对紫砂发展前景的一点思考

紫砂壶艺术经历了几千年的历史发展,以最原始简单的形态,逐步向完善和复杂的形态演变,这充分显示了紫砂壶艺术发展本身的特殊规律性。艺术创作活动都以不可重复性为前提,也就是说,艺术的独创性是指前人和传统中所没有的东西,这种特殊的、前人所没有的风格,将逐步得到社会和业内的认同,甚至会影响到一代人的创作思想与社会生产和艺术的发展。     

赤峰砂器的工艺特征

赤峰砂器制作工艺是我国北方地区具有代表性的传统手工艺,作者在深入考察研究砂器工艺的基础上总结出赤峰砂器区别于其它陶瓷工艺的显著特征,指出内模成型工艺、使用半开敞式窑炉、快速烧成以及呛釉工艺都是砂器制作工艺区别于其他陶瓷工艺的独特之处。并在材料与工艺、手工劳动的价值方面提出了自己的见解。     

SOLUBLE SULFATE CONTENT OF POTTERY BODIES DURING PREPARATION*

A method of analysis has been developed that gives consistent results for soluble sulfate and total soluble salts in ceramic raw materials and bodies. Values for sulfate on a dry-weight basis ranged from 0.01 to 0.28% with ball clays, from 0.002 to 0.015% with china clays, and from 0.000 to 0.007% with miscellaneous raw materials. Bentonites were relatively high in sulfate, a Wyoming bentonite showing the highest value, 0.194%. The distribution of sulfate in the slip, cake, and press water was determined for eighteen ceramic bodies. An increase in the water-clay ratio in slips was found to increase the recoverable soluble sulfate (percentage dry basis). In experiments on repeated cycles of cake to slip to filter pressing, soluble sulfate continued to be released, but the bulk of the sulfate was obtained in the first pressing. Quantitative results are given on the effectiveness of barium carbonate as a precipitating reagent for sulfate in slips. Aging from six months to one year was found to have little effect on the soluble sulfate in stored samples of slips, cakes, and press waters. Dry storage, however, doubled the soluble sulfate content of a freshly mined ball clay within six months, evidently by oxidation of sulfur compounds.     

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。     

衰落与蜕变-中国陶艺发展态势思考

信息技术的发展,世界已经从一个个遥远的国家概念成为了一个"世界村庄"。但随之越来越多的不同于以往的情况发生:为了满足人们无止境的消费习惯,我们生存的环境越来越恶劣了;由于过分依赖电脑网络,人们越来越陌生了;社会的生存压力的增加导致人与人之间缺乏真诚的心灵交流而愈加冷漠。人们一味的追求经济利益促使社会与人文价值发展被忽略,于是人们开始感到茫然、困顿、无所适从。这时,陶艺再次向国人展开了她那天使般的翅膀。因为曾经的中国陶瓷艺术是世界工艺美术史上的一朵最艳丽的奇葩,它通过海陆丝绸之路从中国走入世界每个角落,得到了世界人民的一致赞誉和喜爱,直到今天中国古陶瓷还是各国人民趋之若鹜的珍贵藏品,但是到了近代,中国的陶瓷艺术开始衰变,作者试图通过本文从陶艺时空发展观上去诠释和探索促使中国艺术陶艺蜕变从而重振昔日辉煌这个问题。     

浅谈科技产品的市场开发

本文从科技产品的市场分析预测、行销方式，价格政策等七个方面对科技产品的市场开发进行了论述。     

INVESTIGATION OF FELDSPAR AND ITS EFFECT IN POTTERY BODIES*

The history and purpose of the investigation are outlined and reports are made on (1) fineness determinations, chemical analyses, softening range, softening points, “true” specific gravity, thermal expansion, and petrographic analyses of the individual feldspars; (2) the results of porosity, volume shrinkage during firing, color and translucency, mechanical strength, petrographic analyses, effect of feldspar used on relative “glaze fit,” thermal expansion, and elasticity determinations on vitreous and semivitreous bodies in which feldspar is the only variable component.     

清中期后官窑彩绘瓷中的御窑厂图像研究

清中期以后的官窑彩绘瓷御窑厂图像展现出清帝对于御窑陶冶非同一般的兴趣和控制欲望。从清初到清中晚期,清帝对于御窑及窑业的兴趣也是一个渐进的过程,从我们掌握有限的几个图像来说,在乾隆初年的《陶冶图》是着重对于制陶工序和工艺本身的了解,着重于制陶内部因素,而到嘉庆道光年间,清帝对于御窑及窑业的兴趣,不仅仅限于制陶的内部因素,也渐渐扩大到御窑制陶的外部环境,及御窑厂整体环境。这也是上述几件景德镇御窑窑业图像之所以制作的主要原因。     

降低钦州坭兴陶烧成温度的工艺条件研究

通过对坭兴陶原始坯料进行不同的工艺处理,研究降低坭兴陶烧成温度的工艺条件.结果表明:采用氧化铝瓷球来球磨原始坯料,可降低坭兴陶的烧成温度达60℃,并且烧成温度范围可由原来的40℃度拓宽到1 00℃,另一种除砂工艺也可以提高原料的细度,降低烧成温度,拓宽烧成范围,但工序较复杂,相比较而言,球磨工艺效率更高,更适合工业生产.     

包豪斯时代的"作坊"教学模式对现代陶艺教学的启示

主要探索包豪斯时代"作坊"教学模式对中国现代陶艺教育的影响,同时对包豪斯时代"作坊"教学模式的形成、发展也作了概括性探讨,并从时下现代高等院校陶艺教育中的教学内容、教育方式、开放式管理等方面作了一些粗浅的思考。     

SOME CHARACTERISTICS OF ILLINOIS POTTERY CLAY*

Four Illinois pottery clays, representing two extreme types and two intermediate types, are described. Porosity and thermal expansion tests were made on the raw and fired clays. The temperature of the inversion of low to high cristobalite in these clays is much lower than is usually accepted for the lower limit of this inversion because cristobalite is formed at low temperatures. A limited amount of data was obtained on the volume changes of raw clays during firing, the organic matter content, and thermal dissociation.     

好川文化陶器与良渚文化陶器的比较研究

在新石器时代末期,东南地区各文化共同体发展互动,良渚文化族群向西南扩展,到好川建立聚落并与当地土著文化结合,但它很快被好川文化借鉴吸收并融合成为自身文化的有机组成部分,创造出新颖独特,具有鲜明的地域特色的文化面貌。在好川出土的陶器中,既有直接受良渚文化影响出现的器物,也出现了既脱胎于良渚文化陶器原型又不同于原型的新型式,并形成自己的发展演化序列。通过两者的对比研究,对探索好川文化形成的过程,及其文化面貌和内涵特征,可以提供参考和帮助。     

DEVELOPMENT OF OPACITY IN ZIRCONIA ENAMELS*

Opaque zirconia-bearing enamels are divided into two general types, namely, those whose opacity is due (1) to the undissolved residue of the zirconia added in the raw batch and (2) to the crystallization of a zirconia compound during firing. These enamels are described and illustrated. The quantity, identity, and appearance of the materials causing opacity in representative samples of each group of enamels are given.     

谈手拉坯成型的器皿在陶艺创作中的再创造

学习手拉坯技巧,让我们有了驾驭材料的能力。如何使用已学的技巧,是一种观念。研究手拉坯成型技巧在创作中的运用,可以作为进行个性化艺术创作的探索起点,探讨现代陶艺创作中如何对传统技术的运用和发展。     

陶塑·艺术奇葩

古雅传神的石湾陶塑艺术,经过八百年漫长岁月的传承和锤炼,已经成为东方文化宝库中的一朵名花,并形成了独具特色的艺术风格.石湾窑历来是民窑,原料就地取材,虽有吸取国内外姐妹艺术的精华,但不离地方陶塑的特点而独树一帜.石湾陶塑不如历代官窑制品之端庄华贵或规整严谨,然而在淳朴无华、泼辣豪放方面却有独到造诣,反映着各个时代的各种思潮和社会风尚,充满浓郁的乡土气息和生活情趣,成为人们喜闻乐见的艺术作品--石湾公仔.     

商代陶埙造型与装饰之变化

陶埙在我国数千年的发展中从未间断过,因为它是我们民族所特有的一种闭口吹奏乐器,从单音孔到商代五音孔可谓是一个重大变化的阶段,这里就从商代陶埙的造型与装饰进行研究,从而得出商代陶埙在造型和装饰方面是鼎盛期,同时也是重大的转折期。     

PRACTICAL PRODUCTION OF ONE-FIRE LUSTER GLAZED POTTERY*

Various metals in small quantities, singly and in various combinations, were ground in lead and leadless glazes. It was found that various colored lusters, transparent and opaque, could be reproduced under a fair degree of control in an ordinary downdraft gas-fired sagger kiln, which was fired from cones 010 to 1. After cooling to a dull red heat, the glazes were given a short reduction firing. Standard decorative processes were used with the luster glazes. Additional colors were produced by adding stains and metal oxides. Acid-resistant luster glazes were developed.     

夏代方国陶器文化的探索

夏王朝有许多方国。陶器是区别方国文化的一个尺度。考古学上的方国文化群星灿烂 ,它们各具特色又互相融合。其中龙山文化晚期 ,岳石、先商、小河沿、齐家、三星堆早期这些文化和三峡遗址、筑卫城遗址等陶器文化更加璀灿夺目