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1
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 corpusThis 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 artistiquesThe « 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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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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Elnaggar, April A. "Sgraffito expressions." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345338.
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Dugan, Moi. "Narratives on clay /." Online version of thesis, 1993. http://hdl.handle.net/1850/11769.
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Shih, Huei-Mei. "An overview of Cochin ceramics in Taiwan with an emphasis on the influence of Hong Kun-Fu and his school 1910s to 1980s /." Access electronically, 2008. http://ro.uow.edu.au/theses/148.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Delbianco, Gislaine Aparecida Barana [UNESP]. "Estudo de rejeitos de galvanoplastia e a sua aplicação na fabricação de peças cerâmicas rústicas para fins decorativos." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/103045.
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delbianco_gab_dr_rcla.pdf: 1713652 bytes, checksum: 5e32e8b54d395b31da88b469da16ea58 (MD5)O encapsulamento de resíduos em massas cerâmicas tem sido uma solução extremamente interessante porque permite a imobilização de resíduos tóxicos. O objetivo deste trabalho é estudar a aplicação de rejeitos de galvanoplastia às massas cerâmicas, sem o comprometimento das propriedades físico-químicas do produto final, possibilitando assim o desenvolvimento de uma cerâmica rústica, com variação de cores e boas propriedades tecnológicas. Os ensaios de caracterização das matérias primas foram a Fluorescência de Raios X, Iodometria e Difração de Raios X. Corpos de prova foram preparados por via seca, em formulações de massa variando o tipo de argila, a concentração do resíduo e o tipo de processo, foram realizados ensaios para controle das propriedades físico-químicas e para classificação de uso, de acordo com a NBR 13818/97. A análise petrográfica permitiu observar o comportamento do resíduo nos diferentes processos de preparação e os ensaios de eflorescência, lixiviação e solubilização comprovaram a inertização do resíduo. A utilização dos resíduos como aditivo apresentaram resultados bastante satisfatórios e indicam a viabilidade comercial da cerâmica rústica, pois a presença de CuO e NiO possibilitaram o aumento da vitrificação das massas cerâmicas e permitiu utilizar a argila considerada “rejeito” pelos ceramistas do Pólo de Santa Gertrudes-SP.
The encapsulating of residues in ceramic masses has been an extremely interesting solution because it allows the immobilization of toxic residues. The objective of this paper is to study the application of wastes of galvanoplasty to the ceramic masses, without compromising the physicist-chemistries properties of the final product, thus making possible the development of rustic ceramics, with variation of colors and good technological properties. The assays of characterization of the raw materials were the X Rays Fluorescence, Iodometry and X Ray Diffraction. Samples were prepared by dry process method, in mass formularizations varying the type of clay, the concentration of the residue and the type of process, assays were carried out to know the control of physicist-chemistries properties and classification of use, according to NBR 13818/97. The petrographic analysis allowed to observe the behavior of the residue in different processes of preparation and the assays of efflorescence, leaching and solubilization had proven the inertness of the residue. The use of the residues as additive presented sufficiently satisfactory results and indicates the commercial viability of rustic ceramics; therefore the presence of CuO and NiO makes possible the increase of the vitrification of the ceramic masses and allowed to use the considered clay “waste” for the ceramists of the pole of Santa Gertrudes-SP.
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Delbianco, Gislaine Aparecida Barana. "Estudo de rejeitos de galvanoplastia e a sua aplicação na fabricação de peças cerâmicas rústicas para fins decorativos /." Rio Claro : [s.n.], 2008. http://hdl.handle.net/11449/103045.
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Orientador: Maria Margarita Torres MorenoBanca: Antenor Zanardo
Banca: Tamar Milca Bortolozzo Galembeck
Banca: Flavio Machado de Souza Carvalho
Banca: Sérgio R. Christofoletti
Resumo: O encapsulamento de resíduos em massas cerâmicas tem sido uma solução extremamente interessante porque permite a imobilização de resíduos tóxicos. O objetivo deste trabalho é estudar a aplicação de rejeitos de galvanoplastia às massas cerâmicas, sem o comprometimento das propriedades físico-químicas do produto final, possibilitando assim o desenvolvimento de uma cerâmica rústica, com variação de cores e boas propriedades tecnológicas. Os ensaios de caracterização das matérias primas foram a Fluorescência de Raios X, Iodometria e Difração de Raios X. Corpos de prova foram preparados por via seca, em formulações de massa variando o tipo de argila, a concentração do resíduo e o tipo de processo, foram realizados ensaios para controle das propriedades físico-químicas e para classificação de uso, de acordo com a NBR 13818/97. A análise petrográfica permitiu observar o comportamento do resíduo nos diferentes processos de preparação e os ensaios de eflorescência, lixiviação e solubilização comprovaram a inertização do resíduo. A utilização dos resíduos como aditivo apresentaram resultados bastante satisfatórios e indicam a viabilidade comercial da cerâmica rústica, pois a presença de CuO e NiO possibilitaram o aumento da vitrificação das massas cerâmicas e permitiu utilizar a argila considerada "rejeito" pelos ceramistas do Pólo de Santa Gertrudes-SP.
Abstract: The encapsulating of residues in ceramic masses has been an extremely interesting solution because it allows the immobilization of toxic residues. The objective of this paper is to study the application of wastes of galvanoplasty to the ceramic masses, without compromising the physicist-chemistries properties of the final product, thus making possible the development of rustic ceramics, with variation of colors and good technological properties. The assays of characterization of the raw materials were the X Rays Fluorescence, Iodometry and X Ray Diffraction. Samples were prepared by dry process method, in mass formularizations varying the type of clay, the concentration of the residue and the type of process, assays were carried out to know the control of physicist-chemistries properties and classification of use, according to NBR 13818/97. The petrographic analysis allowed to observe the behavior of the residue in different processes of preparation and the assays of efflorescence, leaching and solubilization had proven the inertness of the residue. The use of the residues as additive presented sufficiently satisfactory results and indicates the commercial viability of rustic ceramics; therefore the presence of CuO and NiO makes possible the increase of the vitrification of the ceramic masses and allowed to use the considered clay "waste" for the ceramists of the pole of Santa Gertrudes-SP.
Doutor
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Johnson, Owen. "Glass, pattern, and translation : a practical exploration of decorative idiom and material mistranslation using glass murrine." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1678/.
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Can creative material translation reshape artistic appropriation to escape the cycle of mimicry and mockery linked to contemporary visual art practice? To explore creativity in material translation, my project has been divided into three case studies, each translating a different pattern, from a different context and material, into my chosen pattern-making language of glass murrine. In the first case study I translate a Moorish plasterwork pattern from the Alhambra, in Granada, Spain. This pattern has been copied before: a translation of fidelity printed by Owen Jones in his publication The Grammar of Ornament, 1856.1 Jones’ pattern and my patterns will be used to examine fidelity and infidelity in material translation. In the second case study I translate Paisley, a Kashmiri textile pattern appropriated and adapted by western manufacturers in the 19th-century. Paisley's history of adaptation will be examined in relation to my translation, to compare the two methods in the context of a single decorative idiom. In the third case study, I translate a stamp- printed furnishing textile pattern designed by Bernard Adeney in the 1930s. This translation will be an isolated interaction between two makers, a similar position to the critique of contemporary visual appropriation, allowing for a comparison between infidelity and appropriation. Murrine has been chosen as my material language because of its ability to create patterns with colour, depth and unlimited variation. The murrine technique involves the heating up and stretching of canes or sheets of coloured glass, arranged in designs that become very small when elongated. These stretched lengths are then cut in cross-section to form mosaic tiles. Developed by the Greeks and Egyptians, the murrine technique has been under constant development for the last 2000 years. I have further refined the technique, incorporating new methods such as waterjet cutting. I have made final artworks from each set of murrine in the format of flat glass panels, each exploring its pattern in a unique way. An examination of each artwork, its process of translation – including drawings, computer models, photomontage and other designing methods – and its material and contextual change will forge the link between making and writing in this project. My original contribution to knowledge is the exploration of a practical act of visual translation, analysing material change and creativity. The project serves as a model for material translation, questioning the contemporary act of appropriation in both art and culture. The project developed through my rejection of contemporary practices of appropriation, along with my passion for the spiritual nature of pattern and the glass technique of murrine. My theoretical framework is built around the linguistic concept of ‘creative translation’. Linguistic theorists such as Jorge Luis Borges ‘treated translation as a creative force in which specific translation strategies might serve a variety of cultural and social functions’.2 My project will adapt this linguistic concept to visual practice, investigating its relevance to material language.
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Mutch, Andrew C. "A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/604.
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De, Brabandere Helena Nicole. "Decorating the Imagination: An investigation into the Poetics of Play." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275057153.
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Wainwright, Britny L. "Floral Resistance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492431415778475.
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Harrius, Caroline. "The Repulsive Flower : A material based research about art history, gender and decorative porcelain." Thesis, Konstfack, Institutionen för konsthantverk (KHV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7239.
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In this project I am investigating my relationship with western traditional porcelain produced between 1700 and 1900 from a gender perspective. While looking at what has been feminine coded within the late history of ceramics I made the horrible realization that I do not value this kind of ceramics. The 21th century Scandinavia with stripped down, clean surfaces, filled with cool people dressed in black leaves little room for romantic, billowy vases decorated with flowers. I have produced a series of 30 porcelain vases, all decorated in the same way with a botanical pattern. They are installed in an old wooden shelf, packed tightly together. With this installation I want to discuss what part art history has made it to the museums and what parts has been stored away and labelled as tasteless knick knack. How has gender affected this? For some reason all my artistic role models has been male painters and not female ceramicists.
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Vanke, Francesca Jane. "British cultural and aesthetic relationships with decorative arts of the Islamic Orient, with special reference to ceramics, 1851-1914." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299014.
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Campbell, Crystal Celena. "Novel objects and new practices an archaeological analysis of smoking pipes from Banda, Ghana /." Diss., Online access via UMI:, 2006.
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Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2006."This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Adobe Acrobat"--ProQuest document view. Includes bibliographical references.
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Debroutelle, Teddy. "Détection et classification de décors gravés sur des céramiques anciennes par analyse d’images." Thesis, Orléans, 2018. http://www.theses.fr/2018ORLE2015/document.
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Le projet ARCADIA vise à développer une méthode automatique d’analyse des décors sur des tessons de céramique réalisés à la molette pour faciliter l’interprétation de ce patrimoine archéologique. Cette automatisation doit remplacer la procédure manuelle effectuée par l’archéologue, devenue trop fastidieuse avec l’augmentation du corpus (38000 tessons). L’objectif in fine est de réussir à associer automatiquement les décors à la molette du potier qui les a créés. Dans ce contexte, nous avons développé une chaine complète depuis la numérisation des tessons jusqu’à la classification automatique des décors selon leur style de motifs(carré, losange, chevrons, oves, etc). Les travaux présentés proposent plusieurs contributions mettant en oeuvre des méthodes d’analyse d’images et d’apprentissage automatique. A partir du nuage de points 3D, une carte des profondeurs est obtenue. Une méthode originale de détection automatique de la région saillante focalisée sur le décor est proposée. Ensuite les décors sont caractérisés pour effectuer leur classification. Un nouveau descripteur, appelé Blob-SIFT, est proposé pour collecter les signatures seulement dans les zones pertinentes du décor. Cette approche adaptée à chaque décor, permet à la fois de réduire considérablement la masse de données et d’améliorer les performances de classification. Nous proposons également une approche apprentissage profond, puis, une approche hybride combinant les vecteurs de caractéristiques locales extraites par Blob-SIFT et la caractérisation globale du décor fournie par l’apprentissage profond qui améliore encore les performances de classificationThe ARCADIA project aims to develop an automatic method for analyzing engraved decorations on ceramic sherds to facilitate the interpretation of this archaeological heritage. It is to replace the manual and tedious procedure carried out by the archaeologist since the corpus increased to more 38000 sherds. The ultimate goal is to grouping all the decorations created with the same wheel by a poter. We developped a complete chain from the 3Dscanning of the sherd to the automatic classification of the decorations according to their style (diamonds, square, chevrons, oves, etc). In this context, several contributions are proposed implementing methods of image analysis and machine learning. From the 3Dpoint cloud, a depth map is extracted and an original method is applied to automatically detect the salient region centered onto the decoration. Then, a new descriptor, called Blob-SIFT, is proposed to collect signatures only in the relevant areas and characterize the decoration to perform the classification. This approach adapted to each sherd, allows both to reduce significantly the mass of data and improve classification rates. We also use deep learning, and propose an hybrid approach combining local features extracted by Blob-SIFT with global features provided by deep learning to increase the classification performance
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Evrard, Clarisse. "Ut maiolica epica : peindre l'imaginaire chevaleresque dans la majolique du Cinquencento." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H033.
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Que l’on évoque les épopées virgilienne et homériques, les poèmes ovidiens, les récits bibliques ou les historiens antiques, toutes ces sources littéraires ont considérablement inspiré les arts décoratifs du XVIe siècle, en particulier dans l’Italie des cours humanistes par le biais des livres illustrés et des gravures. Conférer une telle fonction à un modèle textuel amène ainsi à interroger le statut de ces images et engage une réflexion sur les enjeux de la transposi, du traitement des sources et des modalités de production et de réception des pièces créées dans les différents domaines artistiques. Une œuvre retient particulièrement l’attention du fait de son utilisation comme source iconographique par les artisans dès sa publication : l’Orlando furioso de l’Arioste, poète à la cour des Este. Cette épopée, éditée en 1516 puis, dans sa version finale en 1532, relève à la fois de la tradition épique antique mais aussi de la chanson de geste médiévale. Riche de cette double intertextualité, le poème a connu une fortune considérable, à l’exemple de son utilisation par les peintres de majolique.Or, la variété du corpus des majoliques inspirées du Furioso, noyau original de notre projet, suscite de nombreuses interrogations. Pourquoi une telle fortune de l’épopée d’Arioste auprès des maiolicari ? Cette question, au centre notre étude, consiste dès lors à expliquer comment et pourquoi les modèles chevaleresques ont été utilisés par les peintres de majolique dans l’Italie à la Renaissance. En découlent de nombreuses interrogations complémentaires afin d’en envisager toutes les dimensions : est-ce un unicum propre à la majolique ou parti- cipe-t-elle d’une iconographie plus générale dans les arts italiens du XVIe siècle ? Dans ce cas, quelle place l’imaginaire chevaleresque occupe-t-il dans le répertoire de la céramique ? De quelles traditions relève-t-il ? S’agit-il de l’élaboration d’une imagerie relevant d’un héritage médiéval, de l’ordre de l’imitatio, ou revue au prisme des conceptions humanistes, et donc témoignant d’une forme d’inventio des artisans ? Quels en sont les modèles, les sources littéraires et culturelles et les modalités de transposition ? Quelles caractéristiques, fonctions et significations peut-on alors lui donner ? Que traduit cet imaginaire quant aux goûts des commanditaires ? Quelles interactions avec les autres arts peut-on établir ? Quelles images et valeurs véhicule-t-il et en quoi apporte-t-il un éclairage sur la culture et les fonctions de l’image dans les intérieurs du Cinquecento ? Autant de questions que nous soulèverons en proposant une lecture pluridisciplinaire de ces majoliques chevaleresques, tout à la fois objets d’art et pièces d’usage, axée sur leur contexte et leur place dans les arts italiens de la Renaissance, les relations entre leur iconographie et les modèles, entre leurs formes et leurs usages, entre leurs fonctions socio-culturelles et leurs significations. Il s’agit in fine de présenter une réflexion globale sur la production et la réception de ces images créées par les maiolicari comme « peintures-objets », véhiculant des valeurs et des discours, en analysant les interactions entre art de la céramique, perspectives lit- téraire et artistique, sémiologie de l’image, culture visuelle et histoire du goûtThe origins of my research project, “Ut maiolica epica” : painting chivalric world in 16th century Italian maiolica, lay in the fact that literary sources, from the Bible to Ovid, have greatly inspired decorative arts during the sixteenth century, especially in Italian humanist courts through illustrated books and prints. Transferring a literary text into ornamental design introduces the issue of the status of the images created by craftsmen but also induces a reflection about craftsmen’s aims, wondering how they used the iconographic sources and how the objects thus produced were understood by the patronage. A textual model handled by crafts- men, as soon as it was published in his final version in 1532, specifically holds attention : the Orlando furioso by Ariosto. This epic, which comes from the antique tradition of poetry as much as from medieval “chanson de geste”, was immediately successful with the artists, and more precisely, with ceramic painters. In fact, the fifty Italian ceramics or so inspired by the Furioso have been the source of a larger part of my research project : how this success with maiolica painters could be explained? So the central issue of that work is to explain how and why these chivalric models were used by ceramic painters during the Italian Renaissance. Many sub-questions relate to this research question in order to considerate it in all its com- plexity. The first one that arises is how we should understand this feature of the Italian maiolica : is it specific to this art or a mirror image of a larger chivalric iconography presence in the 16th century Italian decorative arts? The elaboration of an iconographic corpus is an important preliminary step to explore this issue : to explain why ceramics painters created chivalric images, it’s necessary to outline the general features of the iconography of chivalry in the early sixteenth century. This question is linked to a second one : is this iconography a medieval legacy or a humanist updating? Indeed, the issues of the part of imitatio and the part of inventio are clearly central. On the one hand, imitatio focuses on the medieval legacy in Italian 16th century chivalric iconography, the notion of transposition, the interactions with the other decorative arts as armours and cassoni. On the other hand, the question of inventio deals with the corpus analysis, the new iconographic subjects, the role of prints and illustrated books and the influence of contemporary paintings. This sub-question involves a last one: what does this iconography reveal about the patronage’s tastes, the notion of pomp and the cultural and social values of Italian Renaissance society? These “painting-objects”, coloured pictures but also functional objects as dish, plate, cup or ewer, relate to the relationships between the iconography, forms, functions and uses of Italian ceramics, their social and historical contexts and their semiology. In fact, the historiated ceramic was a luxurious produc- tion and, so, it was a way for commissioners to display their magnificence, to show their culture. The issue of values thus emphasized is important in order to carry out a general thinking from the production of these images in maiolica workshops to their reception and display by the clients. So, to explore these research questions, my study is based on a semantic and cultural reading of Italian domestic interior and on the interactions between ceramic art, icono- graphic analysis, material culture, literary viewpoint and sociocultural history
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Cho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.
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À partir du fonds inédit du musée des Arts décoratifs de Paris consacré à Jean Luce (1895-1964), cette thèse éclaire l’histoire du service de table français entre 1910 et 1960. Bien que rarement considéré par les historiens de l’art, cet objet du quotidien reflète pourtant remarquablement les évolutions des arts visuels de ce demi-siècle. La création de Luce témoigne ainsi de toute la diversité du style Art déco puis de l’avènement du design dans l’immédiat après-guerre. Par ailleurs, il a réinventé le métier de créateur-éditeur de services de table, en dessinant des formes et des motifs aussi bien pour la céramique que pour la verrerie, en les faisant fabriquer par une chaîne industrielle et en les diffusant lui-même dans son magasin parisien de la rue La Boétie. Si son travail constitue notre point de départ, nous avons également considéré le rôle des dessinateurs industriels, des manufacturiers de porcelaine, de faïence et de verre ainsi que des commerçants car tous ces acteurs participent aux choix esthétiques effectués dans le cadre d’une production de masse. Il s’agit donc d’interroger les mécanismes à l’œuvre dans le développement et la propagation d’un style lors de la création, de la production et de la diffusion des services de table. Plus largement, l’évolution formelle de ce bien de consommation destiné à l’usage courant est aussi influencée par les mutations de la vie quotidienne et de la sociabilité. Par conséquent, notre enquête sur le service de table mobilise, en plus des outils de l’histoire de l’art, ceux de l’histoire socio-culturelleThis thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history
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Lejeune, Maud. "Sous l'étoile de Bernard Salomon, Virgil Solis et Jost Amman : répercussions du livre à figures lyonnais dans la production artistique allemande aux XVIe et XVIIe siècles." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2008.
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Cette étude examine, dans une première partie, l’œuvre de Bernard Salomon, peintre de la Renaissance lyonnaise, se fondant sur la relecture des pièces d’archives et de la documentation existante, et à la lumière de dessins, d’enluminures et de gravures nouvellement attribués. Dans une deuxième partie, elle s'attache à l'analyse de l’influence de ses modèles sur deux artistes exerçant principalement à Nuremberg, les peintres et graveurs Virgil Solis et Jost Amman, et plus largement, sur la production artistique allemande des XVIe et XVIIe siècles, dans une troisième partieThis study examines the work of Bernard Salomon, painter of the Renaissance of Lyon, based on the re-reading of archival documents and related documentation, and in the light of newly attributed drawings, illuminations and engravings. It integrates the analysis of the influence of its models on two artists working mainly in Nuremberg, painters and engravers Virgil Solis and Jost Amman, and more widely, on German artistic production of the sixteenth and seventeenth centuries
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Wang, Tsung-wei, and 王聰威. "Tz'u-Chou Type Ware Decoration--The Development of Tang and Sung Ceramic Decoration." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/51426351321457777462.
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Pan, Yu-Chi, and 潘玉琪. "Decoration／Adornment：Self-interpretations of Pan Yu-Chi’s Ceramic Creations." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/et9a88.
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碩士華梵大學
工業設計學系碩士班
102
This article affiliation author to paper regarding dresses up the doll’s fondness, initiates ceramics modelling creation inspiration. One of dolls biggest characteristics is may the free matching accessories and the transformation clothing dresses up, the author dresses up in the style from the multitudinous doll, chooses one kind of clothing style which individual most likes--“Lolita fashion”.Using lolita fashion in clothing “sweet and cute” the modeling looks and the image characterization, through ceramic art creation process and the transformation, match gentle and light colors , with unifies each kind to be possible to let the people associate the lovable delightful symbolic representation, is likely the heart-shaped, the strawberry shape, the satin ribbon and so on, as well as using handpainted, stamping, carving…The ceramic modelling manufacture skills present the lovable delightful ceramics creation form, and takes advantage of ceramics this expresses the relaxed and happy live art which dresses up for the daily life space, lets the life like the same feature fun on dress up the dolls, thus enriches own mind space, promotes own life connotation, and joins individual to this subject ponder and the imagination, then creates belongs to oneself emotion ceramic art.
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"The process behind form and decoration: Defining North Coast ceramic technological style, Peru." UNION INSTITUTE AND UNIVERSITY, 2007. http://pqdtopen.proquest.com/#viewpdf?dispub=3256212.
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Ko, Yu-Chieh, and 柯渝婕. "More than decoration: the possible meanings of the ceramic rings in the Niaosung society." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5j9k4e.
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碩士國立臺灣大學
人類學研究所
105
The Niaosung site is an Iron Age settlement located in Tainan in southern Taiwan. Radiocarbon dates indicate that the site was occupied from 1400 to 500 cal. BP. This site is considered to have been inhabited by the Siraya people, an indigenous group in Taiwan during this time period. Four seasons of excavations have been carried out at the site by the Department of Anthropology, NTU, since the 1970’s. Among the various artifacts and ecofacts uncovered, the huge amount of ceramic rings is one of the distinctive features of the site. However, these ceramic rings were simply classified as ornaments, and no further analysis had been done. Here, I argue that other than some simple decorative purpose, these ceramic rings—previously considered to be just ornaments—might play more important roles. Inspired by feminist critiques in archaeology, here I view these ceramic rings as a key form of evidence to study social relations in Niaosung society. The ceramic rings may be seen as an important symbolic media to understand the identity of the people. In this research, I employ three methods to investigate the social meanings of the ceramic rings. First, through attribute analysis, I try to explore possible associations between the color, form, diameter, thickness, height and the weight of ceramic rings. Second, I use ethnographic and historical records and paintings as analogy and for insights into the use of rings. Third, I compare the style and the context of the ceramic rings with those of the Siliao and Shichiao sites, both in Tainan, which are believed to be contemporaneous with the Niaosung site. Based on the analysis of the written, pictorial, and archaeological records, I argue that the ceramic rings are more than decorations. I try to explore the possible meanings of these ceramic rings with respect to three aspects, namely gender, age and kinship. As a result, I argue that in the Niaosung society, people might express their social identity through wearing the ceramic rings, and at the same time, the wearing of similar styles of ceramic rings might be indicative of negotiation between social groups.
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Lu, Tai-Kang, and 盧泰康. "The Comb Decoration in Song and Yuan Dynasties Ceramic Designs--Addition: The Comb Ceramics Find in Taiwan and P’eng-hu Islands." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/29290785892775492181.
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碩士臺南藝術學院
藝術史與藝術評論研究所
88
Through examining craft technology and stylistic development of the comb-marked decoration, this thesis attempts to explore the role and significace this design played among all of the incised decoration of Song and Yuan ceramics. This research, by analyzing all archaeological materials, suggests that ceramics with comb-marked decoration found in ancient kiln sites could be classified into five styles. These styles, developing from realistic to abstract, represented different characteristics in different times and regions. Since the Tang dynasty on, along with the prosperity of "tea drinking culture" of that time, there was a kind of ceramic mortar used as tea-grinder which also had comb-marked design inside. The craft technology of it might have given Song and Yuan comb-marked decoration important stimulation. As international trading thriving at the time, Song and Yuan ceramics were exported overseas. They were not only beloved by Japanese; furthermore, the technology of comb-marked design also effected the decoration of Thai''s celladon in a large degree in the fourteenth century.
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Tseng, Chi Yuan, and 曾琪媛. "A Study on Overglaze Decoration with Polymer Clay Technology in the Creation of Ceramic Bionic Design." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/rekwsy.
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Lee, Tzu-Yi, and 李姿儀. "Ceramic Creation and Practice Project with Application of Decorative Patterns." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/76079384620944695739.
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碩士國立東華大學
藝術創意產業學系
104
This research mainly focuses on the characteristics and implication of ceramic materials, with aesthetic patterns as the main idea of creations and learning. In the aspect of aesthetic form, the research analyzes visual patterns in the selected master artworks of modern artists and ceramic masters. Accordingly, the visual presentation of the form of aesthetic principles are discussed, and explored as literature base for this study. In the process of making and decorating ceramic art pieces with guidance of art principles as experiment, a practical model of the aesthetic elements is formulated and discussed. Moreover, a creative learning project is conducted to a participating group of college students, to learn the way of pattern designing on ceramics, with appreciation of the value and notion of aesthetic principles. This research is conducted with three parts. The first, through visual date mining, 10 principles of aesthetic forms are discussed and illustrated with the selected ceramic art works as examples. The second, examples of artists’ works were further analyzed of visual presentation, regarding decorative patterns and aesthetic forms as two main creation elements for the project of this study. The third, based on the previous research findings, a series of ceramic works are designed and handmade by the author. Furthermore, a creative learning project is conducted to a participating group of college school students, to practice aesthetic form and decorative patterns on ceramics. By implementing this project, participants could understand the meaning of aesthetic form, gain experiences of art making, and enhance their interest in decorative patterns of ceramic art. The result of this research could provide art instructor as a teaching materials in aesthetic form. Key words: Aesthetic principles, decorative patterns, ceramics, art creation, learning project.
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Padaruth, Raksha. "The use of ceramics as an aesthetic element in Durban architecture (1914-2012)." Thesis, 2013. http://hdl.handle.net/10321/945.
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Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology, 2013.This paper documents and evaluates the use of ceramics as an aesthetic architectural element in Durban from 1914-2012 with special reference to James Hall (1916-2006), Andrew Walford (b.1942) and Jane du Rand (b.1969). These artists were selected because their work demonstrates a wide range of the use of decorative tiles and mosaics as aesthetic elements in Durban architecture over a period of more than fifty years. Reference is made to the historical use of tiles and mosaics as aesthetic architectural elements in Durban from 1914-1955 in order to provide a context to an investigation and evaluation of the contribution of Hall, Walford and du Rand to the use of tiles and mosaics as an aesthetic architectural element in Durban. The paper begins by highlighting the importance of this study, discusses the role of ceramic architectural adornment and defines terminology for the purpose of this research. In addition an explanation of the research methodology used, research questions and literature review is provided. The study is contextualised through an overview of the historical background of the use of ceramics (tiles and mosaics) as an aesthetic element in architecture. The importance of the use of ceramic elements in relation to architecture, as well as the different techniques and methods of production, are highlighted and related to contemporary practice. The overview provides insight into how the use of ceramic elements in the past has influenced the approach of contemporary practice. My contribution to the use of mosaics as an aesthetic architectural element in Durban and my art practice, in the form of an installation titled passage is discussed and evaluated. The paper concludes by noting that the historical use of tiles and mosaics as aesthetic elements in architecture persists in contemporary art practice. However, the methods of tiled mosaic production and tiled mosaic techniques have been revolutionised extensively. It is evident that, the use of ceramics as an aesthetic element in Durban architecture reflects, both a strong European design influence and a distinctive local identity.
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Janson, Rébecca. "Frontières et identités : étude des décors céramiques dans la région des monts Mandara et de ses plaines (Nord-Cameroun/Nord-Nigéria) à l'Âge du Fer." Thèse, 2015. http://hdl.handle.net/1866/18428.
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Depuis au moins 500 ans, au sud du bassin du lac Tchad, la région des monts Mandara représente la rencontre géographique et culturelle entre deux mondes aux modes de pensée opposés : les
populations des montagnes, égalitaires et non-islamisées, et celles des plaines environnantes,
vivant sous le contrôle hiérarchique d’États islamiques, tels que Bornou et Wandala. Cette thèse
s’inscrit dans une longue tradition de recherches archéologiques et ethnologiques entreprises
depuis une quarantaine d’années dans cette région du monde afin de documenter le rapport
ambigu qui existe entre ces deux systèmes sociopolitiques, au passé et au présent. Entre 1993
et 2012, les équipes d’archéologues du Projet Maya Wandala (PMW) et du Projet DGB (Diygyd-
bay) ont mis sur pied l’une des plus grosses bases de données céramiques uniformisées de
la région.
Suivant une approche holistique, diachronique et régionale de la question des contacts culturels
en zone frontalière, cette étude porte sur le décor céramique de 150 000 tessons issus de ce
corpus. Provenant de huit sites clés du Nord-Cameroun et du Nord-Nigéria, ces petits objets
racontent plus de 3000 ans d’histoire de cette région, du Néolithique jusqu’à la fin de l’Âge
du Fer Final. Les méthodes d’analyses statistiques de classement (cluster analysis) par nuées
dynamiques (k-moyennes) et d’agrégation Ward ont été mises à profit afin d’explorer les
similarités et les différences de ces collections, à travers le temps et l’espace. Par la comparaison
de mes résultats avec les données archéologiques, ethnologiques et historiques de notre région
d’étude, une histoire chronologique de chacun des sites est proposée. Sur le site DGB-1/-2,
plus important témoin à ce jour de l’occupation préhistorique des montagnes, les lieux de vie
quotidienne, cooking area par exemple, se distinguent de ceux qui servent à l’aménagement
physique, entre autres les remblais, malgré la similitude des décors céramique qu’on y retrouve.
L’identification de quatre groupes aux décors céramiques particuliers met en exergue les
différences qui apparaissent entre les populations des plaines et des montagnes, ainsi qu’entre
les populations des plaines associées à l’élite étatique de Wandala, et les autres.
Dans le contexte de la mise en place des premiers États centralisateurs dans la région, nous
voyons donc comment ce phénomène historique d’importance a eu des répercussions non
seulement sur l’occupation et la perception du paysage, mais également sur l’identité céramique.For the last 500 years at least, in the southern area of Lake Tchad, the Mandara Mountains region represents the geographical and cultural meeting point of two contrasting ways of thinking: the egalitarian and non-Muslim populations of the mountains; and the populations of the surrounding plains—dominated by the hierarchical authority of Islamic states, including Bornou and Wandala states. This thesis is the continuation of a long tradition of archaeological and ethnological research completed during the last 40 years in this region. Its aim is to document the ambiguous relationship that exists between these two socio-political systems, in the past and the present. Between 1993 and 2012, teams of archaeologists working on both the Projet Maya Wandala (PMW) and the Projet DGB (Diy-gyd-bay) established one of the largest ceramic databases in the region. Following a holistic, diachronic and regional approach regarding the issue of cultural contacts in the border area, the present thesis focuses on the analysis on ceramic decoration from this dataset. These potsherds (n=150,000), originating from eight key archaeological sites located in Northern Cameroon and Northern Nigeria, tell the story of the region spanning more than 3000 years, dating from the Neolithic to the end of the Late Iron Age (LIA). Methods of statistical analysis, such as cluster analysis by dynamic clustering (K-Means) and Ward aggregation, have been used in order to explore both similarities and differences present in these collections, through time and space. After a comparison of my results with the archaeological, ethnological and historical data of the study area, a chronology of these sites is proposed based on the ceramic data. On the DGB- 1/-2 site, the most important evidence of prehistoric occupation of the mountains, the domestic spaces, such as the cooking area, are differentiated from those used for redeposited materials, despite the similarity of ceramic decorations found there. The identification of four groups of distinct ceramic decorations underlines the differences that arise between the lowland populations and those from the mountains, as well as between the lowland populations associated with the Wandala elite, and other groups. In the context of the emergence of the first centralised states in this region, we can see how this important historical phenomenon had consequences, not only on occupation and the use of the landscape, but also on ceramic identity.
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Ferreira, Pedro Luís Malheiro Dias Aurélio. "As Indústrias de cerâmica e do vidro (utilitários e decorativos) nos concelhos de Alcobaça e Nazaré: região de Cister: que sustentabilidade?" Master's thesis, 2014. http://hdl.handle.net/10071/8826.
Full textAbstract:
As indústrias de cerâmica e do vidro (utilitários e decorativos) têm uma grande importância histórica, económica e social na Região de Cister (concelhos de Alcobaça e Nazaré, Portugal). Várias causas, entre elas, a atual crise económica global e a concorrência de países de mão-de-obra barata, mas não só, levaram ao encerramento de muitas unidades de produção na referida região.
Analisámos a origem, desenvolvimento e situação atual das indústrias mencionadas, tendo em conta os conceitos de distrito industrial de Alfred Marshall, retomado posteriormente por Giacomo Becattini, de cluster de Michael Porter e de meios inovadores de Olivier Crevoisier.
Atualmente a sustentabilidade económica de sistemas regionais de produção não é possível sem uma forte ligação ao mercado global.
Se a região em estudo apresenta algumas vantagens competitivas, nomeadamente o know-how da mão-de-obra e a existência de matérias-primas nas proximidades, apresenta também grandes desvantagens, designadamente no que diz respeito aos custos energéticos.
Inquirimos por questionário empresários do setor e por entrevista informantes qualificados. Alguns empresários referem que a situação económica das suas empresas está lentamente a melhorar, para o que foi necessário apostarem no mercado externo, na inovação (nomeadamente no design) e no contacto direto com os clientes. As empresas que não atuaram da mesma maneira encontram-se em grandes dificuldades ou faliram.
Só com uma cooperação entre empresas e o apoio de instituições nacionais e regionais se poderá manter uma sustentabilidade económica das indústrias que foram objeto deste estudo.The industries of pottery and glass (utilitarian and decorative) have a great historical, economic and social relevance in the so called Region of Cister (municipalities of Alcobaça and Nazaré, Portugal). Several causes, among them, the current global economic crisis and competition from countries with cheap labor, but not only, led to the closure of many production units in the region named. We examined the origin, development and current situation of the industries mentioned, taking into account the concepts of industrial district from Alfred Marshall, subsequently incorporated by Giacomo Becattini, of cluster from Michael Porter and ways of innovating from Olivier Crevoisier. Currently the economic sustainability of regional production systems is not possible without a strong connection to the global market. The region under study shows some competitive advantages, such as the hand labor know-how and the existence of raw materials nearby, but it has also major drawbacks regarding to energy costs. We have inquired by questionnaire some of the sector entrepreneurs and also interviewed a few qualified informants. Some of the entrepreneurs state that the economic situation of their companies is slowly improving, this is due to the fact that they had to bet on foreign markets, innovation (design mainly) and in direct contact with customers. Companies that didn’t act the same way are now in difficulties or went bankrupt. Only a cooperation between companies and the support of national and regional institutions can maintain economic sustainability of the industries that were subject of this study.
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MONDLOVÁ, Erika. "Interpretace přírodní formy jako výtvarného artefaktu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-253068.
Full textAbstract:
The thesis deals with the historical development of applied arts and the plant motifs of decorative creation. There is also mentioned the problem of the natural geometric decorative motifs development and the difference between the functional and decorative artefact. Then there are described the sources of inspiration, which were used as basis for the practical part. Description of the practical part deals with the production of ceramic artefacts, then with the problem of colours and in the end it describes the installation of light into one of the objects, which is the decorative light.
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Almeida, Ricardo Nuno Neiva de. "Relatório de Estágio na Direção Regional de Cultura do Alentejo / CACMB, Ourique." Master's thesis, 2016. http://hdl.handle.net/10362/18472.
Full textAbstract:
O estágio realizou-se no Centro de Arqueologia Caetano de Mello Beirão (CACMB) a partir do dia 21 de outubro de 2014 e teve a duração de 6 meses. O programa aprovado para o estágio compreendia o levantamento e o estudo da decoração estampilhada do espólio cerâmico exumado do Depósito Votivo de Garvão em reserva no CACMB. Quase metade das cerâmicas inventariadas apresenta alguma forma de decoração e o estudo por mim efetuado incidiu sobre uma de entre as várias técnicas decorativas – a decoração impressa ou estampilha – visando ampliar os conhecimentos sobre esta técnica, bem como contribuir para o conhecimento sobre o DVG. O CACMB foi criado em setembro de 2009, por protocolo assinado entre o Município de Ourique, a Direção Regional de Cultura do Alentejo e a Universidade de Évora / Centro HERCULES, com o objetivo inicial de acolher, tratar e estudar o espólio do Depósito Votivo de Garvão. Posteriormente, o CACMB tem vindo a prestar apoio e serviços técnicos a outras entidades da região que são proprietárias ou responsáveis por acervos de bens arqueológicos e museológicos.The internship was held at the Centro de Arqueologia Caetano de Mello Beirão (CACMB) from the day October 21, 2014 and lasted for six months. The program adopted for the internship included the survey and study the stamped decoration of ceramic assets exhumed the Votive Deposit of Garvão in reserve in CACMB. Nearly half of inventoried ceramics has some form of decoration and the study made by me focused on a between the various decorative techniques – printed decoration or stamp – aimed at increasing the knowledge about this technique, as well as contribute to the knowledge of the Votive Deposit. The CACMB was created in September 2009 by the protocol signed between the municipality of Ourique, the Direção Regional de Cultura do Alentejo and the University of Évora / HERCULES Center, with the initial objective of receiving, treating and studying the collection of the Votive Deposit of Garvão. Subsequently, the CACMB has provided support and technical services to other entities in the region that own or are responsible for collections of archaeological and museum assets.
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Barresi, Lucilla. "Rozšíření daunijské keramiky v Chorvatsku a Slovensku, její vliv podél Jantarové stezky do střední Evropy." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-349686.
Full textAbstract:
La distribuzione della ceramica geometrica daunia in Croazia e Slovenia, la sua influenza lungo la via dell'ambra per l' Europa Centrale Dott.ssa Lucilla Barresi ABSTRACT This PhD thesis deals with Daunian pottery produced in Daunia (South Italy) during the Iron Age and its distribution in Croatia and Slovenia. A systematic analysis of the pottery stored in museums has been made for Histria, Dolenjska and Notranjska. Thanks to this approach, not only it has been possible to identify the sites where this pottery was found, but also to define its style and typology, to specify its chronology, to provide for a quantitative analysis of the findings and produce maps of distribution. As regards Daunian pottery from Liburnia and Central Dalmatia, only published findings have been analyzed mainly from the point of view their style, typology and chronology. Results of the study enabled to clarify the nature of the relations between Daunia and the eastern coast of the Adriatic Sea, the flows of distribution of the Daunian geometric pottery and to evaluate the impact of its presence on local communities. Key words: Daunian pottery, Stelae, ornaments, Iron Age, Croatia, Slovenia, Amber Route.