Ceramic Decoration Research Articles

The Application and Research of Bone-Free Flower and Bird Painting Techniques in Glazed Colored Porcelain

The bone-free flower and bird painting technique, as a unique method in traditional Chinese painting, showcases an artistic expression characterized by natural and fluid brushstrokes along with a harmonious use of color. In recent years, with the development of ceramic art, the bone-free technique has gradually been applied and innovated in the creation of glazed colored porcelain. This article analyzes the artistic features of the bone-free flower and bird painting technique, explores its specific application methods in glazed colored porcelain, and summarizes its artistic value in modern ceramic creation. Research indicates that the combination of the bone-free technique and glazed colored craftsmanship not only expands the expressive forms of ceramic decoration but also promotes the inheritance and innovation of traditional skills in modern ceramic art.

The CoNb2O6 pigments for brilliant-blue ceramic decoration at high temperatures over 1273 K

To date, brilliant-blue pigments that can maintain outstanding stability in a corrosive environment over 1273 K are still very desirable in the ceramic industry. We systematically investigated the structural, optical, colorimetric and thermal properties of a novel type of CoNb2O6 pigments, which have the 6-fold coordinated Co2+ as chromophores and high-valent Nb5+ as the mainstay factor for structural stabilization. Effective coloring contribution from different visible-light regions, the coloration mechanism and thermal stability of the pigments applied in glaze at 1273–1473 K are revealed for the first time. The Co2+ cation at the distorted [CoO6] octahedra generates the brilliant blue hue, which can maintain the absolute blueness values, b*, at 30–44 even after glaze calcination at 1273–1423 K. The superb thermal performance in a harsh environment of the CoNb2O6 pigments significantly outperforms the classic CoAl2O4 blue, thereby exhibiting attractive prospects for high-end blue-sky–hued decoration for ceramics.

Study on the Characteristics and Causes of Ceramic Decoration Art of Jiexiu Kiln in Song and Jin Dynasties

Jiexiu kiln is located in the city of Jiexiu, Shanxi, is one of the important kilns in Shanxi and even the entire northern region, with a long history and unique cultural connotations. In the Song and Jin dynasties, jiexiu kiln ceramics production of a wide variety, in the unique regional environment and cultural atmosphere, jiexiu kiln ceramic decoration of the subject matter, layout and aesthetic style show obvious regional characteristics, through the analysis of jiexiu kiln ceramic decorative art characteristics, it is not difficult to find that jiexiu kiln ceramic decorative art by the social customs of that time, the other art disciplines and fashionable aesthetic ideas of the influence of the different degrees Through the analysis of the characteristics of jiexiu kiln ceramic decorative art, it is easy to find that jiexiu kiln ceramic decorative art was influenced by the social customs of the time, other art disciplines and fashionable aesthetic ideas to varying degrees, which formed a practical, elegant, dynamic, free, bright and simple decorative style, leaving a valuable treasure for future generations.

Exploring the Integration of Yangjiabu Woodblock New Year Picture Color Language in Contemporary Chinese Ceramic Decoration

Exploring the Integration of Yangjiabu Woodblock New Year Picture Color Language in Contemporary Chinese Ceramic Decoration

3D imaging application to the study of the early Neolithic ceramic complex: the decorated pottery of Rio Tana (Abruzzi, Italy)

This study aims to demonstrate the potential of 3D analysis in the study of prehistoric ceramic complexes. Due to the production systems used, prehistoric pottery decorations can vary significantly. Examining the frequency of various decorative methods used at different sites may help identify areas potentially connected to specific traditional elements. However, this is usually a cumbersome and time-consuming task. 3D digital methodologies can bring several advantages in the interpretation of ceramic decoration, providing new tools that can improve analytical skills, speed up the decision process, and support the researcher’s conclusions. This work focuses on the application of these methodologies to the study of decorated ceramics from the Neolithic site of Rio Tana (Abruzzo, central Italy): firstly, a pottery complex from this site has been 3D digitised; then, an interactive and web-based 3D visualisation system has been developed to enable access and study of these digital data. By comparing archaeological data with experimental data, in parallel with the analysis of 3D models’ surfaces, it has been possible to better define the technique employed and quickly identify the type of tool used to create the ceramic decorations. Furthermore, the web-based system made it possible to share and disseminate the digital dataset with the community, creating the conditions to make it easier to compare the frequency of different decoration methods and tools used at Rio Tana with other sites.

Fluorine-free synthesis and chromatic properties of V/Pr co-doped zircon ceramic pigment

A fluorine-free route has been developed to fabricate V/Pr co-doped zircon (ZrSiO4) ceramic pigments with Na3VO4 and Pr(NO3)3·6H2O as colourants. The as-prepared pigments were characterized by XRD, Raman, XPS, UV–vis, FE-SEM, TEM and automatic colourimeters. The results show that Na3VO4 can not only act as colourant to produce blue hue, but as mineralizer to accelerate the formation of V/Pr co-doped ZrSiO4 pigment. A colour tuning between blue, green and yellow can be achieved by increasing the mole ratio of Pr/V, and the most intense yellow hue (L* = 74.55, a* = −0.38, b* = 46.82) is obtained at a mole ratio of Pr/V = 0.5. Both Pr4+ and Pr3+ cations are co-existed in the pigments, where Pr4+ contributes to the generation of yellow hue while Pr3+ undermines the yellow hue. The good chromatic ability in glaze at high temperature suggest its potential application in ceramic decoration.

The colorful facade decorations of the secession style in Sofia. Sofia mineral baths and the recovering of missing elements

The report presents the national specific of the Secession style in the colourful ceramic decoration of some buildings in Sofia. The most representative between them are the church of St ?Nikolay Novi Sofiiski?, buildings of the Synodal Palace, the Central Mineral Baths, and the Higher Theological School at the Holy Synod, built and decorated between 1900 and 1922. They are the works of the architects Friedrich Gr?nanger, Yurdan Milanov and Petko Momchilov. The accent of the research is the ceramic decoration of the facades of the Central Mineral Baths in Sofia, by the project of Haralampi Tachev. The details of the types of ornaments are presented and analysed. The graphic designs for the restoration of the missing elements were considered. The impact of colour in the design of the facades is analysed. The peculiarities in the decoration and the connection of this style with the medieval elements, were examined. The connection of the facade solutions with the Bulgarian historical traditions of the early Middle Ages and Byzantium is explained through examples from Preslav, the capital of the First Bulgarian Kingdom. This way the coloured ceramic tiles of the facades of the Central Mineral Baths are represented as an expression of the Bulgarian medieval tradition in the Secession style in Sofia. The colour facade interpretations of the buildings in Vienna, Paris and Prague of that period are presented for comparison and demonstration of the national differences, decisions and tasks of the Secession style.

Preparation of Environmentally Friendly BiVO4@SiO2 Encapsulated Yellow Pigment with Remarkable Thermal and Chemical Stability

The preparation of environmentally friendly inorganic encapsulated pigments with a bright color and sufficient stability provides an effective strategy for expanding their applications in plastic, paint, glass, and ceramic decoration. The challenges facing the use of such pigments include the formation of a dense protective coating with the required endurance, the relatively weak color of the encapsulated pigments, and the preferable inclusion particle size. Environmentally friendly BiVO4 is regarded as a very promising pigment for multiple coloring applications due to its brilliant yellow color with high saturation. However, its poor thermal and chemical stability greatly limit the application of BiVO4. Herein, we report a sol–gel method to synthesize inorganic BiVO4@SiO2 yellow pigment with a core–shell structure. By controlling the synthesis conditions, including the particle size and dispersion of BiVO4 and the calcination temperature, a BiVO4@SiO2 encapsulated pigment with excellent chromatic properties was achieved. The obtained environmentally friendly BiVO4@SiO2 pigment with encapsulation modification has a comparable color-rendering performance to BiVO4, and it has a high thermal stability at 700 °C, excellent acid resistance, and good compatibility in plastics. The present research is expected to expand the application of yellow BiVO4 pigment in harsh environments.

Angle Resolved-XRF analysis of Puebla ceramic decorations

With Angle Resolved XRF (AR-XRF) the sample is investigated at different angles of detection and irradiation. The geometry of analysis indeed affects the intensity of the characteristic elemental fluorescence signal of the sample, which depends on the element distribution inside the sample. This technique has already proved to be very useful in analyzing metallic bilayer samples. In this paper, we applied AR-XRF to study a real case in the field of Cultural Heritage, with the analysis of a glazed ceramic coming from Puebla, Mexico. The analysis of the decorations, which present different thicknesses and compositions, has shown the limits of the technique, especially in the case of thick and diffused layers, and the importance of a priori knowledge to retrieve structural information in the case of a complex system with a great number of variables.

One-step synthesis of CoAl2O4 inorganic pigment by solution combustion: The impact of fuel and ammonium nitrate

Inorganic pigments are widely used in various industries, including ceramics and paints. CoAl2O4 is a highly stable pigment, but its industrial synthesis requires high temperatures, resulting in long synthesis times and high costs. Alternative synthesis routes have been proposed, but they are often expensive and require multiple thermal treatment stages. Solution combustion synthesis shows promise in reducing costs and synthesis time, but optimization is required so that synthesis is achieved in one step. In this work, we studied the problem of synthesizing the inorganic pigment CoAl2O4 using a single-step solution combustion synthesis. Therefore, the aim was to investigate the influence of different fuels: urea and citrulline, and the addition of an extra oxidizing agent, ammonium nitrate (A.N.), on the combustion temperature and the resulting structure, morphology, and colour of the pigment. The addition of A.N. resulted in a significant increase in the combustion temperature and the formation of crystalline CoAl2O4. The color coordinates for the powder following combustion, with the inclusion of 2 g of ammonium nitrate (A.N.) in the fuel mixture at an optimized O/F ratio of 0.5, were determined as follows: L* = 58.23, a* = −8.27, b* = −30.25, C*ab = −31.33, and h*ab = 263°, indicative of a blue hue. These results show that inorganic pigments could be used in ceramic decoration and acrylic paint. These findings are important for the development of new and efficient methods for synthesizing inorganic pigments with desirable properties for various applications.

A multianalytical approach for the study of relief polychrome glazed ceramics (France, 19th century)

During the second half of the 19th century, the production of ceramic pieces decorated with relief polychrome glazes occupied a prominent place in French factories of white earthenware. It is through the example of the Vieillard and Co Manufactory (Bordeaux, France, 19th century) that we will approach the technical study of this ceramic decoration process. A corpus of seven fragments of glazed earthenware from archaeological excavations, that took place in the waste dumps of the Vieillard and Co manufactory, has been studied. A multianalytical study (SEM-EDS, PIXE-PIGE, and hyperspectral imaging) was carried out in order to characterize both the clay support and the colored glazes. A second part of this research concerns the development of optical techniques based on reflectance spectra and hyperspectral imaging. This non-invasive method is intended to characterize colored glazes and more specifically, to identify the type of pigments used. All the data obtained made it possible to better understand the nature of the decoration chromogens and thus, to establish the color palette of the artists who produced this type of decorative objects. Therefore, one of the aims is to build a preliminary database established on hyperspectral imaging, which will then be used when studying ceramic objects that can not be sampled.

Rare and Complex Wares: A Study of Vessels and Sherds Decorated with Both Mīnāʾī and Lustre Techniques

Abstract The two most prestigious and technically challenging types of ceramic decoration used in the Islamic world during the sixth–seventh/twelfth–thirteenth centuries were mīnāʾī and lustre. By far the rarest type of mediaeval ceramic wares are the pieces featuring both types of overglaze decoration on the same vessel. This article examines the corpus of twenty-two sherds, including repaired and several previously unpublished examples. They are studied together to show the two main types of wares and their connection to other categories of mīnāʾī ware.

Study On Decorative Art of Greenbelt Pastel Lotus Embossed Wuzi Dengke Bottle In Qing Dynasty

China is a country with a long history of producing ceramics, leaving many exquisite and precious ceramic artworks. The ceramic involved in this paper is one of them. From the perspective of iconology, this study studies the Qing Dynasty porcelain “Greenbelt Pastel Lotus Embossed Wuzi Dengke Bottle” (GPLEWDB) through specific image analysis, including the form characteristics and symbolic meaning, historical background, and other contents of ceramic decoration. Then, according to the historical data, analyze the formation of the ceramic decorative art of social and cultural factors. This study attempts to change the traditional research methods of Chinese art history, in the form of case analysis, ceramic decorative elements of multi-level image analysis, to achieve a more in-depth study of ceramic cases. The study on the form and symbol of decorative patterns of GPLEWDB is helpful to link ceramic art research with ancient Chinese traditional culture, analyze the relationship between them, expand the perspective of traditional research, and promote the application of interdisciplinary research in ceramic research.

Archaeometric analysis proposal for negative decoration

The main purpose of this text is to offer what could be a kind of road map within the possible archaeometric protocols to address the old problem posed by ceramics with negative decoration and the possible relationships that would have occurred between Western Mexico and South America. A perspective is also offered on what is negative from a technological point of view, according to ethnoarchaeological analyses, important since despite the great temporal distance that separates us from the makers of this ceramic decoration (possibly men and women) ethnoarchaeology. It provides clues to make better questions about the archaeological context.

The Influence of The Retro Trend On The Pattern and Symbol of Ceramic Decoration in The Qianlong Period of The Qing Dynasty

The Influence of The Retro Trend On The Pattern and Symbol of Ceramic Decoration in The Qianlong Period of The Qing Dynasty

Low-temperature synthesis of ultrafine Cr,Mg-codoped Al2TiO5 nanocrystals as high-temperature green ceramic pigment

Tialite (Al2TiO5) is attracting as a high-temperature ceramic host matrix, but the decomposition of Al2TiO5 at 780–1280 °C is a serious obstacle for practical application. Herein we prepared successfully ultrafine Cr,Mg-codoped Al2TiO5 green ceramic pigment with the nanocrystal sizes less than 50 nm and high-temperature stability of up to 1200 °C via nonhydrolytic sol-gel (NHSG) method followed by heating treatment of 750 °C. The effects of Cr and Mg content on phase composition, crystal structure, thermal stability and color property were well investigated. The optimum Cr,Mg-codoped Al2TiO5 pigment with 20 mol% Mg and 6 mol% Cr exhibited an excellent green color (L* = 76.94, a* = −9.62, b* = 14.17), which can be reasonably maintained in exposed air by a heating treatment at 1200 °C for 10 h or in transparent ceramic glaze at 1200 °C for 30 min. These enhanced performances were mainly attributed to synergistic effect of Cr and Mg doping, which hindered the tendency of Al2TiO5 toward decomposition, indicative of its potential application in high-temperature ceramic decoration.

Synthesis and color properties of MnTiO3 black ceramic pigment

In this paper, MnTiO3 powder has synthesized by solid-state method, and its color properties were also investigated. Research indicates that the L*-value of the prepared MnTiO3 powder was only 25.85, showing a pure and deep black hue, which indicates that MnTiO3 can be used as a black ceramic pigment and coating. The color mechanism of MnTiO3 pigment is attributed to the 6A1g→4A1g and 6A1g→4T2g crystal field transition of octahedral Mn2+ site. Besides, the MnTiO3 pigment exhibited outstanding tinting performance in ceramic glaze. The L*-v alue of the glaze sample with 8 wt% MnTiO3 pigment added was only 11.44, which is the minimum value reported in the literature. Moreover, the MnTiO3 pigmented coating shows an excellent solar energy utilization performance. This work demonstrates the promising application of MnTiO3 pigment in ceramic decoration and solar absorber.

Thirteenth and fourteenth century ceramic decoration and social groups in the central great Plains

This paper considers possible social groups and interactions on the thirteenth through fifteenth century central Plains by examining patterns of ceramic rim face and upper body decoration. My analysis tabulates design motifs by site and/or locality, identifying a basic dichotomy between the northern / western area of the central Plains and the southern / eastern area, along with a third distinct pattern in the set of anomalously large sites on Ponca Creek in northeastern Nebraska. In the north and west, potters often used a diverse set of motifs on the faces of paneled rims and sometimes put Oneota designs on vessel upper bodies. In the south and east, they rarely decorated the face of any form of rim and sometimes put a pattern of alternating triangles filled with opposed diagonal lines on vessel upper bodies. This dichotomy maps onto a distinction between ossuary and cemetery burials and likely defines a social boundary between groups with long-standing interaction with different regions to the east of the Plains. The Ponca Creek data show a mixture of central Plains and Oneota styles along with hints of other regional patterns that may suggest the existence of a multi-ethnic community.

Interesting Design and Its Application in Ceramic Decoration Design

This paper defines the interesting ceramic decoration design, this paper expounds the interesting design in the practicality of products, close to life, from the natural art and the language symbol of product special meaning, and how to improve the design of ceramic content, aesthetic value and used in ceramic design interesting, decorative is discussed, for reference.

Aesthetic values ​​of Islamic ceramic decorations Iznik ceramics as a model

بعد الدراسة الاستطلاعية التي قام بها الباحث على مجموعة من التشكيلات الزخرفية التي تزيين الخزفيات الإسلامية بصورة عامة والخزفيات العثمانية في مدينة ازنيك خاصة، بمختلف الخامات والمقتنيات. اثارت الباحث لمجموعة من التساؤلات منها، ماهي القيم الجمالية التي ميزت الخزفيات العثمانية، ولاسيما في مدينة أزنيق التركيا عن باقي العصور الأخرى. وهل اتسمت هذه القيم الزخرفية للخزفيات العثمانية بالمتعة التي ترتقي بالذائقة الإنسانية نحو التجديد والتبصير الباطني لما وراء المنجز الزخرفي، ام هو فن نمطي لا يعبر عن ارهاصات أو منظور فكري معين. وهل وفرت القيم الجمالية المرتكزات الجمالية والقدرة على التحفيز الفني والتطور والتقني في مجال تزيين التحف الخزفية وتحقيق التوجه الذاتي و الشمولية و النزعة إلى التفرد و التجانس. ام يريد احياء تقاليد متوارثة عن الأجداد (احياء الصنعة). وان ثمة قيم جمالية مختلفة ومتباينة ترسلها التنوعات الشكلية (العناصر الزخرفية) المزينة للخزفيات اراد الفنان المسلم ايصالها الى المتلقي.