古代陶埙的发展历史及其文化内涵

陶埙是我国古老的吹奏乐器，夏商周至秦汉时期繁荣发展，汉代以后逐渐落寞。陶埙的制作工艺丰富多样，形制造型多姿多彩，音色特点古朴悠远，音乐形态具有中国传统的音乐特征。陶埙在漫长的古代历史发展长河中，被赋予了丰富的历史文化内涵和音乐文化内涵。从历史视野的角度对陶埙进行深入研究，梳理古代陶埙的历史嬗变，探讨陶埙的文化内涵，以期更好地传承与发展这一古老的民族乐器。     

重庆荣昌陶介入公共艺术的路径探析——以荣昌安陶小镇为例

荣昌陶作为中国较早的实用艺术之一及国家非物质文化遗产,凝结了中华民族深厚的精神追求。如何对传统文化的保护与传承,成为一个值得探讨的问题。本文通过分析荣昌陶与公共艺术的在地性特点,以荣昌安陶小镇为例,发掘了荣昌陶介入公共艺术的主要形式,探索出一条荣昌陶介入公共艺术的基本路径。不仅为荣昌陶的推广发展与公共艺术的创新突破提供了一种可行途径,也为其他传统文化在当今时代背景下的出路贡献了一种新思路。     

建水紫陶的书画装饰艺术

中国四大名陶之一的建水紫陶以传统文人书画作为主要的装饰手法而别具魅力。本文从建水紫陶的书画艺术、书画装饰方法和书画装饰鉴赏几方面探讨了其深厚的文化底蕴及承载着的中国文人的精神和追求。     

建水紫陶的书画装饰艺术

中国四大名陶之一的建水紫陶以传统文人书画作为主要的装饰手法而别具魅力。本文从建水紫陶的书画艺术、书画装饰方法和书画装饰鉴赏几方面探讨了其深厚的文化底蕴及承载着的中国文人的精神和追求。     

陶刻刍议

陶刻顾名思义即在陶器上刻出铭文、图案。简单的陶刻二字。却包含着中华五千年文明史深刻的内涵。中国英文名China即为陶瓷之意．作为陶器哪有不装饰之理。陶刻作为陶瓷装饰的主要种类之一，理应被历代工匠、文人墨客所重视。他们用陶刻来记名、记数、记事，素面花饰，吉祥寓意，寄托情思，玩世摆弄，闲情逸志，凡此种种，都是从简单到烦琐，从无意识到有意识，从朴素到有理念的追求。     

粗陶首饰的材料应用趋势研究

本文以粗陶首饰设计为研究视角,对粗陶首饰的材料应用进行分析,主要阐述了粗陶首饰设计的原理,织物、绳结与粗陶首饰的吻缝,粗陶首饰与金银合金相与为一。并详细描述了粗陶首饰材料应用的方法与发展前景。     

粗陶首饰的材料应用趋势研究

笔者以粗陶首饰设计为研究视角,对粗陶首饰的材料应用进行分析,阐述了粗陶首饰设计的原理,织物、绳结与粗陶首饰的吻缝,粗陶首饰与金银合金相与为一,并详细描述了粗陶首饰材料应用的方法与发展前景。     

"竹里梅"的陶刻技法与空间构图赏析

在中国传统文化中,竹是谦谦君子,梅是巾帼女将,二者代表着大众对理想人格的崇敬与追求。在中国传统艺术品中,竹与梅常以各种形式出现,体现着古典艺术美与中国人的审美预期。"竹里梅"是一件以竹与梅为主题的陶刻艺术品,本文将以文化视角为切入点,对该作品陶刻技法的运用与变化以及空间构图的方式进行分析,体会陶刻艺术的魅力与文化价值。     

关于牙舟陶发展的思考

<正>一、牙舟陶的历史牙舟陶,故名思意是指在贵州黔南州平塘县牙舟镇,出产的一种绿釉为主,并以地名命名的陶器品种。早期釉料以草木灰釉为主,应该也有部分泥釉,近期的釉料中,应该是当地制陶艺人,为了追求高效多产和市场经济的驱使,加入了大剂量的高温玻璃,产品与之前有明显的差别。产品形式,主要是民用为主,样式基本是     

音乐、建筑与漆艺

音乐与建筑是解读人类对时空体认的最有效工具之一。在古代中国,音乐与建筑都同漆艺有不解之缘,音乐是大漆欲流的建筑,建筑是漆彩凝固的巨大乐器。漆艺使音乐与建筑不仅在视角和听觉上实现了功能性互换,还在时间与空间上展示出共通的审美体验。在漆艺里,音乐与建筑阐释出音乐空间与建筑平面、音乐旋律与建筑数字、音乐时间构造与建筑空间材质等多方面的"家族相似",从而实现了它们之间的艺术姻缘与审美通感,这在世界艺术文化史上是独一无二的,堪称艺术奇葩。     

CERAMIC ABSTRACTS

In this process the slip clay is passed through a tank and the air content is evacuated by boiling out. The ability of the clay filter cakes formed from this slip to reabsorb a small amount of air insures freedom from air in the pugged clay if the pug mill is efficient as it can be in compacting the clay, without adding appreciable air to the clay. Freedom from gases results in a series of helpful conditions throughout the various stages of production.     

赋予陶艺创作以新活力

探索陶艺创作中传统文化的传承与艺术观念的更新，灵活运用丰富的泥性语言，在偶然与必然的交错中探索规律。以陶泥为构架．以釉色为表象．在作品中注入自己的创作语汇，追寻陶艺创作的新意境。     

筝乐在瓷乐发展中的作用

中国的民族音乐乐器,有着悠久的历史。瓷乐器也是一种古老的民间乐器,经过不断地发展创新与实践,已形成为多种瓷乐器组合,其音色特殊而鲜明,听者通常会有新鲜的感觉。随着瓷乐的发展,如今的瓷乐融合了中国传统的乐器形式和特色。筝乐器因为中华民族特有的历史与文化,经久不衰深受大众喜爱。筝乐与瓷乐二者的结合带给音乐一种全新的生命力和内涵,并对民族传统艺术的发展与进步作出了一定的贡献。本文旨在于阐述中国传统乐器的相关知识,结合瓷乐与筝乐的特点与关系,通过分析二者的发展过程来探讨筝乐在瓷乐发展中的融合与运用方式。     

THE CAPILLARY SUCTION OF SOME CERAMIC MATERIALS1

The forces which act when clay is mixed with water and when water is removed from wet clay by evaporation have received little study. For this reason, very little definite information regarding the internal mechanism of the drying of clayware is available. In this paper, the writer reviews the experiments and theories of Pukall, Terzaghi, Dixon, etc., lists some of the forces which may act when ware is drying, and defines an important force which he calls “capillary suction.” A simple experiment is described, by means of which this force can be readily demonstrated. The development and final form of an apparatus for measuring the capillary suction of ceramic materials is described and data obtained from measurements on a ball clay, a kaolin, flint, feldspar and mixtures of these substances are reported. Capillary suction decreases rapidly with increase in the flint and feldspar of a ceramic body. By utilizing the capillary suction produced by evaporation of water from a clay surface, water at atmospheric pressure has been made to enter a steel bomb in which the gas pressure was maintained at 200 lbs. per square inch.     

浅论影响陶瓷乐器音乐功能的几个因素

陶瓷乐器是陶瓷艺术中既古老又新鲜的一个课题,其独特的音乐功能使之在音乐史中占有特殊的地位。陶瓷特有的材质和多变的造型,大胆的编排和巧妙的混搭,以及富有艺术表现力的装饰等都能够影响和提升了陶瓷乐器的音乐功能。     

EFFECTS OF AUTOCLAVE TREATMENTS ON CERAMIC BODIES AND CLAYS1

It has been found that porous ceramic bodies increase in volume and weight due to an autoclave treatment in which the ware is subjected to steam at a pressure of 150 pounds per square inch. The change is rapid at first but decreases as the time of treatment is increased. Typical American and English china clays also increase in volume but ball clays when fired to the same temperature as the china clays do not increase in volume. The effect of prolonged drying treatments after the autoclave treatment is also studied. Data given indicate that the changes in volume are not necessarily caused by rehydration of the clay within the body. Bodies containing clay, feldspar, and flint show a greater increase in volume than do the pure clay constituents. It is shown that the composition is a more important factor than absorption in determining the reaction of ceramic products to the autoclave treatments.     

THE HEAT REQUIRED TO FIRE CERAMIC BODIES1

The interval specific heats of twenty-three refractory clays of various types from Pennsylvania, Ohio, Maryland, Kentucky, Missouri, Colorado, and New Jersey were calculated as well as ten clays used in the Bureau of Mines investigation “The Burning Problems of Industrial Kilns.” This group included fire clay, shales, and surface clays. The results showed that there was very little difference in the interval specific heats at 1000 °C between the various types of fire clay, shales, and surface clay. The values ranged from .425–440. In the Bureau of Mines investigation the average kiln efficiencies were calculated to be about 18%; using the corrected figures obtained for interval specific heats, the average kiln efficiencies were found to be about 29%.     

高铝瓷的可塑成形

本文研究了全瘠性料高铝瓷的可塑成形。通过坯料可塑性和干燥性能的测定，对有机粘结剂进行了筛选。复合有机添加剂可以赋予高铝瓷坯足够的塑性和干燥强度。因为有机添加物的灰份接近于零，用它们增塑时，不会影响高铝瓷烧结后的结构与性质。     

我国陶瓷超级高岭土的开发与应用

应用湿法超细磨和高速卧式离心联合工艺,采用自动化配浆系统和添加剂改性创新技术,开发出陶瓷用超级高岭土,产品技术含量及附加值高,替代昂贵的高档陶瓷用进口高岭土,为企业创造可观的经济效益,提升我国陶瓷用高档高岭土国内国际竞争力。     

论陶艺创作的情感表达

陶艺的创作离不开创作主体情感的注入。情感是一件陶艺作品富有生命力的所在。本文从陶艺发展的历史，陶艺创作的情感表达和陶艺的独特情怀三个方面入手，论述了陶艺的创作过程是一个情感抒发的过程。在泥土和火的融合中。流溢着创作者或怀旧、或依恋、或期盼的种种情怀。