Ceramic Art Research Articles

Research on the application of multi-feature fusion in ceramic art design

Abstract In this paper, median filtering and linear stretching are used to preprocess the classified ceramic images, respectively, and the LoG operator is utilized to detect the edges of ceramic photos. Combining the Hough transform and TMOAA algorithm to measure the edge length, thickness, and diagonal dimension of ceramics to obtain the basic elements of ceramic art design. The FAST algorithm is used to make up for the shortcomings of the SIFT algorithm in real-time, to extract the features of the overall image of ceramics and the vessel image, and then combined with the thinking framework of ceramic art design to generate the best conceptual model of ceramic art design. Extract and detect the ceramic vessel image and carry out similarity rate calculation, quantify the enamel color characteristics to generate a color design scheme, calculate the color difference value, and evaluate the aesthetic value of ceramic art design works from the perspective of ceramic art design aesthetics. Porcelain enamel color difference ΔE = 2.0369, ΔE ≤ 5.00~6.00, in line with the color quality standards, indicating that the color design scheme generated based on the color semantic elements has a certain applicability. Evaluating the best conceptual model of ceramic art design by aesthetic standards, the works generated based on the seven ceramic patterns have different aesthetic values and different forms, which meet the various demands for ceramic artworks nowadays.

Evolving traditions: the interplay of cultural heritage, technological innovation, and education in contemporary ceramic art

Evolving traditions: the interplay of cultural heritage, technological innovation, and education in contemporary ceramic art

Big data analysis methods and cultural value mining for the historical research of ceramic art

Big data analysis methods and cultural value mining for the historical research of ceramic art

Reflection of the philosophical theme in the activity of Azerbaijani ceramic artists during the period of independence

Reflection of the philosophical theme in the activity of Azerbaijani ceramic artists during the period of independence

POTTERY CENTERSAND SCHOOLS IN UKRAINE: EDUCATIONAL AND PROFESSIONAL POTENTIAL

Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.

Healing Applications in Hospital Interiors: Ceramic Art

Healthcare facilities include complex partnerships that accommodate different types of users to meet the needs of the healthcare sector and require the collaboration of many disciplines to meet these needs. Hospitals, which contain the outputs of different fields of expertise from city scale to industrial product scale, are fed by the fields of engineering, architecture, and interior architecture in terms of space. Interior design, on the other hand, is divided into theoretical and practical specializations related to building types. The fact that health buildings have significant differences from other buildings due to their function and the obligations that would be met is of great importance in terms of the benefit to be provided to the public by the studies to be carried out in the field. Hospital buildings and spaces are constructed and designed according to the standards determined by the shade's laws, regulations, or guidelines where they are to be built. In this context, the study aims to provide a public contribution with art outputs that would positively affect the recovery of the user for the spaces that are generally open to the use of users in hospital interiors by researching the standards in the framework of international standards. However, since traditional and modern art contents have different spatial needs; ceramic art outputs, which are included in traditional art, focus on the specific evaluation of the research with its visual and tactile character. Using qualitative research methods; hospital construction guidelines and literature research were carried out by data collection and inductive methods. The research aims to make theoretical and practical contributions to the healing space with ceramic artworks/objects in the field of architecture and design.

Research on the Artistic Language of High Temperature Colour Glaze Porcelain Paintings

High-temperature colour glaze is the fire phoenix in ceramic art, its development history has a long history, until now there have been thousands of years of history, is a great symbol of mankind towards the history of civilization. High-temperature colour glaze ceramic painting has a unique artistic language and strong artistic expression, and has a long preservation time, never discolouration process advantages, contemporary high-temperature colour glaze ceramic painting combined with the humanities trend of the times, presenting the works of the times with a cultural outlook, spiritual beliefs and thinking about life, become the pursuit of artistic value and artistic taste very good carrier, so more and more people have broken the high-temperature colour glaze ceramic painting. Therefore, more and more people have broken the high temperature colour glaze porcelain painting value and meaning can only depend on the porcelain decoration and the existence of the inherent thinking, began to consciously go from a purely aesthetic point of view to the creation of painting, this paper combines the modern aesthetic tendency, innovation on the basis of tradition and then fused with the characteristics of colour glaze, the colour glaze porcelain painting of the art of the language of research.

A comprehensive MAGDM-based approach using EDAS and CRITIC as an auxiliary tool for quality evaluation of ceramic product modeling design

Ceramic art has a long history of development in China and is an important component of the inheritance and development of traditional culture. The highly distinctive ceramic art expression content has been sought after by many international research enthusiasts and applied to product design, highlighting different social backgrounds and special cultural connotations of different eras, while also laying an important theoretical foundation for the inheritance and development of culture. The quality evaluation of ceramic product modeling design could be deemed as a classic multiple attribute group decision making (MAGDM) problem. Recently, the EDAS and CRITIC method has been used to cope with MAGDM issues. Spherical fuzzy sets (SFSs) can excavate the uncertainty and fuzziness in MAGDM more effectively and deeply. In this article, on basis of evaluation based on distance from average solution (EDAS), a novel spherical fuzzy number EDAS (SFN-EDAS) method based on Hamming distance and Euclid distance is built for dealing with MAGDM. Moreover, when the attribute weights are completely unknown, the CRITIC method is extended to SFSs to acquire the attribute weights. Finally, SFN-EDAS method is used for quality evaluation of ceramic product modeling design to prove practicability of the developed method and compare SFN-EDAS method with existing methods to further demonstrate its superiority.

Ivan Vitsko: A Well-Known Ukrainian Innovator of Porcelain Shaping and Decorating

During the second half of the 20th century, art ceramics in Ukraine is characterized by a synthesis of tradition and innovative technological achievements. It was determined that during the period of rapid political and socio-cultural changes, the transformations of decorative and applied art, in particular the art of ceramics, occurred. Ivan Mykhailovych Vitsko was one of the key personalities enriching Ukrainian porcelain. Investigating his cultural heritage and his experiments in the production of porcelain attests the relevance of the issue. Among the main achievements of I. Vitsko are the use of improved and completely new techniques of decorating with underglaze salts, “crackle” with gold, gray chandelier of the “crackle” type, the introduction of complex decals with the use of gold raised the works of this master to a new level of quality. It was established that the artist performed his works based on the achievements of European porcelain manufacturers, looked up to local traditions of ornamentation, and successfully synthesized the aesthetic characteristics of the products and their functional potential. It was determined that the author’s innovative works include a tea set (1958), a tea and coffee set “Baranivka-58” (1958), the sets “Sunflowers” (1959), “Golden” (1976), the set for galushky “Traditional” (1967, 1972), the set of teapots “Sofia of Kyiv” (1980, 1981, 1982), and vases (1967–1982). The aim of the paper is to reveal the non-trivial technological and artistic features of the works of Ivan Mykhailovych Vitsko, created in the 1950s–1980s, and to determine the influence of his work on the general level of development of Ukrainian ceramic art.

Integrating Ugandan Fauna and Flora into Ceramic Art Identity

This study was carried out to exam the influence of integrating Ugandan fauna and flora into ceramic art identity, a multifaceted endeavor that encapsulates the essence of Uganda's rich biodiversity and cultural heritage within the realm of ceramic artistry. Through a fusion of artistic creativity and environmental conservation, this approach serves to foster a profound connection between artists, their heritage, and the natural world, presenting both aesthetic and socio-cultural benefits.
 By exploring the fusion of Ugandan fauna and flora with ceramic art identity, the results emphasizes the potential for raising environmental awareness and advocating for the preservation of Uganda's unique ecosystems. Artists engaged in this innovative approach not only produce aesthetically striking works but also become advocates for the nation's diverse wildlife and plant life. Their creations serve as both mirrors reflecting the beauty of Uganda's natural world and lenses magnifying the importance of environmental stewardship.
 Furthermore, the results highlighted the role of fauna and flora integration in preserving and expressing cultural identity. Indigenous communities in Uganda have historically maintained deep connections with their local environments, often rooted in the intricate relationship between culture and nature. By incorporating this cultural aspect into their ceramic art, Ugandan artists can kindle a renewed sense of appreciation for their cultural heritage and convey its significance to future generations.
 In conclusion, the study sets the stage for a comprehensive exploration of integrating Ugandan fauna and flora into ceramic art identity. It underscores the potential for environmental and cultural enrichment through this fusion, offering a glimpse into the remarkable possibilities for artistic expression, cultural preservation, and ecological advocacy in Uganda's ceramic art scene.

Art master Yulia Gusarova is an artist of multifaceted talent

The article contains materials about the work of St. Petersburg artist Yulia Vasilievna Gusarova, a master who creates works in different materials and techniques and has her own theme, manner and style. The purpose of the article is to determine the foundations and nature of creativity, to track the dynamics of the personal development of a hereditary artist. She is multi-faceted and is successfully realized in the art of painting, in mosaics, in ceramics, in textiles, in scientific and pedagogical activities. The main themes of her work: stories from the history of culture and art, travel impressions, the world of the sea and marine life, the fantastic world of the medieval "bestiary" and modern technology. The article presents examples of her works, describes their semantic content and artistic merits, notes theoretical and methodological-pedagogical aspects of the problems of art and art education. The materials of the article have novelty, because they are offered for publication for the first time. There was no scientific study of Y. Gusarova's creativity in domestic and foreign art criticism. The results and research methods in this article can be useful in art criticism for use in writing monographic works about the work of other artists, as well as for creating a complete picture of the features of the work of domestic ceramic artists of the XX - XXI centuries.

A Study on Tactile Spatial Perception of Modern Ceramic Art Creation under Digital Technology

According to art historian Alois Riegl, “The tactile sense forms the foundational underpinning of the perceptual process, providing essential support to the sense of vision.” This sensory modality represents the most “primordial” means through which individuals engage with and comprehend the world. In the contemporary digital age, modern ceramists have embarked on an exploration of an extended spectrum of tactile sensations within the realm of ceramic art, thus entering into uncharted realms of creative expression. This exploration has transitioned from an exclusive focus on physical tactile sensations to the incorporation of diverse virtual tactile experiences. The fundamental objective of this study is to probe into the influence of digital technology on the perceptual dimensions of tactile engagement within the domain of pottery creation. This investigation centers on a comprehensive analysis of the utilization of digital technology tools and their impact on the creative encounters of pottery artists who harness these technologies in their craft.

Probing Issues of Indigeneity and Contemporaneity in a Collection of Rorke’s Drift Ceramics

In 1988, the art collector Mark Bernstein donated to the University of KwaZulu–Natal a collection of seven vessels, produced by potters at the Evangelical Lutheran Church Art and Craft Center at Rorke’s Drift, in KwaZulu-Natal Province. This collection, referred to here as the Bernstein Collection, is displayed in the university’s Main Library in Durban. This paper explores the ceramics in this Collection, focusing on their indigenous narratives and visual designs in relation to Basotho and Zulu cultural representation. The decorations are figurative and contain iconographic signifiers that reflect both indigeneity and contemporaneity. These works were produced by several ceramic artists working in the Rorke’s Drift pottery workshop in the 1970s. Thematic analysis is employed as a qualitative approach to consideration of the ceramics and associated imagery. An autoethnographic analysis of these ceramic works in comparison with other studies and reliable sources shows that styles and genres at Rorke’s Drift were based on local and international cultural mediations, and the hybridity formed by abstract motifs, forms and patterns. These proved to be essential features for sustaining cultural identities within the studio context of the pottery workshop: a form of cross-cultural expression that facilitates harmonies of visual expression within the artistic communities involved.

Alienation in the Plastic Arts: Ceramics as a Model

The current research is concerned with studying (alienation in the plastic arts (ceramics as a model), as alienation was studied in terms of its effect on the artist, which in turn had its effect on the artistic work in formation, to be spatial discrepancies and displacements whose vocabulary is mixed with oppositions, disruption, and displacement, which create an apparent formal defect according to the contemporary perspective, with The development of technology and technique. Alienation appeared to be found in form in the plastic arts in general, and one of these arts is ceramics. Alienation in ceramics broke the traditional pattern and transcended the vocabulary of work associated with intellectual and conceptual transformations that resulted in the elements of alienation, including the art schools that brought about a shift in the artist’s concepts toward rejection. Everything that is familiar and traditional, as the artist sought to search for the idea that is different from the concept through the influence of the potter, which was achieved as a result of communication between art and society, which gives renewed concepts to the idea to achieve alienation according to the transformations of ceramic art, and the idea from which the potter started and developed treatments for reality through research was adopted.

The origin of bipolar disorder in ceramic artists from the perspective of positive psychology

BackgroundIn recent years, the proportion of bipolar disorder among ceramic artists has increased significantly. From the perspective of positive psychology, the study further analyzed the risk factors of bipolar disorder.Subjects and MethodsThe study recruited ceramic artist volunteers as research objects and divided them into a bipolar group and a non-bipolar group. According to artistic creativity, family, endocrine function and other factors of the study subjects data statistics. Statistical software Statistica was used for data analysis, and the T-test or correlation coefficient were used to evaluate the correlation of factors.ResultsBy analyzing the social media texts of science and engineering students, the study found several factors related to employment anxiety. In the bipolar group, the score of creative stress was significantly higher than that in the non-bipolar group (M=4.62 in the manic-depressive group and M=3.31 in the non-manic-depressive group, P<0.001). Competitive stress (M=3.81 in the manic-depressive group and M=2.92 in the non-manic-depressive group, P<0.001) and personal negative experience (M=4.19 in the manic-depressive group and M=3.24 in the non-manic-depressive group, P<0.001) also had significantly higher scores in the manic-depressive group.ConclusionsBased on the analysis of positive psychology, this study analyzed the causes of bipolar disorder induced by ceramic artists. Through statistical analysis using Statistica, the results showed that creativity, competitive pressure and personal negative experience were positively correlated with the manic-depressive index of ceramic artists. This study provides valuable information for psychological support measures for patients with bipolar disorder, thus promoting the artistic development of ceramists.

On the Significance of Applying the Method of Field Investigation to Ceramic Art Education

Research methods are widely applied to research on human society and culture and they mark the advent of the era of science education. The field investigation method in anthropological research has great significance and value for ethnic education research in a multicultural context. In teaching courses related to ceramic art, students invest most of their energy in expression aspects such as patterns, glazes, and technical effects, etc., lacking the acquisition of theoretical knowledge other than ceramic skills from various perspectives. Curriculum education related to ceramic art should also focus on field investigation, achieve two-way reading between literature and fields, strive to explore new learning and education methods, and promote students majoring in ceramic art design to develop into specialized talents of ceramic art while building strength for innovative education with regional characteristics.

The positive impact of visual beauty of color and contemporary ceramic art design on anxiety patients

BackgroundAnxiety disorder is a neurosis characterized by anxiety. The etiology of anxiety disorder is complex. Many factors including genetic, neurobiochemical, neuroimaging, and psychological factors may all form the pathological structural basis of anxiety disorders. In order to find an effective way to intervene in anxiety disorders, this research was conducted to help anxiety patients alleviate anxiety symptoms through ceramic art design, and to analyze the impact mechanism and effect of the integration of visual beauty of color and ceramic design on anxiety patients.Subjects and Methods150 students with anxiety disorders in a university were randomly divided into an experimental group and a control group. The experimental group received learning on ceramic art design that integrates visual beauty with color, and the Hamilton Anxiety Scale (HAMA), Hamilton Depression Scale (HAMD), Symptom Checklist (SCL90), and Modified Kupperman Table score changes were used to verify.ResultsAfter learning ceramic art and design with integrated visual aesthetics of colors, anxiety patients in the experimental group showed a significant decrease in HAMA score, SAS score, and improved Kupperman scale score (P<0.05). Ceramic art and design had a significant relieving effect on the symptoms of anxiety patients.ConclusionsCeramic art design integrating visual aesthetics with color has a positive impact on anxiety patients. Anxiety symptoms present a significant improvement, with reducing fear, anxiety, tension, and unease. Physical symptoms such as chest pain, palpitations, palpitations, sweating, and sleep quality were also improved.

Ceramic art experience on the psychological guidance of children with autism

BackgroundLack of basic perception of interpersonal relationships and social skills is considered the core symptom of autism spectrum disorders (ASD) in children. In this regard, it is generally advocated to provide non-drug compensatory and alternative therapies, including group intervention, video shaping, social storytelling, social problem solving, critical response training, script and cue protocols, and computer-based interventions. Among them, ceramic art experiential therapy is receiving increasing attention due to its fun and compatibility with children’s physical and mental characteristics.Subjects and MethodsThis study focused on 58 children with autism spectrum disorders, who were divided into two groups. A control group of 28 people received routine group intervention therapy. The experimental group consists of 30 people, who underwent group intervention therapy combined with ceramic art experience. Diagnosis was conducted using the Parent and Student Forms of the Social Skill Improvement System Rating Scales (SSIS-RS) in the experiment.ResultsThe experimental results show that the control group is more prone to problems of excessive activity and lack of attention in the child self-evaluation problem behavior subscale than the experimental group children.ConclusionsAs a new treatment method, ceramic art experiential therapy is increasingly receiving more attention. This study shows that ceramic art experience has a positive psychological guidance for children with autism, which can increase their expression, communication skills, and desire for interaction.

Therapeutic impact of integrating ceramic art and color aesthetics on autism patients

BackgroundAutism is a behavioral and communication disorder caused by neurodevelopmental abnormalities. Art therapy can help patients improve social skills and emotional expression. This study aimed to explore the influence of ceramic art and color aesthetics on the treatment of autism.Subjects and MethodsThirty patients diagnosed with autism were randomly divided into an experimental group and a control group. The experimental group received fusion treatment of ceramic art and color beauty, and the control group received conventional treatment. The two groups were evaluated by the Stanford Acute Stress Response Questionnaire and the 3-minute Disorder Assessment Scale, and SPSS23.0 was used for statistical analysis.ResultsThe anxiety level of the experimental group decreased significantly after treatment, and the Stanford questionnaire score decreased from 65.3 ± 7.2 to 42.8 ± 5.9. The anxiety level of the control group did not change significantly, and the score decreased from 67.1 ± 6.8 to 65.9 ± 7.1. The cognitive ability of the experimental group was significantly improved, and the disorder assessment scale score decreased from 9.6 ± 1.2 to 4.3 ± 0.9. In the control group, there was no significant change in cognitive ability, and the score decreased from 9.8 ± 1.0 to 9.6 ± 1.2.ConclusionsCeramic art design and color aesthetic fusion therapy have significant effects on the anxiety level and cognitive ability of autistic patients. Compared with traditional treatment, this method can effectively improve patients’ emotional and cognitive functions. Art therapy has potential clinical applications in the treatment of autism.

Aesthetic education integrating traditional culture into modern ceramic design on anxiety recipients

BackgroundWith the accelerated pace of life in modern society, people face increased psychological pressure, leading to a gradual increase in the incidence of psychological disorders such as anxiety. In recent years, the fusion of traditional culture and modern pottery design has shown a unique charm in aesthetic education. Subjects and Methods.200 subjects who had been diagnosed with anxiety disorders were selected.Subjects and MethodsThe experimental group received an aesthetic education course on integrating traditional culture into modern ceramic design, which lasted for three months, twice a week, for two hours each time. The study included learning the fundamentals of calligraphy, classical Chinese painting, and creating ceramic art inspired by ancient poems. The control group received only traditional pottery aesthetic education. The anxiety symptoms of the subjects before, during, and after the intervention were assessed using the SAS-S scale (Symptom Assessment Scale-adolescent).ResultsIt was found that the experimental group scored significantly lower anxiety symptoms on the SAS-S scale than the control group after receiving an education that integrated traditional culture. In addition, the audience in the experimental group generally reported feeling soothed and having a deeper understanding and identification with pottery.ConclusionsAesthetic education by integrating traditional cultural elements such as calligraphy, classical painting, and ancient poems into modern ceramic design has a significant psychotherapeutic effect on audiences suffering from anxiety disorders. This provides a new, non-pharmacological approach to treating anxiety disorders and further confirms the value of traditional culture in modern society.Acknowledgement2020 research project on the development of social sciences in Hebei Province (No. 20200401003).