装饰综述

耀州窑是北方青瓷的代表,以湿坯刻花装饰擅长,线条流畅立体感强,以刀代笔耐人寻味。主要以传承耀州窑刻花技艺为目的,通过对耀州窑陶瓷不同历史时期发展脉络的梳理,分析目前耀州窑陶瓷传承与发展的现状,探索耀州瓷装饰技艺的创新表达和设计方法,展现当代耀州窑陶瓷发展的新面貌,使之在传承中更好的生存与发展。     

结构特征分析在景德镇梅瓶鉴定中的应用

利用数字图像处理软件MATLAB对宋、元、明、清时期景德镇地区所产的梅瓶进行器型结构提取识别,并利用统计分析方法对所测样品结构特征指标进行分析研究。研究结果表明,在结构特征识别分析模式中,景德镇地区不同时期所产梅瓶呈不同区域分布。该分析模式方法弥补了传统鉴定中肉眼区别不同时期梅瓶的局限性。     

耀州窑传统制瓷工艺的交互展示方法研究

耀州窑具有深厚的文化底蕴,其制瓷工艺传承一千四百多年。本文沿着耀州窑历史发展轨迹,对各个时期的制瓷工艺进行剖析,包括时代、纹样分类、装饰手法、釉色、烧成方法及其文化内涵。研究了耀州窑制瓷工艺交互展示设计的必要性,并列举已有的交互展示方式,使其能够应用在耀州窑制瓷工艺的展示中。通过对其交互展示方式的研究,让人在了解耀州窑制瓷工艺魅力的同时沉浸其中,对其产生深厚的兴趣,从而达到传播效果。     

宋耀州窑与磁州窑植物纹样的装饰方法研究

以宋代北方两大民间瓷窑耀州窑和磁州窑的陶瓷植物装饰纹样为研究对象,从设计学的角度分析耀州窑和磁州窑陶瓷的植物纹样装饰艺术风格及特点,利用符号学的基本理论对植物纹样进行比较研究,并总结出二者相同与不同的表现形式。     

浅述原始信仰对耀州青瓷纹饰的影响

北宋是我国制瓷业全面发展的顶峰时期,耀州窑是宋代的六大窑系之一,器型以日用瓷为主,器物淡雅。作为北方青瓷的重要代表其主要特点是装饰方法多样,纹饰丰富多彩,有刻花、印花、雕花等手工装饰,其结构严谨饱满,线条自由而流畅。纹饰大多满布于器型的内外,种类繁多且以花草鱼兽为主,风格粗放健美且生动自然,是中国传统装饰艺术发展的主要代表,如此琳琅满目的纹饰让人不禁感慨古人的审美与智慧,想要探索其渊源。除此之外,宋代早期至中后期的统治阶级的政治主张和对待疆土的政治态度的转变在历史上作用较大,在此背景下人们的宗教信仰越发的明显。选择研究原始信仰对北宋耀州青瓷纹饰的影响,结合当代意识观念为主导的艺术发展状态,把青瓷的纹饰表现与宗教文化、原始信仰结合加以分析,具有一定的研究价值。     

陕西秦俑馆昨日起展出187件耀州窑陶瓷文物

187件（组）耀州窑珍贵陶瓷文物从1月10日起，在秦始皇兵马俑博物馆陈列室展出。本次展览精品多、品位高、价值大，集中反映了耀州窑博物馆近年来考古发掘、文保科研，以及文物征集、陈列展览的新发现、新成果。此次展出的耀州窑唐代至清代各个历史时期的珍贵陶瓷文物，全部为耀州窑瓷器的典范之作，共187件（组）。其中2002年以来耀州窑陈炉窑址考古发现和耀州窑博物馆近年征集的部分精品为首次公开展出。     

利用激光裂解气相色谱法定性分析聚合物

以CO2激光裂解器和SC100型气相色谱仪组成一套裂解色谱装置,在裂解室对标样聚乙烯切片、聚氯乙烯切片和聚丙烯切片进行裂解色谱试验。得出样品标准图谱用以定性分析,并对未知聚合物的聚集态、化学结构和聚合物主要成份进行鉴定,考察了裂解温度、柱箱升温速率、载气流速、色谱柱尺寸等因素对裂解色谱分析的影响,收到了一些有益的效果。     

Characterization of the rare oil spot glazed bowl excavated from the Xiao kiln site of north China

“Oil spot”, which is a famous decorating technique of black glazed porcelain in the Song Dynasty, is a representative handicraft of Jian bowls found in the Jian Kiln in southern China. An oil spot black glaze bowl was found in the Xiao Kiln in Anhui Province in a field investigation, which is the first time that this pattern of porcelain was found in this area. Various techniques were performed on this bowl and on another black glaze porcelain piece from the same archaeological layer, including optical microscopy, scan electron microscopy, XRF, Raman spectromicroscopy and XRD. The results show that its main chemical composition is similar to the black glazed porcelain from the Xiao kiln, and the chemical characteristics of the glaze are high Fe₂O₃ (5.14%) and CaO (7.26%) and low Al₂O₃ (11.85%) and the RO content is 0.83which is indicative of a calcium glaze and is close to the components of oil spot porcelains from Shanxi in northern China. The ferric oxide crystalline on the glaze surface indicates the phase transformation of γ-Fe₂O_3→ε-Fe₂O_3→α-Fe₂O₃ in the crystallization layer on the glaze surface and the anorthite crystalline at the junction between the body and the glaze. The vessel could be produced at a relatively high temperature in a specific oxidizing environment.     

Angle dependence of Jian bowl color and its coloring mechanism

Jian bowl is generally known for its artistic appearance such as hare's fur and oil spots caused by the crystallization of iron oxides on the glaze surface. While very few Jian bowls have angle-dependent colors, scientific research on the topic is lacking owing to the scarcity of relevant samples. In this study, the angle-dependent colors of Jian bowls were systematically studied using various characterization techniques, such as angle-resolved reflectance spectra, X-ray diffraction, micro-Raman, field emission scanning electron microscopy, energy dispersive X-ray spectroscopy and atomic force microscopy. The angle dependence phenomenon of Jian bowl colors was classified into two types, and the coloring mechanisms were clarified. The first type of coloring mechanism is assumed to be coherent light scattering by an amorphous photonic structure formed during the firing process, which has weak angle dependence. The second type of coloring mechanism is thin-film interference, which has obvious angle dependence and is closely related to the corrosion process of Jian bowls in the burial environment.     

The mechanism of “flint red” and its relationship with celadon glaze color

"Flint red" is the red narrow band found in the exposed body of porcelain, which is a common phenomenon in ancient porcelain. Some experts believe that flint red is an important symbol for judging the age of ancient ceramics. This paper takes sky-green Yaozhou porcelain as the example, and successfully fired samples of Yaozhou porcelain with flint red, and reveals the formation mechanism of flint red. This study uses XRF (X-ray fluorescence), XRD (X-ray diffraction), SEM (Scanning electron microscope) and non-contact imaging spectrophotometer analysis to discover for the first time that during the reduction process, the iron of the glaze migrates to the body with the melt in the gas phase, and the flint red is a hematite thin film formed on the body after being oxidized for the second time during the cooling process of the kiln. The influence of the redox atmosphere and placement mode of ceramics on flint red were studied. The relationship between flint red and the degree of color reduction of celadon glaze surface was discussed. In addition, the growth method of hematite film is enlightening for the preparation of anticorrosive coatings on steel products, and has broad application prospects.     

刍议南宋中后期景德镇青白瓷瓷业衰落之原因

青白瓷,是宋代以景德镇为代表烧造而成的一种具备特殊风格的瓷器,它以其典雅素净成为中国陶瓷史上一朵别样的奇葩。元代后,青白瓷的身形便从我国瓷器制造中慢慢退出,终至绝响。可以说宋代的青白瓷代表了当时制瓷业的最高水平。但是奇怪的是,包括佐藤雅彦在内的很多古瓷专家认为:纵观整个宋代,南宋景德镇青白瓷质量却不如北宋。笔者不竟为之费神,是南宋时烧窑技术不高?但在北宋景德镇早已出现了大量巧夺天工、技艺精湛的陶工。为什么该地区青白瓷在南宋中后期会走下坡路?其背后的推手究竟是什么?该问题令笔者逐新趣异,产生研究兴趣,本文试图从原料、工艺、窑址、历史、税收等主客观两方面着手,剖析其存在的外在和内在原因,以求能够尝试解答于包括笔者在内有心于此问题的青白瓷爱好者和研究者。     

论北方陶瓷绘画的宋代磁州窑系瓷绘

中国陶瓷绘画在景德镇时代以前 ,有南、北风格之分 ,宋代磁州窑系陶瓷绘画属于北方风格。磁州窑系围绕着北宋皇城汴京的地理位置而受皇家绘画影响力的辐射 ,是磁州窑系陶瓷绘画北方风格的基础。故虽在一定程度上接受唐代长沙窑的影响 ,但还是以其固有基础显示了自身特色     

中国瓷器款识的演变

对中国历代瓷器款识的基本发展状况及其成因作深入浅出的分析,旨在剖析其深层次内涵,使人们对中国瓷器款识的演变脉络形成清晰的印象。主要分为明代以前、明代、清代三个时期进行系统分析,其中更着重分析明代这一款识形成和兴起的重点时期。     

略论宋瓷"刻花"装饰

宋瓷刻花是我国陶瓷装饰史上的典范 ,它把装饰与材质完美结合 ,充分体现了瓷的材质美     

Micro-structural study of Yaozhou celadons (Tang to Yuan Dynasty): probing crystalline and glassy phases

The Yaozhou kiln complex is a representative production center of ancient northern China, famous for the celadon production. In this work, bubbles, glassy matrix and residual crystals of celadon glazes produced from the Tang to Yuan Dynasty were analyzed by using optical microscopy, Raman spectroscopy and scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS). The results revealed that the Song, Jin and Yuan productions present bigger bubble and higher area ratios of the Si-O bending over stretching modes than the Tang and Wudai productions. This is consistent with firings at higher temperatures during Song, Jin and Yuan Dynasties. It is also in agreement with the historical studies, which revealed the change from wood-firing to coal-firing during Song Dynasty. The observation of calcium phosphate in Yaozhou productions indicated that the glaze ash had been used. No iron-based particle was identified by Raman spectroscopy in the glazes of all periods. The green color is certainly due to iron ion dispersed in the glassy matrix. Our study also confirmed no significant change in glaze raw materials used for Yaozhou productions from Tang to Yuan Dynasty.     

旬邑窑初探

七十年代末发现的旬邑安仁古瓷窑，属耀州窑系的以烧制民间日用瓷为主的民窑。它丰富多彩的造型与纹饰为研究耀州窑系古瓷提供了新素材。研究结果表明旬邑窑黑釉与酱色釉也是一种析晶－分相釉，分相形成机理与著名建盏的金、灰、黄兔毫相似。     

清代中后期青花山水瓷画艺术衰退原因探析

清康熙时期是青花山水瓷画发展的巅峰时期,康熙之后的清代中后期,青花山水瓷画出现了显著的衰退,釉上彩瓷的发展与社会审美思潮的变化、复古倾向与山水画水平的下滑等是清代中后期青花山水瓷画艺术水平衰退的主要原因。