Decoration Of Porcelain Research Articles

European Smalt in 17th-Century Japan: Porcelain Decoration and Sacred Art

Japanese art tradition, contrary to the case of China, is characterized by an efficient and continued, although mostly undocumented, use of smalt from the late 16th century onward. Recent studies have successfully identified this pigment, the cobalt-colored glass that spread throughout the Old Continent during the Renaissance period, as the coloring agent employed for overglaze-blue enameling on Japanese porcelains produced at the kilns of Arita (the porcelain production center of Japan) from the early 1640s until the 20th century. Fragmentary evidence of the use of smalt in Japanese sacred art has also been reported, yet its earliest incorporation into such a type of traditional art form could not be identified. In order to resolve this crucial issue, portable EDXRF was employed for the non-destructive analyses of Japanese porcelains and sacred images bearing blue decoration. Scientific analysis allowed, for the first time ever, to establish a clear timeline of smalt use. Furthermore, this evidence and the literature data both agree, leading to the identification of the origin of the blue material used on both art productions.

Revisiting the bleeding effect in historical cobalt porcelain pigments: Mechanism, influence and technical responses

The bleeding phenomenon, a persistent and widespread issue in the application of cobalt-bearing pigment during porcelain decoration, has spurred different civilisations to develop various response strategies to alleviate this problem. In this study, we challenge the prevailing hypotheses concerning the role of composition and viscosity in determining the bleeding effect on blue-and-white wares, proposing a novel physical model framing it as a diffusion process that occurs within vitreous silicate, where the severity can be qualitatively expressed using the diffusion distance. Drawing upon the phenomenological Fick's law and microscopic diffusion mechanism, we quantitatively discuss the primary physical parameters that influence the diffusion behaviour for the first time, clarifying that the diffusion of cobalt ions is not related to the medium viscosity. Moreover, compared with the microstructural features of blue decors with and without the bleeding effect, we reveal that domestic cobalt particles are all encapsulated by anorthite crystals, acting as a passivation shell to hinder the dissolution of cobalt particles. Significantly, our reinterpretation has broader archaeological implications for the bleeding effect associated with cobalt pigment in ceramics, elucidating the historical trajectories of responsive practices and the multifaceted interplay between resource form, artistic expression and technological advancement across varying environmental and cultural contexts. Overall, these responses to the bleeding effect exemplify the complexities of technological evolution, highlighting that technology is not merely an extension of technical knowledge but also functions as a form of social construction deeply intertwined with its local context. This comprehensive understanding contributes to our understanding of historical narratives in ceramics and the diversity of human ingenuity in ancient societies, with potential implications for contemporary pigment manufacture.

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.

Lagrange-enhanced GRA method for probabilistic simplified neutrosophic MADM: Yaozhou porcelain decoration design quality evaluation

Yaozhou ware is located in Huangbao Town, Tongchuan City. It began in the Song Dynasty and flourished in the Tang Dynasty. Its warm and jade like glaze color, exquisite decorative techniques, and rich and varied utensil shapes all give it a very important position in history. The traditional Yaozhou porcelain contains the ancient people’s concept of creation and their attitude towards humans and nature. Each artifact of Yaozhou porcelain contains the designer’s understanding and emotions about the world, establishing a dialogue between people and objects to form a desired lifestyle. The production method of Yaozhou porcelain that has been preserved for thousands of years shares many similarities with modern design ideas. The quality evaluation of Yaozhou porcelain decoration design is viewed as multiple-attribute decision-making (MADM). The grey relational analysis (GRA) is a useful tool to cope with the MADM issue. The probabilistic simplified Neutrosophic set (PSNSs) is easy to characterize uncertain information during the quality evaluation of Yaozhou porcelain decoration design. In this paper, in order to obtain the weight information, an optimization model is constructed to obtain a simple and exact formula which can be employed to derive the attribute weights values based on the Lagrange function and the probabilistic simplified neutrosophic (PSN) grey relational analysis (PSN-GRA) method is originated for MADM to rank the decision alternatives. Finally, a numerical example for quality evaluation of Yaozhou porcelain decoration design is used to verify the practicability of the PSN-GRA method and compares it with other methods.

Works of Palekh miniature painters in the field of porcelain decoration (Palekh porcelain)

The article is devoted to the history of the production and painting of artistic porcelain products in the Palekh craft – a little-studied page in the annals of the twentieth century Palekh. The subject of the study is an analysis of the technical and artistic difficulties faced by Palekh artists in mastering the production and painting of porcelain in the 1920s - 1930s, as well as the reasons that, unlike the production and painting of papier–mache, it could not be put on an industrial basis. The purpose of the article is to expand our understanding of the richness of the ways of development that the Palekh fishery had during the early Soviet period using the example of an alternative artistic material for Palekh. Using the method of comparative analysis, as well as narrative and structural research methods, the author examines the role of A.V. Bakushinsky and other representatives of the Soviet intelligentsia in the development of porcelain painting by Palekh artists. The scientific novelty of the study consists in an attempt to consider this problem as a complex phenomenon: the article analyzes Palekh porcelain products from both the pre-war period and the 1950s – 1970s. The main conclusion of the article is the statement that despite the gradual fading of the Palekh fishing organization's interest in this material, many Palekh artists continued to create talented and original porcelain products during the Soviet period.

The Transmission of Decorative Motifs in the History of Chinese Song and Yuan Ceramics Technology--On the Origin of Decorative Motifs on Yuan Blue and White Porcelain

Blue-and-white porcelain suddenly appeared at the Jingdezhen kilns during the Yuan Dynasty. Regarding the subject matter and layout of porcelain decoration, the underglaze brown porcelain of the Jizhou kiln is closely related to the decoration of the blue-and-white porcelain of the Yuan dynasty. It is a reference and inheritance from the latter to the former.

Ceramic colors

Abstract Ceramic colors or stains consist mainly of pigments, glaze or body, and opacifiers. They are used for the decoration of porcelain, earthenware bone china and other ceramics. Glazes and enamels are the main application systems for ceramic colors. Pigments are the color giving components in the composition of a ceramic color. High temperature and chemical stability as well as high tinting strength are characteristics of stains. Technically important ceramic colors are cadmium sulfide and sulfoselenides (occluded in zircon), metals such as gold, silver, platinum, and copper (as colloidal particles), metal oxides (α-Fe2O3, Cr2O3, CuO, Co3O4/CoO, MnO2/Mn2O3, and NiO/Ni2O3), mixed metal oxides and silicates, zirconia-based and zircon-based compositions. Ceramic colors are often produced using solid state reactions.

European ceramic technology in the Far East: enamels and pigments in Japanese art from the 16th to the 20th century and their reverse influence on China

The production of Japanese enamels for porcelain decoration was thought to have originated from the direct and exclusive influence of Chinese potters who moved to Japan during the chaotic Ming to Qing dynastic change in 1644. Recent systematic studies have identified, for the first time, the crucial influence of Jesuit missionaries on pigment and enamel production in Japan from the late 16th-century. In particular, such first encounter laid the foundation for the continued influence exerted by European technology on Japanese art throughout the centuries. The present study has further identified European enamels used for the decoration of polychrome wares fired in Arita, the porcelain production center of Japan. This continued exchange not only marked the Edo period, but also extended into the twentieth century. For the first time, the lack of written records regarding the use of western pigments for enamel production caused by the persecutions of European and Japanese Christians has been overcome in the work herein presented. The nature of the imported materials has been firmly identified and characterized. The analytical results (EDXRF and Raman) have finally revealed how western technology and materials not only kept influencing Japanese art during the isolation (sakoku) period, but also accompanied the strong westernization process that marked Japanese history from the late nineteenth century. Moreover, the significant reverse influence of Japanese-made enamels on Chinese polychrome porcelain production in the late Qing and twentieth century has been fully identified for the first time. Furthermore, results show that the shift of the Pb mode of lead antimonate (Naples Yellow) is affected by the firing temperature for enamel decoration, and that this characteristic, along with the chemical composition, enables the identification of the origin and manufacture period of the yellow enamel.

Raman spectroscopic and SEM/EDXS analyses of high translucent Nantgarw porcelain

In the first quarter of the 19th Century the factory established at Nantgarw created some of the finest quality porcelain in the world, rivalling that of Sevres, but beset by economic difficulties resulting from extraordinarily high kiln losses approaching 90 %, the production which started in 1817 (ceased by 1820) produced the finest translucency ever achieved in Georgian porcelains. An opportunity has arisen to analyse rare Nantgarw porcelain shards excavated archaeologically from the Nantgarw China Works site. Two types of compositions, bone china and silica-rich pastes are identified by Raman and SEM-EDXS analyse, confirming some ancient studies. The spectral data from “sagged” silica-rich shards are interpreted to reveal potential explanations of the manufacturing fault which significantly contributed to the demise of the ceramics factory. Finally, the pigments and glaze used in Nantgarw porcelain decoration have been analysed and identified for the first time.

A New Ellipse or Math Porcelain Service

Egglipse was first explored by Maxwell, but Descartes discovered a way to modify the pins-and-string construction for ellipses to produce more egg-shaped curves. There are no examples of serious scientific and practical applications of Three-foci ellipses until now. This situation can be changed if porcelain and ellipses are combined. In the introduced concept of the egg-ellipse, unexplored points are observed. The new Three-foci ellipse with an equilateral triangle, a square, and a circle as “foci” are presented for this application and can be transformed by animation. The new elliptic-hyperbolic oval is presented. The other two similar curves, hyperbola and parabola, can be also used to create new porcelain designs. Curves of the order of 3, 4, 5, etc. are interesting for porcelain decoration. An idea of combining of 3D printer and 2D colour printer in the form of 2.5D Printer for porcelain production and painting is introduced and listings functions in Mathcad are provided.

Chinese Porcelain Lacquer Painting Art : Primary Analysis on Convergence of Porcelain Decoration and Raw Lacquer

Chinese Porcelain Lacquer Painting Art : Primary Analysis on Convergence of Porcelain Decoration and Raw Lacquer

ARTISTIC DECORATION OF FAIENCE WARES IN LATVIA IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY

This research paper is an investigation of the techniques used in decoration of Riga faience from the beginning of faience production in Riga in the middle of the 19th century until the First World War. Relatively few products from this period are represented in the Riga History Museum and Riga Porcelain Museum; in the summer of 2016, the author visited 22 regional history and art museums of Latvia and got acquainted with their ceramics collections in order to find more historical artefacts and gain more complete overview of porcelain decoration techniques used for them. Work with museum collections revealed a lot of previously unknown information about the development of decoration techniques during the faience production period in Riga, from 1841 to 1962. The article deals with the problems of faience terminology and development of decoration techniques in the period from 1841 until the First World War. The article offers conclusions on the nature of the collections of Latvian regional museums, their collection–building strategy, preservation conditions, state of the objects and their availability for exploratory work.

Design Factors Extraction and Application of Five Dynasties Yaozhou Porcelain Decoration

For the better development of Yaozhou Kiln, the article is proposed a research method about cultural and creative products based on the example of extracting the lotus patterns on the Yanzhou Kiln in the Five Dynasties. By collecting data and extracting forms, through the combination of qualitative and quantitative, it mines the obscure information of the Yaozhou porcelain ornamentation in the Five Dynasties. The article analyzes the form evaluations of the 18 representative lotus patterns in the Five Dynasties by semantic difference method, extracts their stylized inheritance and recessive genes and makes the conclusion to guide the cultural and creative products design of the Yaozhou Kiln, which not only supplies a fresh design perspective for the innovation development of the famous domestic traditional kilns as a reference, but also a useful supplements for the research of the design art methodology.

History, Analysis and Attribution of Japanese Arita Porcelain (with Reference to the Irkutsk Regional Art Museum Collection)

With reference to the collection of the Irkutsk Regional Museum, the article outlines the history of Arita porcelain, one of the leading ceramic centers in Japan. The author enumerates the founders of the technique, also illustrating sustained progress in ceramic production, which became a competitor of Chinese porcelain in Europe. The author discusses how Japanese potters succeeded in producing valuable porcelain products which were bought, in addition to Dutch merchants, by Chinese traders. Special attention is paid to the Meiji period, a time of transition that saw the formation of modern Japanese culture. During this period there was a modernization of traditional modes of production, but the identity of national culture was kept intact, which was reflected in the porcelain decoration designs. The author characterizes artistic styles of decoration (Kakiemon, Iro-Nabeshima, and Nisikide Imari) that received worldwide fame. Masters that created them became a national treasure of the Japanese people as they both preserved the generations-long techniques and demonstrated a profound knowledge of production cycles of individual ceramic enterprises. The article analyses porcelain from the museum collection as a source that altered the Europeans’ view upon arts and crafts of Japan that had been perceived as underdeveloped previously. The article contains data on the brands and authors’ inscriptions on the porcelain ware of the period.

Porcelain decoration design, tableware shape construction and surface location schemes for pattern

My pedagogic work as a porcelain painting teacher brought to my attention the problems of connecting two-dimensional painting or decor with three-dimensional shape. This paper presents my research on the contradictions between porcelain decor and shape and provides insight into shape construction of objects and, consequently, shape designer’s contribution to tableware design. Understanding of tableware shape structure is equally helpful for the artists creating decoration designs and for the museum researchers describing collection items. By selecting and analyzing the images of porcelain decoration of different time periods, the basic principles of pattern organizing and decoration layout that follows shape design can be determined. The study used qualitative and selective methods of research, including visual material selection and interpretation. The visual material for the analyses was collected in The Museum of the History of Riga and Navigation, Riga Porcelain Museum, The Art Museum Riga Bourse, Victoria and Albert Museum in London, Sèvres Ceramics Museum in Paris, The State Hermitage Museum in St. Petersburg, Herend Porcelain Museum in Hungary and Augarten Porcelain Museum in Vienna.

Use of rare-earth metal oxides for decoration of porcelain

A variant of use of rare-earth metal oxides for decoration of porcelain is examined. The effect of these oxides on phase formation and on the character of coloring of the structure on incorporation in the paste is examined.

Couture and/or Culture?

Nancy J. Troy: Couture Culture: A Study in Modern Art and Fashion (MIT Press: Cambridge, Mass., 2003), 150 b&w illns, 456 pp., hardback ISBN 0-262-20140-2, £39.95, paperback ISBN 0-262-70103-0, £16.95. The tropes of art-historical study have formed the basis for the study of design history and, to a lesser degree, extended investigations into material culture. This is not a simple adoption of analytical tools or historiographies but resides in the original proximity between the two fields. In modern Western history, from the Enlightenment to the middle of the nineteenth century, examples from decorative, applied, or industrial arts such as wall coverings, porcelain decoration, furniture or textile weaving were discussed as analogous to developments in painting, sculpture, architecture, or music. This is not to say that they were accorded identical cultural status – as the fluctuating hierarchy of the arts since the seventeenth century had obviously privileged painterly discourses – or that their material value, based on rarity, production process, and forms of consumption, was regarded as the same. However, the forms in which decorative art were debated, that is the analyses of technical skill, significance of expression and aesthetic experience, and the discussion of their public impact, were comparable to those ascribed to stately building, monuments or academic painting. Due to the significant absence of the concept of the avant-garde, which was to develop at the end of the nineteenth century for aesthetic as well as economic reasons, the ‘fine’ arts had been valued in terms of technical proficiency, emulation of the classical canon and relation to historical models, adding to the established high regard in which individual marks of artistic creation had been held. An identical set of values was adopted for the discussion of the decorative arts, not merely in absence of an alternative valedictory scheme but because there was a similar regard for decorative hand-made objects before the advent of industrial production processes. With the development of large-scale manufacture and extended structures of distribution and mediation, a gap opened in the latter half of the nineteenth century between the applied and fine arts, and their cross-references and confluences marked a significant area of artistic and wider cultural debate.

The Cult of Happiness: Nianhua, Art, and History in Rural North China (review)

Reviewed by: The Cult of Happiness: Nianhua, Art, and History in Rural North China Craig Clunas (bio) James A. Flath . The Cult of Happiness: Nianhua, Art, and History in Rural North China. Contemporary Chinese Studies Series. Vancouver and Toronto: University of British Columbia Press, 2004. xii, 195 pp. Hardcover Can. $80.00, ISBN 0-7748-1034-3. Paperback Can. $29.95, ISBN 0-7748-1035-1. This engagingly written and rigorously argued book on the nianhua, literally "New Year pictures," produced in Shandong, Hebei, and Henan Provinces from about 1880 to 1950, is a welcome and important contribution to the study of China's visual culture. With chapters on "The Production of Print Culture in North China," "Home and Domesticity," "State and Society," "Retelling History through the Narrative Print," "Rural Print and the Cosmopolitan Mystique," "The Politics of the Popular," and "Exorcising Modernity," plus an excellent Introduction, which situates the project methodologically in terms of recent debates on "popular culture," it is a comprehensive and incisive look at this material, images that on grounds of the quantity produced and the audience reached would alone qualify them for a claim on the attention of all scholars of the period. The author's principal disciplinary identification is as a historian, and it is as historical texts that he engages with the seventy-four nianhua reproduced here (forty-three of them in good-quality color). However, his diligence in searching them out in collections in China and Europe, and the scrupulous attention paid to them also as material objects in their own right, with histories of production, [End Page 97] distribution, and consumption practices all given their due weight, is moreover a model of practice to art historians interested in addressing this material. An example would be the discussion of the ways in which the mechanization of the production of nianhua after about 1909 (when lithography began to replace xylo-graphy, or woodblock printing) had a major impact on the social context of production by putting thousands of woodblock printers out of work, but also on the visual culture, more broadly, by promoting a narrower and less diverse visual culture that stuck more rigidly to a set series of themes. The implications of this for an evolving Chinese visual culture as it encountered the shocks of war and then a highly politicized reordering in the middle decades of the twentieth century are profound and will take some working out in further studies. If there are points on which I would wish to suggest modifications of Flath's theses, it is often to stress the longer continuities of some of the visual practices he describes so well. Part of the problem in researching nianhua prior to the late Qing, when this book takes up the story, is that practically nothing survives— these were ephemeral objects that were never subject to the kinds of elite connoisseurship and collecting practices that might have ensured their survival, even if we know from written sources of the Ming and Qing that elites participated in their display and use. But the iconography of the nianhua does survive in other, more durable forms. Thus, for example, the figure of Dou Yujun, an ancient paragon whose five sons all achieved the heights of the jinshi degree, appears in the decoration of porcelain as early as about 1500, while "official and semi-official publications dealing with the subject of moral and customary standards," texts which were often also illustrated with pictures of right and wrong conduct, similarly go back some way before the early Qing period. One of the most widely-discussed sections of the book may well be chapter 5, with its valuable contribution to the vexed question of "modernity" in late Qing Republican history. It directs our attention away from such phenomena as urbanization and the culture of centers such as Shanghai, stereotypically seen as the beating heart of modernity in the period, and directs it firmly back to the inland and the rural. New periodicals of the late nineteenth century, such as the lithographically illustrated Dianshizhai huabao, have been the object of considerable recent study as carriers of an imagery and an imaginary of modernity to new urban audiences...

Liquid gold and other components used in decoration of glazed porcelain and glass articles

Compounds containing gold are still an important means of decoration of porcelain, faience, and glass products. The attempts to replace gold with other metals, such as organic iron compounds did not bring the expected results. The film imitating gold is not durable enough and has less decorative properties than gold does.

Gold in the pottery industry

The gilding of porcelain has been practised from the earliest days of its production, the permanence and brightness of gold naturally appealing to designers and manufacturers. Nowadays some five tons of gold are required annually for the decoration of porcelain and earthenware, and this article recounts the developments in gilding from the early closely guarded secret recipes to the current techniques involving not only some very complex organic chemistry but also a considerable degree of ingenious mechanisation of the processes, although the role of the skilled hand gilder is still in evidence on more expensive productions.