浅议马家窑文化彩陶纹样

陶器的发明是人类迈向文明门槛的见证,马家窑文化的彩陶更是达到了中国早期彩陶艺术的巅峰。本文论述马家窑文化彩陶的类型和特点,分析了纹样图案与图腾崇拜、生殖崇拜、巫术之间的内在联系,最后从装饰艺术的角度对马家窑彩陶纹样进行概括分析和总结。     

红山文化彩陶纹饰艺术思想研究

通过对红山文化彩陶纹饰艺术风格的特征与成因分析,试图使用符号学、图像学的原理挖掘彩陶纹饰背后艺术思想所包含社会寓意与精神诉求,从而更直观的解析出红山先民在原始文明时期真实的生活状态。     

仰韶彩陶艺术的综合研究

仰韶彩陶艺术开创了我国彩绘艺术的先河,它的优美造型与绚丽多姿的彩绘和谐统一,动物纹从写实到写意,植物纹图案化,几何纹变幻奇妙,其文化内涵丰富深厚。     

新石器时代粤闽台彩陶文化

以镂孔、刻划纹、彩绘相结合为特征的环珠江口沙丘遗址彩陶文化,以印纹陶瓷加彩绘为特征的昙石山彩陶文化共同构成了粤闽台彩陶文化。以几何纹饰为特征的芝山岩彩陶文化。粤、闽、台彩陶文化与长江流域彩陶文化存在密切交流关系。     

Analyses of the white barbotine decoration of two Roman pottery groups

White barbotine is a rare decoration form in Roman pottery production. It was applied on three main pottery groups from the 2nd to the 4th century AD: on the Samian ware from Rheinzabern, on the black coated ware from central Gaul and on the motto beakers from Trier. This kind of decoration has not yet been analysed with scientific methods. As a part of a research on the black coated ware in Pannonia some motto beakers from Trier and some samples of Samian ware from Rheinzabern were analysed with XRD, petrographic and EDS-EDX methods to get information about the technique and the material of the white decoration. The results show that the raw material of the white barbotine decoration is white clay. Two types of applications can be distinguished: one method was to fire the barbotine together with the vessel at a temperature of about 950 °C. This method is characteristic for the majority of the barbotine decoration on Samian wares from Rheinzabern. In the second method the raw white clay was first fired at a high temperature (about 1100 °C) and then crushed. Water and perhaps potash-rich materials were added to this mixture to give it the proper consistency and plasticity to draw motifs on the surface of the coated vessels. This technology could be observed on some Samian wares from Rheinzabern and on all of the motto beakers from Trier.     

中国古代白陶

白陶是我国史前制陶工艺杰出代表,它的工艺成就可以与北方的彩陶和山东黑陶相媲美。虽然我国有大量史前白陶出土,但是对于白陶的科学研究相对较少,且主要局限于中原地区白陶。本文就白陶的考古发掘状况、白陶源流与传播研究、白陶的科学研究进展及需要解决的问题进行了总结。     

古希腊彩陶与中国原始彩陶装饰内容的对比研究

本文仅从自然纹样、几何纹样方面总结了古希腊彩陶与中国原始彩陶装饰的内容,对其所产生的异同进行了简要的探讨,并概括分析了产生差异的原因。     

界首彩陶的营生方式考察与资源开发研究

界首彩陶作为国家非物质文化遗产蕴含着丰富的文化和思想,形成了独特的工艺语言。笔者针对界首彩陶的艺术特征和传承现状,结合界首彩陶地域文化、经济等因素,考察分析界首彩陶市场营生方式,从非物质文化遗产保护和资源开发的角度,提出深化传承和开发界首彩陶的思路。     

彩陶纹饰审美探析

尽管彩陶纹的制作年代已经离我们远去，但是彩陶纹所达到的艺术造诣却令人叹为观止。从彩陶纹的演绎过程以及思维方式和符号的推理来探析彩陶纹饰的审美尤为必要。中国的文化一脉相承，只有继承传统的优良才能开启未来的成就。     

Encapsulated carbon black prepared by sol–gel-spraying: A new black ceramic pigment

As a new black ceramic pigment, encapsulated carbon black pigment has been prepared by a sol–gel-spraying method. The obtained pigment sintered at 900 °C for 2 h in air has a deep black hue (L* = 19), indicating carbon black can be fully covered. In the pigment, a dense coating layer on carbon black is formed due to the fast transformation from sol into gel by rapid extraction of solvent. The transparent silica phase spaces out the fine crystalline (zirconia or zircon), which permits to display the color of carbon black. This preparation method provides a way to prepare the encapsulated pigments. It will provide more colorful ceramic pigment applied in ceramic decoration by encapsulating.     

浅谈紫砂刻画装饰工艺

宜兴紫砂陶刻画工艺是宜兴紫砂工艺中一个重要的艺术表现门类,本文从紫砂陶刻画的起源、演变及其发展过程,阐述了紫砂陶刻画的装饰工艺的特点及其艺术魅力.     

陶艺语言装饰传统面具的尝试

将陶艺语言引进传统面具装饰。陶土和颜色釉的大胆运用,改变了传统面具的材料结构,拓宽了面具的表现形式。陶的粗犷朴实与色釉的细腻光泽质地所形成的对比,使陶艺面具既传统又现代;面具的文化内涵逐渐从宗教、祭祀向娱乐、世俗的方面变化,让古老的面具艺术充满活力,焕发青春。在表现手法上,在使用陶土、颜色釉制作面具的同时,引进了陶艺创作中的"综合装饰"手法,运用刻划、施釉、肌理等语汇,相互结合,综合装饰,作品引人注目,别具一格。     

陶艺作品中线的运用探讨

我国的陶瓷艺术不仅有着悠久的历史,具有优秀传统,而且有着独特的造型手法和装饰风格。本文主要阐述了线在艺术陶瓷造型与装饰中的主导地位和作用,以及它所体现在艺术陶瓷造型与装饰上所产生的不同艺术特色。     

Non-invasive Raman analyses of Chinese huafalang and related porcelain wares. Searching for evidence for innovative pigment technologies

Eighteen Chinese painted enamelled porcelains and three Chinese enamelled Yixing stonewares dated to the 16th to 19th centuries and kept at the Musée national des arts asiatiques-Guimet (MNAAG), have been analysed with a mobile Raman set-up to identify their enamelling technology. Different Grand Feu (leadless or lead-poor colourless and blue enamel) and Petit Feu (lead-rich red (hematite), yellow and green (Pb-Sn/Sb/X pyrochlore) and black enamels) glazes were respectively identified on wares from the wucai group, the Famille verte group, and the huafalang group. Calcium phosphate was detected in a 17th century vase as a rare opacifier. Cassiterite was identified in the light green glaze of an imperial huafalang bowl dated to the final period of the Kangxi reign (1662–1722), ca. the 1st quarter of the 18th century. Lead arsenate was identified in the blue glaze of two artefacts, a huafalang bowl and a painted enamel water dropper, and in the blue enamel of a 19th century Yixing teapot. Lead arsenate found in some of the blue enamels appears to arise from the arsenic content in Erzgebirge cobalt ores (Saxony) and not due to voluntary addition. This may prove the use of raw materials or enamel powder imported from Europe in developing these opaque colours. The use of lead arsenate as white opacifier is clear for a water dropper bearing the Yongzheng emperor's mark (r. 1723–1735). The technological palette appears different for the artefacts expected to originate from the same period and provenance (imperial workshop) which is consistent with a period of intense innovation, open to technological skill from abroad – i.e. from French/European painted enamel technology – as revealed by ancient French (Jesuits) and Chinese historical reports.     

浅谈紫砂壶的文化内涵

紫砂壶作为一种传统艺术,古今往来,不仅深受普通百姓的喜爱,也得到了许多文人雅士的欣赏。综观紫砂壶艺,它不仅有着端庄清丽的迷人风采、气韵生动的造型艺术,也包含着深厚的文化底蕴,其内涵根植于质地、造型、装饰、做工的互相结合之中,通过器皿造型艺术与砂泥的质地美来显示其古朴、高雅的形象,给人以精神的感受与愉悦。     

Material Evidence for Multiple Firings of Ancient Athenian Red‐Figure Pottery

The production of Athenian fine ware pottery, produced between the 6th and 4th centuries B.C., required alternating the high‐temperature kiln between oxidative and reductive environments during a single firing to create the iconic red and black decorative scenes. Here, we show that the production of this pottery was even more complex, with vessels subjected to two, or possibly more, firings in the kiln, with applications of slip between each firing. On a representative sherd, we compared three painted black decorative features—relief line, contour line, and background slip. Scanning transmission electron microscopy (STEM) of the slips revealed that the relief line had a more melted microstructure than either the contour line or background slip. By characterizing the chemistry and micromorphology of the slips, we find that the relief line microstructure could only be produced through a separate firing, at a hotter temperature, than the other two decorative features.     

陶瓷制品装饰计算机辅助设计的研究

研究了陶瓷制品图案设计的方法，对自由曲线形成的图案进行探讨。     

宜兴均陶的历史和未来

均陶之美,首在施釉艺术装饰均釉,从明代开始盛行,而从清代乾嘉年间到晚清,乃至当今,都涌现出了不少均陶名艺人。他们在继承和发展中寻找平衡点,赋予传统的均陶艺术以新的文化内涵。     

Multi-analytical characterization of Cucuteni pottery

Based on a multi-pronged investigation involving a series of analytical techniques (XRD, FTIR and micro-Raman spectroscopies combined with SEM/EDX and optical microscopies), the first in-depth study of the mineralogical composition of prehistoric Cucuteni type pottery was performed on samples belonging to Hoisești-La Pod site (Romania). The study allowed, for the first time, a highly detailed analysis of the multitude of aspects specific to the technological process of Cucuteni pottery production, starting with a deep insight into the characteristics of the raw materials, identification of the minerals present inside the ceramic bodies, the analysis of the pigments used for decorating the painted pots, as well as a thorough analysis of the factors influencing the obtaining of high quality ceramics.