宜兴紫砂陶艺之漫谈

宜兴紫砂是从宜兴陶器中发展进化而来的,根据宜兴陶瓷公司资料《宜兴陶瓷发展史》记载:“驰名中外的紫砂器,其泥料产地唯宜兴独有,深埋于甲泥中。所谓甲泥,即夹于地层之下,深埋于山腹,受自然压力后,一般呈坚硬的块状,好像‘铁甲’而得名。而紫砂泥又埋在泥之中,因此,紫砂泥又有     

宜兴"紫砂热"的兴起及其思考

宜兴紫砂是民族文化的奇葩,这一特殊的工艺美术产品,正越来越受到社会各界的重视和关注。特别是近年来国内又掀起了新一轮的“紫砂热”。主要表现在以下3个方面:一、文化热宜兴紫砂是国之瑰宝。紫砂泥料为宜兴独有,紫砂工艺也为宜兴独创。宜兴紫砂原来是依赖中国的茶文化发展起     

略说紫砂壶

宜兴紫砂以其优质的紫砂泥料、实用性、工艺性,闻名中外。泥料精心选取、制壶者技艺精湛,从而历史上不断涌现出各种紫砂精品,为后人所叹服。     

略说紫砂壶

宜兴紫砂以其优质的紫砂泥料、实用性、工艺性,闻名中外。泥料精心选取、制壶者技艺精湛,从而历史上不断涌现出各种紫砂精品,为后人所叹服。     

浅谈紫砂壶的独特魅力

宜兴紫砂有着一千多年的历史．她是实用性与艺术性完美结合的中国传统工艺品的杰出代表。紫砂壶无论是从泥料、类型，还是使用（养壶）上都有其唯一性和独特性，这是宜兴紫砂壶有别于其他传统工艺品的特殊之处。本文主要从紫砂壶的泥料、分类、养壶三个方面对宜兴紫砂加以浅述。     

略说紫砂壶

宜兴紫砂以其优质的紫砂泥料、实用性、工艺性,闻名中外。泥料精心选取、制壶者技艺精湛,从而历史上不断涌现出各种紫砂精品,为后人所叹服。     

谈“紫砂泥”提炼和特性

紫砂泥料为宜兴独有,紫砂工艺也为宜兴独创,资源是紫砂行业发展的第一要素。要想可持续发展,有关政府部门要从源头上严格控制。既要有序开采,又要加以保护,更要杜绝"化工泥"的再次出现。这需要紫砂艺人共同努力打造一张新的城市名片,将宜兴紫砂发扬光大。     

谈“紫砂泥”提炼和特性

紫砂泥料为宜兴独有,紫砂工艺也为宜兴独创,资源是紫砂行业发展的第一要素。要想可持续发展,有关政府部门要从源头上严格控制。既要有序开采,又要加以保护,更要杜绝＂化工泥＂的再次出现。这需要紫砂艺人共同努力打造一张新的城市名片,将宜兴紫砂发扬光大。     

浅谈紫砂《松桩壶》造型创作

宜兴位于苏浙皖三省交界处,素来就有"陶的古都"、 "竹的海洋"、 "洞的世界"、 "茶的绿洲"的美誉.宜兴是典型的喀斯特地貌,这也就造就了紫砂矿料的诞生,是大自然赋予的宝物,紫砂矿料经过开采、筛选、暴晒、提炼等数十道繁琐的工序才能变成一块又一块可塑性极强的紫砂泥料,正是紫砂泥独特的特性,才能让紫砂壶的造型千姿百态,惟妙...     

紫砂泥料的作用及对颜色的影响

粘矿泥又叫紫砂泥,雅称“富贵土”,俗称“五色土”,有浅紫色、紫红色、红棕色、灰绿色、灰白色等,是制作紫砂壶的主要原料。深藏于黄龙山岩矿层下几十米左右．在“甲泥”矿层中的一层富含铁质而厚度不大的紫砂泥。苏、浙、皖三省山脉都有紫砂原矿。但唯一的、优秀的、上等的紫砂矿料只出于宜兴丁蜀镇黄龙山独有的紫砂原矿料。     

湖南保靖县紫砂陶成瓷试验及应用

对湖南省保靖县的紫砂陶进行了化学成分分析以及瓷坯配方的试验,确定了优化配方。其中利用当地原料（含紫砂陶、镁质粘土）的用量,高达80%,生产出具有热稳定性高、造型新颖、美观且有良好保健作用的紫砂陶制品,从而为湖南保靖县大量开发紫砂陶矿提供了科学依据。     

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。     

The Frankfurt University's Southeast Anatolia Project (SOAP): Archaeometric investigations on Early Bronze Age pottery

This paper is a first report on the chemical analyses carried out on samples of North-Mesopotamian Metallic Ware from Southeast Anatolia and on clay samples from the Pütürge Massif area, southeast of Malatya (Turkey), collected in the framework of the Southeast Anatolia Project (SOAP) of the Goethe University of Frankfurt/M. The chemical data obtained by applying wavelength dispersive X-ray fluorescence (WD-XRF) spectrometer were used to locate the provenance area of the raw clay source of non-calcareous North-Mesopotamian Metallic Ware, which is a characteristic major feature of the population groups settling in Southeast Anatolia and Northeast Syria in the 3rd millennium B.C. The analytical results show that the raw clay source of the pottery derived from metamorphic rocks with felsic affinity (e.g., schist/slate or similar parent rocks). It is suggested that the similar metamorphic rocks exposed in the Pütürge Massif area may be the source for the non-calcareous clay of the North-Mesopotamian Metallic Ware.     

Red clays from Central and Eastern Crete: geochemical and mineralogical properties in view of provenance studies on ancient ceramics

The existing geochemical diversity of clay deposits consists the underlying assumption for the determination of provenance of archaeological ceramics on the basis of their chemical composition. This assumption was tested on Quarternary red clayey alluviums from Central and Eastern Crete (Greece), an area rich in archaeological pottery and very popular for ceramics provenance studies. This type of clay has been used for pottery production on the island since the antiquity and it is still in use by traditional workshops. Altogether, 17 samples of clayey raw materials were collected from 7 different locations in Central and Eastern Crete, and characterised by chemistry, mineralogy and petrography. The study was focussed on the internal variability within deposits and the diversity among different deposits.It was possible to distinguish all seven deposits from each other on the basis of their chemical composition, taking into account the available mineralogical and petrographical information, although some deposits presented compositional relations. Compared to Neogene clay deposits in the same area, the variability among the examined red clayey deposits was clearly higher and exceeded by far the intra-deposit variability.     

清末民初建水紫陶艺术风格形成原因探析

云南建水紫陶由建水民间实用陶器发展演变而来。清末民初,建水文人直接参与制陶或将文人画与建水"阴刻阳贴"、"残帖淡艳"、"无釉磨光"等传统制陶工艺技术相结合,容艺术与技术于一身,从而直接改变了建水制陶的风格和艺术取向,提升了建水陶的艺术品位,使其由民间实用陶器向艺术紫陶发生了巨大转变。     

谈现代均陶堆花工艺的创新发展

均陶是陶都宜兴最早的陶瓷种类之一,它与精陶、紫砂、青瓷、美彩陶一起被称为宜兴陶瓷艺术的＂五朵金花＂。宜兴均陶以大气、古朴、美观著称于世,堆、贴是它的主要装饰手法,这在民间艺术的装饰手法中极具代表性。均陶堆花作品具有实用与陈设的双重价值。然而,今天的陶都却成了紫砂陶＂一枝独秀＂的局面,作为均陶工艺从业人要振兴现代均陶工艺,我们就很有必要深入探讨、研究它的堆花工艺,从装饰形式、装饰内容、装饰技法这三个方面进行突破创新。只有这样才可能使宜兴均陶走上繁荣发展之路。     

Properties evaluation and fabrication of green clay reformulated from water sludge

Water sludge from Sungai Dua Penang fresh water processing plant has been successfully converted into functional pottery clay with improved physicochemical behavior and properties. Water sludge was generally made of kaolinite mineral that consisted of silica and alumina. At 7 h of milling duration, water sludge demonstrated a narrow particle size distribution at the size range of 107–150 µm. Water sludge owned a specific surface area of 27 m²/g with 8.8 nm (diameter) pore size and 0.05 cm³/g pore volume. Plasticity of clay body increased when clay formulation involved fine particles, e.g. water sludge or bentonite, which promote water adsorption ability. Fine particles with large surface area and better compaction also explained the enhanced hardness of pottery clay. The incorporation of clay minerals such as bentonite and sodium silicate into the formulation has facilitated metals immobilization within the clay body. Final clay product has a terra cotta color and performed a uniform shrinkage without obvious fracture. The fabrication of pottery wares from water sludge with minimized metals leakage has not only higher reutilize value but also a cost effective green method for handling waste and environmental issues.     

Multi-analytical investigation of decorative coatings on Neolithic Yangshao pottery from Ningxia,China (4000-3000 BCE)

Yangshao, well-known for its exquisite painted pottery, has long been considered as the most important Neolithic culture in China. Yangshao pottery excavated in Ningxia, a remote region, has never been scientifically investigated. In this study, the selected painted pottery samples from Ningxia were examined to characterise the decorative coatings using a multi-analytical approach. The white slip was likely made of kaolinitic clay. The black decoration on the surface was mostly jacobsite. Inclusion of manganese and iron oxides within the black decoration informed the process of jacobsite formation. Complemented by ab initio calculations, varying tones of black can be explained by the band gaps of different materials. An in-depth discussion on the formation of the detected materials will help gain insight into technical details involved in the craft of Yangshao pottery and therefore better understand the cultural diffusion of Yangshao from the core area to Ningxia.     

紫砂陶塑艺术简析

对宜兴紫砂陶塑的题材、形式、艺术意境作了简要的分析,揭示了紫砂陶塑的形式特点、艺术思想,客观地反映了紫砂陶塑艺术的造型美、本质美,反映了紫砂陶塑性与理的共融,意象与表现的升华。     

应县瓷石用于玻化砖的生产

阐述了应县瓷石的特性，将应县瓷石作为玻化砖的坯体原料和光亮剂原料用于玻化砖的实际生产，介绍了应县瓷石在生产中表现出的作用及对玻化砖产品产生的效果。