Relevant bibliographies by topics / Ceramic decoration

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Ceramic decoration'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Ceramic decoration"

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Xie, Ru Hong, Jun Jie Feng, and Shan Xin Feng. "Application Research of High Temperature Silver Plating in Products." Materials Science Forum 980 (March 2020): 70–78. http://dx.doi.org/10.4028/www.scientific.net/msf.980.70.

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Silver has functional properties such as disinfection, sterilization, and anti-corrosion.The combination of silver and conventional ceramics by high-temperature silver plating can impart the functionality to ceramic products and increase the functionality of ceramic products.The traditional way of decorating ceramic products is mainly glazed decoration, which combines silver and ceramics, and its silver metallic luster can bring decorative effects to ceramic products. And it is produced by high-temperature silver plating, which saves costs in the production process compared to traditional silver plating.At the same time, compared with traditional ceramics, high-temperature silver-plated ceramics can take into account the properties of ceramics and can also play the role of disinfection, sterilization, anti-corrosion and other properties of silver. It is produced by high-temperature silver plating, which is more cost-effective than traditional silver plating in the production process. At the same time, compared with traditional ceramics, high-temperature silver-plated ceramics can achieve the disinfection and sterilization of silver in consideration of the properties of ceramics,anti-corrosion and other attributes, a reasonable combination of the two, fully demonstrate the functionality and decoration of both.
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., Gde Deny Gita Pramana, Dra Luh Suartini, M. Pd ., and I. Gusti Made Budiarta, S. Pd ,. M. Pd . "METODE PEMBELAJARAN DEKORASI KERAMIK TEKNIK MARBLE DI SMK NEGERI 1 SUKASADA." Jurnal Pendidikan Seni Rupa Undiksha 8, no. 2 (September 6, 2019): 63. http://dx.doi.org/10.23887/jjpsp.v8i2.14977.

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Penelitian ini dilatarbelakangi metode pembelajaran guru DPK Keramik menempatkan peranan guru lebih dominan dibandingkan siswa. Dekorasi keramik yang dibuat, mengolah keramik sebagai fungsi pakai. Bentuk penelitian adalah deskriptif yang bersifat kualitatif. Bertujuan untuk mendeskripsikan tujuan penelitian pertama sampai dengan ketiga, yaitu (1) menerapkan metode pembelajaran dekorasi keramik teknik marble di SMK Negeri 1 Sukasada, (2) mendeskripsikan keunggulan dan kelemahan metode pembelajaran dekorasi keramik teknik marble di SMK Negeri 1 Sukasada, (3) mendeskripsikan hasil penerapan dekorasi keramik teknik marble di SMK Negeri 1 Sukasada. Penelitian ini menggunakan teknik pengumpulan data observasi, wawancara, dan dokumentasi dengan objek penelitian adalah guru dan siswa di jurusan DPK Keramik kelas XI. Hasil penelitian ini adalah (1) data berupa dokumentasi dan deskripsi proses guru dalam menerapkan metode pembelajaran dekorasi keramik teknik marble, yaitu dengan metode yang berpusat pada guru (ceramah dan demonstrasi) yang selanjutnya metode yang dipusatkan kepada siswa (eksperimen, mengajar sesama teman, metode drill dan elaborasi). (2) dari proses guru menerapkan metode maka didapat keunggulan dan kelemahan metode pembelajaran dekorasi keramik teknik marble, metode dengan keunggulan paling banyak adalah eksperimen yaitu 8 keunggulan dan metode dengan kelemahan terbanyak adalah metode ceramah dengan 6 kelemahan. (3) hasil penerapan metode pembelajaran dekorasi keramik teknik marble berupa benda keramik yang sudah diberikan dekorasi marble, karya siswa dengan metode drill dan eksperimen yang diberikan guru, sudah menunjukkan keberhasilan penerapan dekorasi teknik marble. Kata Kunci : Kata- kata kunci: metode pembelajaran, dekorasi keramik, teknik marble This research is based on learning method of teacher of DPK Ceramic put role of teacher more dominant than student. Ceramic decorations are made, ceramic processing as a function of wear. The form of research is descriptive that is qualitative. Aiming to describe the purpose of the first study to the third, namely (1) applying the marble ceramic decoration learning method in SMK Negeri 1 Sukasada, (2) describing the advantages and disadvantages of marble ceramic decoration learning method at SMK Negeri 1 Sukasada, (3 ) describes the result of application of ceramic decoration of marble technique at SMK Negeri 1 Sukasada. This study uses observation data collection techniques, interviews, and documentation with the object of research are teachers and students in the department of Class XI Ceramics. The results of this research are (1) data in the form of documentation and description of teacher process in applying marble ceramic decoration teaching method, that is with teacher-centered method (lecture and demonstration), then the method which is centered to the students (experiment, drill and elaboration). (2) from the process of applying the method teacher then obtained the advantages and disadvantages of marble ceramic decoration learning method, the method with the most advantage is the experiment that is 8 advantages and the method with the most weakness is the lecture method with 6 weaknesses. (3) result of application of marble decoration technique method of marble ceramic that have been given marble decoration, student work with drill method and experiment given by teacher, has shown success of marble technique application implementation. keyword : Keywords: learning method, ceramic decoration, marble technique
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Do, Quang Minh, Thi Thuy Linh Nguyen, Vo Thi Ha Quyen Pham, and Nguyen Hoc Thang. "The Novel Crystalline Glaze for Decoration of Ceramic Pottery." Materials Science Forum 987 (April 2020): 165–70. http://dx.doi.org/10.4028/www.scientific.net/msf.987.165.

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The ceramic glaze is a glass layer with an amorphous structure. Crystalline glazes are special glazes used to decorate ceramic products. It is based on the research results, the authors proposed a novel crystalline glaze from titanium frit (denoted by FV090/540) for pottery and ceramics with the heating temperature at 1200°C. The heating temperature for the crystallization of glaze was determined by differential thermal analysis (DTA). This study aimed to synthesis willemite crystals (Zn2SiO4) in pottery and ceramics. These crystals were detected and identified using X–ray diffraction (XRD), optical microscope (OM), and scanning electron microscope (SEM). The chemical composition of the samples was analyzed by X-ray fluorescence (XRF). From the results of experiments, the authors carried out decorating on industrial ceramic pottery products using this novel crystalline glaze and adjusted the required technological parameters.
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Moreno, Arnaldo, Vicente Lázaro, Ana Mateu, and Yolanda Reig. "Innovations and New Trends in Ceramic Tile Decoration." Advances in Science and Technology 68 (October 2010): 165–75. http://dx.doi.org/10.4028/www.scientific.net/ast.68.165.

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The goal of this paper is to review the latest innovations in ceramic tile decorating techniques, encompassing not only the most widespread techniques, such as inkjet printing, but also other decoration techniques with a strong potential to provide tile surfaces with new finishes and enhanced aesthetics, such as physical vapour deposition and laser treatment.
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Taxel, Itamar, Ayala Lester, and Uzi ʿAd. "Two Rare Early Abbasid Paint-Decorated Ceramic Bowls from el-Khirba/Nes Ziyyona, Israel." Muqarnas Online 35, no. 1 (October 3, 2018): 273–80. http://dx.doi.org/10.1163/22118993_03501p011.

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Abstract This article discusses two near-complete ceramic vessels—a deep, cup-shaped bowl and a shallow bowl/plate—found in recent excavations carried out at the rural site of el-Khirba/Nes Ziyyona in central Israel, in an early Abbasid context dated to the ninth century. The vessels bear unusual painted decorations on their exterior and interior. The decoration of the first bowl consists of alternating pairs of large black and white palm trees and large birds. The second bowl/plate is decorated with eight stylized trees emerging from a central circle, with small circles between them; these motifs were drawn in black over a white-painted surface. These bowls are associated with a local fine ware ceramic group, known as Fine Byzantine (or Fine Islamic) Ware, which originated in the Jerusalem region. However, their decorations reflect stylistic traditions familiar across the Early Islamic Near East and beyond, including from statuary works, illustrated manuscripts, and other ceramics. Altogether, it can be suggested that rural elites in Early Islamic Palestine used luxury ceramics decorated with pan-Islamic patterns as a way of identifying themselves with cosmopolitan, pan-Islamic society.
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Safronova, Elena Mikhailovna. "Saint Petersburg period of creativity of P. K. Vaulin (1906-1914)." Человек и культура, no. 2 (February 2021): 1–11. http://dx.doi.org/10.25136/2409-8744.2021.2.35221.

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The subject of this research is the stylistic peculiarities and means of artistic expression of the architectural majolica by Peter Kuzmich Vaulin. The object of this research is the architectural ceramics of Vaulin in facades of the buildings of St. Petersburg in the early XX century. The application of inclusive approach allows tracing correlations between the historical facts and the cultural characteristics of this period. The compositional-artistic analysis, comparative-descriptive method, and imagery-stylistic analysis were used for consideration of the means of artistic expression of architectural ceramics, compositional interaction of the materials and space, and examination of the style and formative peculiarities of ceramics. Detailed analysis is conducted on the Saint Petersburg period of the ceramist P. K. Vaulin, opening of his own ceramic workshop, and active participation in the development of decorative image of St. Petersburg in the early XX century. Special attention is given to the most remarkable works of the master for architectural decoration of the city. Emphasis is placed on his works for the Insurance Company Building “Russia”, which is brilliant example of the harmonious synthesis of majolica and architecture. The conclusion is made that the architectural ceramics of the master made in many ways determined the majolica decoration of St. Petersburg – compositional, textured, color, imagery-stylistic, and plastic peculiarities of the ceramic works of P. K. Vaulin contributed to aesthetic transformation of the environment. The scientific novelty of consists in the thesis that the ceramic workshop of P. K. Vaulin was one of the leading manufacturers of artistic majolica of the indicated period. It is also proven that the Heldwein-Vaulin workshop was able to organically synthesize the heritage of the best traditions of the past with the courage and ambiguity of the Art Nouveau.
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Ren, Tian Qi, Kai Fang, and Shi Hong Zhang. "Study on Influence to the Ceramic Glaze Color of Environmental-Friendly Pottery Brick by Low-Carbon Catalytic Combustion Furnace of Natural Gas." Advanced Materials Research 1088 (February 2015): 706–10. http://dx.doi.org/10.4028/www.scientific.net/amr.1088.706.

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This experiment consists of two parts. On the one hand is about the concentration of Variation of exhaust gas when heated potteries .On the other hand is about the compared between the potteries (Tang Dynasty) heated by natural gas catalytic combustion furnace and the traditional firing of the glaze. The potteries fired by catalytic combustion furnace could be used for decorating are not only more fine and glossy than the traditional, but also more translucent. Therefore, the potteries made by catalytic combustion furnace will be applied in decoration industries, such as decorative murals.
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Kanaev, V. K., L. A. Isakova, and N. S. Blostotskaya. "Sanitary ceramic products with marbled decoration." Glass and Ceramics 44, no. 1 (January 1987): 17–18. http://dx.doi.org/10.1007/bf00697469.

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Merkin, A. P., and N. A. Nikolaenko. "Decoration of self-glazing ceramic tiles." Glass and Ceramics 48, no. 6 (June 1991): 257–60. http://dx.doi.org/10.1007/bf00677743.

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Chua, Chee Kai, Robert Gay, and Wolfgang Hoheisel. "Computer Aided Decoration of Ceramic Tableware. Part I: 3-D decoration." Computers & Graphics 21, no. 5 (September 1997): 641–53. http://dx.doi.org/10.1016/s0097-8493(97)00041-1.

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Dissertations / Theses on the topic "Ceramic decoration"

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Talbot, Kathleen. "Nostalgia and identity : British hand-painted ceramic decoration 1870-1920." Thesis, Aberystwyth University, 2010. http://hdl.handle.net/2160/830497a4-b387-492e-ac83-c477b55b1b51.

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This thesis discusses hand-painted decoration on British ceramics in the period 1870 to 1920 in the context of changing economic and social climates and gendered employment and occupation. The original impetus for this research came from analysis of ware produced at the South Wales Pottery in Llanelli sometime in the period 1877 to 1920. As the research expanded and links with other potteries were established, it became evident that varied innovations in hand-painted ceramic decoration were influenced by national, local and gendered responses to a period of transition in Britain.
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Bradley, Naima. "Sampling and analysis of organic substances in the flue gases from ceramic decoration kilns." Thesis, Keele University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356999.

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Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.

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Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.

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Jackson, Wesley Albertus. "Late Woodland Ceramic Decorative Styles in the Lewis Phase of the Lower Ohio Valley: An Investigation of Social Connectedness." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1358.

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This research focuses on the nature and extent of social relationships between two Late Woodland Lewis phase villages, ca. A.D. 650 to 900, in southern Illinois and western Kentucky. These villages are the Cypress Citadel site in Johnson County, Illinois (111JS76), and the McGilligan Creek site in Livingston County, Kentucky (19LV197). Relationships between the two communities are examined through a detailed comparison of their ceramic assemblages, especially the decorated pottery. Chi square and Cramer's V statistics are used along with the social interaction and information exchange theories to determine the most likely to association between the sites. The results suggest a distancing of the social relations between these sites over their 250-year occupations. With a lack of firm temporal data, however, these conclusions are only a best-fit model. Other significant similarities and differences are noted which provide clues for future avenues of study.
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Wong, Chun-ming, and 黃振銘. "Cantonese opera on the temple ridge: conservation of Shek Wan ceramic figurines on the ridge of the HungShing Temple at Apleichau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B4218874X.

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Samavaki, Sheila. "L’iconographie des céramiques polychromes (rangârang) de Nishapur : IXe-Xe siècles." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3045.

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Cette thèse se concentre sur l’iconographie des céramiques polychromes à pâte argileuse jaunâtre, connues sous le nom de buff ware et attribuées à Nishapur aux IXe-Xe siècles. Ces céramiques ont la particularité d’être décorées par des scènes à figures humaines, animales et d‘oiseaux souvent sur un fond jaune vif, peintes de couleurs vertes et noires et parfois rouges. Depuis leur découverte en 1935, l’iconographie de ces scènes est restée un sujet de débat parmi les chercheurs, sans réponse définitive. Cette recherche vise à apporter un regard complémentaire sur cette production originale de céramiques d’Iran oriental. Le but de cette étude est de revisiter les questions et les réponses existantes, et aussi d’aborder de nouvelles hypothèses. Les questions comprennent la connaissance, la production et l’iconographie de ces céramiques. La première partie de cette étude expose l’histoire et les différents aspects géographiques et socioculturels de la ville médiévale de Nishapur. Dans la deuxième partie sont étudiées la production, la distribution, la chronologie et la morphologie de ces céramiques afin de définir leurs caractéristiques. La troisième partie est consacrée à l’identification des scènes représentées sur les céramiques polychromes de Nishapur et à l’analyse de leur iconographie. Y sont proposées plusieurs hypothèses sur l’iconographie des scènes liée à la mythologie persane, aux traditions, aux légendes, aux croyances et aux rituels. Cette recherche est basée sur une étude approfondie de 30 céramiques principales, 139 céramiques complémentaires et 35 objets de comparaison, représentés dans un catalogue de trois corpus
This dissertation focuses on the iconography of polychrome ceramics having a buff body, known as buff wares and attributed to Nishapur in the 9th-10th centuries. These ceramics were decorated with scenes of human, animal and bird figures, often on a bright yellow background and painted in green, black and sometimes red. Since their discovery in 1935, the iconography of these scenes has remained a subject of research with no definitive result. The research aims to provide a complementary fresh look at this original ceramic production of eastern Iran. The intention of this study is to revise the existing questions and answers, and to approach new hypothesis. The questions concern the characterization, the production and the iconography of these ceramics. The first part of this study exposes history and different geographical and sociocultural aspects of the medieval city of Nishapur. The second part of the study inquires the production, the distribution, the chronology and the morphology of theses ceramics. The third part focuses on the iconography of the scenes represented on Nishapur buff wares. It proposes a number of hypothesis on the iconography of the scenes related to Persian mythology, traditions, legends, beliefs and rituals. This research is based on a detailed study on 30 main wares, 139 complementary ceramics and 35 comparison objects, represented in a catalogue, which is completed by detailed drawings of the ceramics
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Monezzi, Renata Poliana Cezar. "Decorative tiles between Brazil and Europe: the case of the Santa Catharina factory." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18745.

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Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .
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Mahi, Khalida. "La céramique architecturale des "Maîtres de Tabriz" dans les édifices ottomans des 15ème et 16ème siècles." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3129.

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Les « Maîtres de Tabriz » ont suscité un vif intérêt chez les chercheurs. Ces céramistes, qui ont orné des édifices ottomans au 15ème et 16ème siècle, demeurent pourtant mystérieux à bien des égards. L’absence de biographies rend leur identification incertaine et engendre par conséquent de nombreuses théories sur leur origine historique et géographique. Concrètement, ces maîtres ne sont connus qu’à travers leur nom figurant dans les inscriptions monumentales ou dans les archives ottomanes. Une investigation dans les textes anciens a alors été essentielle pour combler le manque d’indices. Cependant, certaines de ces sources écrites ont fait l’objet d’extrapolations et de spéculations aléatoires. Pourtant, elles sont considérées comme des éléments probants, ce qui fausse évidemment l’identification de ces céramistes. Il a été primordial de revenir sur les éléments d’identification. La relecture des sources primaires permet en effet de dégager les notions concrètes et d’écarter les hypothèses infondées. Tel est l’enjeu de la première partie de cette étude qui met en évidence les connaissances que l’on possède des « Maîtres de Tabriz ». La deuxième partie est consacrée à l’analyse technique et ornementale des céramiques architecturales. Les œuvres des « Maîtres de Tabriz » sont relativement bien connues. Elles ont fait l’objet de nombreuses publications, mais ont souvent été abordées de manière transversale. Cette étude propose une nouvelle approche en mettant en relation la production de chacun des quatre groupes de céramistes. Cette démarche permet ainsi de saisir l’évolution de cette production tout en mettant en avant les corrélations et les disparités artistiques
The « Masters of Tabriz » generate high interest among researchers. These ceramists, who decorated ottoman buildings in the 15th and 16th centuries, remain mysterious in many respects. The absence of biographies makes their identification uncertain and hence leads to many different theories about their historical and geographical origins. In reality, these masters are only known for their names found on monumental inscriptions and from ottoman chancery documents. Thus, investigation into ancient texts became essential to fill in the lack of evidence. However, some of these written sources have led to extrapolations and uncertain speculations. Yet these have been accepted and considered as conclusive elements, which obviously misrepresent these master ceramists. It is thus essential to return to the elements of identification. Rereading primary sources written in Arabic, Persian and Ottoman gives evidence to concrete notions and dismisses unfounded suppositions. As the shadow zones round them tend to lead to myths, the objective of the first part of this study is to rectify the knowledge in our possession of the “Masters of Tabriz”.The second part consists of a technical and ornamental analysis of the architectural ceramic tiles. The productions of the “Masters of Tabriz”, principally found in Bursa, Edirne, Istanbul and Jerusalem, are relatively well known. They have been the subject of many publications, but have often been treated transversally. This study offers a new approach, comparing the productions of the four groups of ceramists. This procedure brings to light the progression of this production as it focuses on the artistic correlations and disparities
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Abboud, Rana. "Characterization of the pigments of Siceliot pottery decoration: the case of Centuripe ceramics." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20854.

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Abstract: Two Centuripean vases dated back to the 2th century B.C were analyzed using complementary non-invasive and non-destructive portable XRF and Total Reflectance FTIR spectroscopies. The vases are of great importance since they represent a rare expression of the Hellenistic period. The two vases, a “Pyxis” and a “Lebes Gamikos” decorated with figures of different typology, are exhibited in Salinas archaeological museum in Palermo-Italy. The Pyxis vase consists of three parts: the body, a removable lid and a decoration egg. The Lebes Gamikos vase consists of the body and a non-removable lid. The body and the lid of Pyxis vase as well as the body of Lebes Gamikos vase are decorated with different painting scenes. The state of conservation of the paintings is very poor for both vases. The aim of the investigation was to identify the used pigments for the decorations and the painting technique, to recognize the retouched areas and, eventually, to acknowledge the authenticity of these vases. XRF and IR analysis were performed on selected points representative of different colored areas. The analyzed points were selected from original and restored areas whose identification was performed with the aid of a restorer. The decoration resulted by the superimposition of three layers. The inner one is a white layer composed mainly by calcium carbonate and calcium sulfate. The middle layer, red colored, contains iron oxides. The outer layer is patterned with pigments that are common in the Hellenistic period. In some areas, modern pigments were also identified. The decorations were made using a tempera technique, as inferred by the identification of proteins residues by reflectance IR spectroscopy. One of the most interesting results concerns the identification of two calcium sulfate phases: the gypsum and the bassanite that undergo phase equilibrium promoted by temperature and humidity. The two phases are located only in some areas of the surface while in other only gypsum was identified. Additional investigations are necessary in order to verify if the presence of gypsum or gypsum and bassanite could constitute a criterion to discriminate original areas from later restoration or falsification.
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Books on the topic "Ceramic decoration"

1

Ceramic form: Design & decoration. New York: Rizzoli, 2002.

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Ceramic form: Design and decoration. London: Collins, 1988.

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Lane, Peter. Ceramic form: Design and decoration. London: Collins, 1988.

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Ceramic form: Design and decoration. New York: Rizzoli, 1988.

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Kristofer, Jean. Southwest ceramic art. Livonia, MI: Scott Publications, 1991.

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Janis, Fanning, ed. Handcrafted ceramic tiles. New York: Sterling Pub. Co., 1998.

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Navarro, M. Pilar. Decorating ceramics: A guide to the history, materials, equipment, and techniques of ornamenting ceramic objects with applied, incised, and painted decoration. New York: Watson-Guptill Publications, 1996.

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Lisl, Dennis, ed. Tiles: Choosing, designing, and living with ceramic tile. New York: C. Potter, 1996.

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Gobbi, Ugo. Il decoro floreale naturalistico nella ceramica del XVIII secolo =: Naturalistic floral decoration on XVIII century ceramic. Vitorchiano (VT): Milo, 1996.

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Pâte-sur-pâte: The art of ceramic relief decoration, 1849-1992. London: Barrie & Jenkins, 1992.

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Book chapters on the topic "Ceramic decoration"

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Noordin, Siti Noor Azila, Mohamad Rizal Salleh, Rusmadiah Anwar, and Oskar Hasdinor Hassan. "Luminescence Glaze as Third Decoration on Ceramic Surface." In International Colloquium of Art and Design Education Research (i-CADER 2014), 399–405. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_42.

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Collard, Gene. "Three-Color Glass Decoration." In A Collection of Papers Presented at the 1978, 1979, and 1980 Meetings of the Materials & Equipment/Whitewares: Ceramic Engineering and Science Proceedings, Volume 1, Issue 9/10, 764–65. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470291047.ch5.

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Stephenson, Nancy D. "Photosensitive Glass-Ceramics-A New Generation in Decoration." In Materials & Equipment/Whitewares: Ceramic Engineering and Science Proceedings, Volume 7, Issue 11/12, 1359–61. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470320365.ch25.

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Parkes, R., and D. Gillier. "New Metallic Glazes for High Fire Decoration." In Materials & Equipment/Whitewares: Ceramic Engineering and Science Proceedings, Volume 10, Issue 1/2, 69–72. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470310526.ch10.

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Pritchard, Melissa, and W. M. Carty. "Effect of Screen Mesh on Image Resolution in Silk Screened Glaze Decoration." In Whitewares and Materials: Ceramic Engineering and Science Proceedings, Volume 24, Issue 2, 184. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470294796.ch29.

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McCall, Michael J. "Decorating with Ceramic Decal." In Advances in Porcelain Enamel Technology, 149–53. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2010. http://dx.doi.org/10.1002/9780470640906.ch28.

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Annovi, Alberto. "Case Study at TecnoFerrari: Design of a Single-Pass Inkjet Printer for Ceramic Tile Decoration - From Machine Concept to a Complete Solution." In Handbook of Industrial Inkjet Printing, 761–86. Weinheim, Germany: Wiley-VCH Verlag GmbH & Co. KGaA, 2017. http://dx.doi.org/10.1002/9783527687169.ch45.

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Zhang, Yalin, Miaomiao Wang, and Yong Yu. "Decorative Beauty of Bionic Ceramic Vessels with Floral Rims." In Lecture Notes in Electrical Engineering, 229–35. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4802-9_30.

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Liu, Xinxin, Hua Huang, Meikang Qiu, and Meiqin Liu. "Research on Stylization Algorithm of Ceramic Decorative Pattern Based on Ceramic Cloud Design Service Platform." In Algorithms and Architectures for Parallel Processing, 549–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60248-2_37.

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Karlyn, David A. "Pad Transfer Decorating." In A Collection of Papers Presented at the 1978, 1979, and 1980 Meetings of the Materials & Equipment/Whitewares: Ceramic Engineering and Science Proceedings, Volume 1, Issue 9/10, 766. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470291047.ch6.

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Conference papers on the topic "Ceramic decoration"

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Long, Deming. "Research on the Artistic Language of Ceramic Painting in Jingdezhen Ceramic Decoration." In 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/emim-17.2017.395.

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Lei, Liu, and Zhao Shouli. "Analysis of the Relationship Between Modeling and Decoration in Ceramic Design." In Proceedings of the 2019 International Conference on Economic Management and Cultural Industry (ICEMCI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.191217.149.

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Chmielewska, D., R. Gebel, K. Szamałek, A. Olszyna, J. Marczak, A. Sarzyński, and M. Strzelec. "Application of laser radiation in decoration and marking of ceramic products." In Tenth Symposium on Laser Technology, edited by Wiesław L. Woliński, Zdzisław Jankiewicz, and Ryszard S. Romaniuk. SPIE, 2013. http://dx.doi.org/10.1117/12.2013247.

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Liu, Lejun, and Qi Xu. "A Comparative Study of “Taihu Stone” Image in Painting and Ceramic Decoration." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.047.

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Huang, Hua, Yi-Lai Zhang, and Xiang Yu. "An Architectural Ceramic Product Decoration Effect Three-Dimensional Display System Based on Java3D." In 2010 International Conference on E-Business and E-Government (ICEE). IEEE, 2010. http://dx.doi.org/10.1109/icee.2010.432.

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Yang, Ting, Yufei Zhang, Lijuan Ma, and Yanhua Liu. "Ceramic Tile With Air Purification Capability." In ASME 2016 5th International Conference on Micro/Nanoscale Heat and Mass Transfer. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/mnhmt2016-6431.

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In recent years, with the social progress and the rising of living standard, people have realized the importance of clean air. Microscale or nanometer photocatalyst has a certain application advantages in the purification of pollutants. Nano-TiO2 is one of novel promising environmental-friendly catalytic materials. However, the, only can absorb ultraviolet irradiation which accounts little in sunlight. Co-doping is beneficial in modifying TiO2. The synergistic action of dopants not only increased the activity of photocatalytic degradation, but also expanded the response range of light to the visible light region. Ceramic tile is a kind of common building material, and has broad application to the outside and inside wall of buildings for decoration. If we carry nanometer TiO2on ceramic tiles, they can clear pollutants in indoor and outdoor air. In this study, we prepared a TiO2 photocatalytic gel in advance by doping amount of N, F and/or Fe. Then we coated the gel on a kind of ceramic tile. After calcination we prepared a special ceramic tile with TiO2. The TiO2 was co-doped with N, F and Fe elements. The photo-catalytic activities of the ceramic tile samples under visible light irradiation were evaluated by the degradation of methylene blue solution. The result showed that the photocatalytic activity of the ceramic tile co-doped with TiO2 doped with 4wt % N, 0.06 wt% Fe, 0 wt% F, calcinated at 500°C, was the highest. The influence order of the factors was calcination temperature >Fe >F> N.
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Gurskis, Vincas, and Viktorija Zujavičienė. "INFLUENCE OF BUILDINGS EXTERIOR ON THE LANDSCAPE OF THE NEMUNAS DELTA REGIONAL PARK." In Rural Development 2015. Aleksandras Stulginskis University, 2015. http://dx.doi.org/10.15544/rd.2015.051.

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Protected areas were established in Lithuania in order to preserve not only the natural and cultural heritage, landscape and biodiversity, but the landscape and ecological balance, the genetic fund, to restore the natural resources and to provide educational recreation, research and environmental monitoring as well as the promotion of natural and cultural heritage protection. The Nemunas Delta Regional Park was established to preserve the lower Nemunas landscape, the natural ecosystem and cultural heritage values, and manage them rationally. Protected areas residents seek to reconstruct, modernize the existing buildings, in such a way the landscape is being changing. The evaluation of the structures belonging to one hundred park’s homesteads showed that the existing older buildings roof covering is from grey asbestos slates (56 %). In recent years, ceramic tiles and non-asbestos slates are being increasingly used as roofing material, wood (characteristic for grey colour) is usually used for building wall decoration (48 %). These colours correspond to the regulated by the park management regulations. The Regional Park landscape is blemished by the ruins of abandoned buildings, individual illegal structures, unsuitable colours selected for building exteriors decoration, the recommended window division into four or six sections is not being kept to.
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Melendez, Frank. "Computation and Clay: Evolving Fabrication and Performance Strategies for Ceramics in Architecture." In AIA/ACSA Intersections Conference. ACSA Press, 2015. http://dx.doi.org/10.35483/acsa.aia.inter.15.15.

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Throughout civilization, fired clay has taken on various roles, ranging from utilitarian objects to decorative art. In architecture, fired clay, as a building material, demonstrates a wide range of uses. Typically used as a tiling system, ceramics have provided a means of waterproofing buildings, protecting structures from fires, and as an aesthetic device for decorating surfaces.
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Liu, Xinxin, Hua Huang, and Hao Wu. "Intelligent generation algorithm of ceramic decorative pattern." In 2020 IEEE 6th Intl Conference on Big Data Security on Cloud (BigDataSecurity), IEEE Intl Conference on High Performance and Smart Computing, (HPSC) and IEEE Intl Conference on Intelligent Data and Security (IDS). IEEE, 2020. http://dx.doi.org/10.1109/bigdatasecurity-hpsc-ids49724.2020.00031.

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Guo, Yuchuan, and Yuanyuan Fan. "Jingdezhen Ceramic qOldq Brand Decorative Design Again." In 3rd International Symposium on Social Science (ISSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/isss-17.2017.139.

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Reports on the topic "Ceramic decoration"

1

Kent, Deborah. Advanced decorative ceramics techniques for high school students. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3064.

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