漫谈浅绛彩瓷所反映的文人画元素

本文以文人画精神的视角审视浅绛彩瓷,分析浅绛彩瓷所体现的文人画元素。     

论陶瓷文人画

文人画以其特有的艺术面貌、风格特征、思想内涵在中国画坛上独树一帜;并且,自宋元以后产生深刻影响。在文人画启示下,陶瓷文人画继承了文人画精髓,在艺术上与思想上发展了文人画;并且形成了自己的艺术风格与特征,将陶瓷绘画推上艺术高峰。     

扒村窑陶瓷装饰与中国传统绘画的关系研究

中国制瓷历史悠远,宋代则是陶瓷发展的一座新的高峰,名窑林立,除了专门御供的官窑外,民窑也是熠熠生辉.陶瓷器物不仅是生活物质需要,也是重要的精神文化的产物和象征,也是社会历史的见证者,反映了当时社会的历史风貌和精神文化.陶瓷瓷绘是浓缩展现社会经济、文化、风尚的载体,扒村窑扒村窑是一白地黑花瓷为主,兼烧别样的大型民窑,而且...     

预分解窑红窑的分析与处理

简体扫描仪观测，筒体的局部温度大于350℃，此时应结合窑筒体的实际情况来判定是否红窑。夜间可发现筒体出现暗红或深红；白天则发现红窑处筒体发白有“爆皮”现象，用扫帚蘸上柴油扫该处可燃烧，如不能及时断定可等到夜间观察是否出红。     

"文人画"与陶瓷艺术

“文人画”已经成为一个历史的概念。它是和我国古典诗词与书法联系在一起的。是我国传统文化的一部分。随着“五四”新文化运动的兴起,传统文化中那些不适应时代要求的东西逐渐地退出了历史舞台。那些具有相对稳定性的、为中华民族广大群众喜闻乐见的形式与内容则被潜移默化地     

瓷器与中国文人画

中国文化宏伟而博大,中国的绘画,与哲学、书法、诗文、戏曲等息息相关.中国绘画是一个自成体系的艺术领域.中国绘画到了宋代,尤其是北宋末期,绘画功能的概念开始改变了,它被认为是可以像诗或书法一样用来抒情的东西,因为持这种观点的人的注意力不再置于外部世界或者摹写事物的表现,而是在于反映画家的内心世界,以及发现寓于其中的诗意,这就是文人画家的出现.     

红窑事故的分析与处理

我公司有1条Φ3.2m×50m1000t/d窑外分解窑生产线,其MSP分解炉属离线型布置。该生产线前期生产上遇到许多工艺问题,频繁换砖,频繁红窑,生产断断续续,造成经济损失逾百万元。调试至今换砖情况见表1(窑口前1.0m为低水泥刚玉耐火浇注料)。     

文人画的发展与传承

在中国传统山水画中文人画占有重要的一席之地。“文人画”也称士夫画。泛指中国封建社会中“文人”、“士大夫”所作之画。文人画的由来可以追溯到汉代,张衡、蔡邕皆有画名。画品虽不传世但是典籍皆有所记载。唐代诗歌盛行,大诗人王维以诗入画。使后世奉他为文人画的鼻祖。他的绘画作品成为后世文人画家的范本。诗中有画,画中有诗。蔚然成风,代代相传。     

现代陶瓷绘画中的新文人画表现

关于现代陶瓷绘画艺术当中的新文人画研究,从古代开始就有将陶瓷绘画和文人画结合在一起,但随着时代的发展进步,陶瓷绘画中开始表现出新文人画的倾向。陶瓷绘画艺术是一种在陶瓷上作画的艺术,其绘画的类型也是多种多样的,其中的新文人画类型可进行较为细致的研究。在陶瓷绘画中,由于其作画器具的特殊性使得新文人画在布局以及光色的应用上发生着变化,并且其在陶瓷绘画中表现的文人情怀也在发生着变化,本文就据此来进行陶瓷绘画中的新文人画倾向表现研究。     

国内外陶瓷窑具材料的发展现状

随着陶瓷工业的发展,我国的窑具生产水平有了较大提高,但与国外相比,产品档次低、品种少、使用寿命短。本文综述了国内外陶瓷窑具材料的种类、性能指标、存在的问题等,探讨了陶瓷窑具的发展方向。     

MOISTURE MOVEMENT ON DRYING SOFTWOOD BOARDS AND KILN DESIGN

This paper provides an overview of present understanding of how moisture can move through softwood boards, as a basis for determining kiln-seasoning strategies. Moisture in green wood is held essentially unbound, whereas below fibre saturation it is bound to a variable extent to the fibre walls. Sapwood, which is that part of the timber used for the transport of liquid nutrients, contains more moisture than physiologically inactive heartwood. Sawing the felled log creates a moisture-denuded layer at the damaged exposed surfaces. These features have a profound influence on the way that moisture can be removed on drying. Superimposed are differences arising from seasonal variations in the growth of wood between earlywood and latewood, which have different moisture permeabilities. When the width of the annual growth ring is relatively large compared with the board dimensions, moisture movement and the development of drying stresses depend markedly upon the sawing orientation relative to the grain direction. Quarter-sawn boards dry more uniformly (in the direction normal to the drying surfaces), but more slowly than flat-sawn boards. Most timber boards are stacked and then dried in box-shaped kilns. The uniformity of drying depends on the goodness of this stacking and on a uniform airflow being presented to the inlet face of the stack. Some non-uniformities can be mitigated by periodic reversals of the airflow direction through the stack and by overdrying the majority of boards to reduce wet spots, but there are limits, while overdrying reduces kiln capacity. Attention to aspects of the kiln geometry can reduce the fan-energy requirements and shorten the drying time, with a more uniform moisture content through out the kiln load.     

MOISTURE MOVEMENT ON DRYING SOFTWOOD BOARDS AND KILN DESIGN

ABSTRACT

This paper provides an overview of present understanding of how moisture can move through softwood boards, as a basis for determining kiln-seasoning strategies. Moisture in green wood is held essentially unbound, whereas below fibre saturation it is bound to a variable extent to the fibre walls. Sapwood, which is that part of the timber used for the transport of liquid nutrients, contains more moisture than physiologically inactive heartwood. Sawing the felled log creates a moisture-denuded layer at the damaged exposed surfaces. These features have a profound influence on the way that moisture can be removed on drying. Superimposed are differences arising from seasonal variations in the growth of wood between earlywood and latewood, which have different moisture permeabilities. When the width of the annual growth ring is relatively large compared with the board dimensions, moisture movement and the development of drying stresses depend markedly upon the sawing orientation relative to the grain direction. Quarter-sawn boards dry more uniformly (in the direction normal to the drying surfaces), but more slowly than flat-sawn boards. Most timber boards are stacked and then dried in box-shaped kilns. The uniformity of drying depends on the goodness of this stacking and on a uniform airflow being presented to the inlet face of the stack. Some non-uniformities can be mitigated by periodic reversals of the airflow direction through the stack and by overdrying the majority of boards to reduce wet spots, but there are limits, while overdrying reduces kiln capacity. Attention to aspects of the kiln geometry can reduce the fan-energy requirements and shorten the drying time, with a more uniform moisture content through out the kiln load.     

Si3N4结合SiC窑具的研制及应用

本文根据试验确定了工艺路线,介绍了氯化烧成机理、原材料的选择及生产工艺对制品的影响,生产出的制品技术指标先进,性能优良。作为更新换代的新型窑具材料具有显著的经济效益和社会效益,有着广泛的使用价值。     

徽州文化与景德镇文人瓷画变迁

本文以清末民初景德镇浅绛彩瓷画及其后继的珠山八友文人瓷画为研究中心,探讨了徽州文化和景德镇文人瓷画的产生及其发展的关系,和他们之间的内涵与价值,为现代文人瓷画家革新传统寻求文化溯源并提供理论思考.     

“越窑”地位问题的再探讨

在中国陶瓷史研究中,国内外诸多陶瓷学者都把越窑放在十分重要的突出地位,特别是中国周边的学者,比如日本学者就将浙江青瓷称作"大越窑"。长期以来,越窑被认为"诸窑之冠"地位神圣不可动摇,越窑一叶障目的现象不可忽视。笔者试图选择从横向维度"关于越窑是‘青瓷之源’的观点及其质疑"和纵向维度"越窑只是代表浙江青瓷其一个时代其产品的特色与文化,浙江青瓷文化是多元文化"进行探讨、研究和分析,从而重新审视并端正"越窑"在浙江青瓷中的地位,辨析两者之间的关系。     

间歇式窑炉的窑墙结构与节能

本文分析探讨了不同的窑墙结构产生的不同节能效果，指出了用纤维材料进行强化绝热是减少窑墙热损失的有效措施，而里外绝热型和全纤维型的节能效果最好。为窑墙结构的设计提供了有价值的参考。     

辊道窑烧嘴仿真计算与研究

采用FLUENT软件对气烧明焰辊道窑烧嘴进行仿真计算,研究了其在烧成带内的燃烧工况,通过对不同烧嘴结构方案进行比较分析,筛选了一种更为节能的结构,同时也为今后烧嘴优化设计提供理论依据。     

实现回转窑稳定煅烧的对策

分析了我国铝工业使用回转窑煅烧延迟石油焦的现状,回转窑煅烧不稳定的主要原因是给料不均匀和不能有效控制挥充分的燃烧,并提出了实现均匀给料和有效控制挥发分燃烧的对策。