CONSERVATOIRE NATIONAL DES ARTS ET MÉTIERS Ecole Doctorale
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CONSERVATOIRE NATIONAL DES ARTS ET MÉTIERS Ecole doctorale Abbé Grégoire N¦d'ordre : THÈSE DE DOCTORAT Histoire des Techniques présentée par : Mohammed Mortada Abd El-Raouf El-Gohari Design Tools for Enriching the Ceramics Forms Aesthetically by Experimental Treatments During and Post Firing Analyse rétrospective et comparatiste du traitement des surfaces céramiques anciennes pendant et après cuisson. Modélisation des glacures soutenue le : 24 September 2012 à Paris devant les membres du jury : THÈSE dirigée par M. André Guillerme Professeur, Cnam, Directeur de Thèse RAPPORTEURS Mm. Amina Ebeid Professeur, Université de Helwan, Rapporteur Mm. Laurence Lestel Professeur, Université Pierre et Marie Curie, Rapporteur EXAMINATEURS M. Jean-Pierre Chevalier Professeur, Cnam, Examinateur M. Renaud Caplain Maître de Conférences, Cnam, Examinateur Dedication I dedicate this dissertation to who was interested in my scientific fu- ture my late father, Mortada, who was always a source of pride and privilege, and my late mother who was a missing grace in my life since she died when I was a child, who have helped so much and have given me their fullest support. Particularly to my loving sister, Amany, and her small family and to my brother, Hany, and his small family. I thank my pretty daughter, Mariam, and my precious son, Mortada, who I missed very much during writing this work, and who have put up with these many years of research. Finally, I dedicate this work to everyone teach me something in my life, everyone help me for any- thing in my life or give me his nice smile, and my great family, my uncles and my aunts, all of whom believed in diligence, science, arts and the pursuit of academic excellence. Acknowledgements This dissertation contains the results attained during my PhD at CNAM de Paris during the years 2008-2012. Four years at CNAM have been the time of my life. In addition to the wonderful environ- ment for pursuing advancement in history of ceramics, technology of glazes and design ceramics kilns, the professors and students are ex- traordinary. I am grateful for graduating from CNAM. There are of course a group of people who made this possible and I would like to express my thanks to them. At the outset, I would like to express my deep gratitude and thanks to my supervisor. Prof. Andr´eGuillerme. for his support throughout my time at Conservatoire national des arts et m´etiers. His excellent guidance has extensively contributed to successful finish of my Ph. D. thesis. His talent, dedication, and enthusiasm have been my source of inspiration. I'm so glad to have the beneficial opportunity to work under supervi- sion of prof. Jean-Pierre Chevallier in department of mat´eriauxindus- triels m´etalliqueset c´eramiquesdu CNAM and I'm very grateful to him for his valuable advices, continuous help and fruitful discussions. I am very thankful to my co-advisor Prof. Renaud CAPLAIN, for his helpful suggestions, critical comments. I really appreciate the theoretical background that was given to me by him. Indeed, I'm grateful to him for the great experimental experience and support that was offered to me by him. I sincerely thank to all of group in department of mat´eriauxindus- triels m´etalliqueset c´eramiquesdu CNAM , Jean-Pierre C., S´ebastien Dubent, Zehoua Hamouche, Patrice L., Outsaphone Soumpholchare- une, Aomar Ikhlef Gerard Ferri`ereGerard Lallev´eFabrice M. Jacques Bechet, Micka¨elPAYET, C. Nicolas, Henri Paqueton. I would like to acknowledge Doc. Ing. Gerard Ferri`erefor his help with the image analysis software. For their support, guidance, and friendship over the past four years, I'm also indebted to. I sincerely thanks Prof. Amina Ebaid and Prof. Laurence Lestel for agreeing to be reporters for this thesis. This research would not be possible without the generous scholarship from the Egyptian Government which offers me four years grant to accomplish my PhD research. Last but not least, I want to take this opportunity to express my gratitude to my , brother, sister, and my lovely babies. I dedicate this thesis to them. R´esum´e Dans les arts plastiques, le concept de la beaut´edoit ^etreassoci´eaux techniques sous-jacentes. L'artiste doit choisir et ma^ıtriserces tech- niques afin de les appliquer `al'art en vue d'atteindre les r´esultats esth´etiquesvis´es.Une approche scientifique de ces techniques a un r^oleimportant dans l'am´elioration de leur application dans les arts plastiques. Les c´eramiqueset poteries sont un domaine complexe o`u les r´eactionschimiques et les propri´et´esphysiques des argiles et des gla¸curesdoivent ^etreprises en compte. Dans ce domaine l'histoire de la science ´etaitun guide utile dans une telle recherche. Pour les c´eramiques,les r´eactionschimiques se produisant `ala phase haute temp´eraturedu processus de cuisson d´eterminent essentiellement l'as- pect final de la surface du produit. En cons´equence,changer les condi- tions de ces r´eactions(profils de temp´erature,la nature de l'atmosph`ere du four) ´etaitune bonne m´ethode pour obtenir de nouveaux aspects de surface. L'atmosph`eredu four pendant et apr`esla cuisson permet- tait de contr^oler,dans une large mesure, l'aspect final des produits c´eramiques,et cela d´epend `ala fois de la conception et de la mise en place du four. L'´etudede l'histoire des techniques c´eramiques,dans diff´erentes civilisations, a conduis `aun aper¸cudes techniques de cuis- son. La compr´ehensionscientifique de ces techniques a men´e`ades strat´egiesen vue de modifier la conception du four et la pratique de la cuisson. Abstract In Plastic arts ; with the concept of beauty there are also techniques, artists choose between these techniques for apply art works matching with aesthetic viewpoint. As well as science have important role in im- proved applied arts and fine arts techniques. In ceramics and pottery we are confronted with the chemicals reactions and physical properties of clay and glaze which have deep roots in human history, so history techniques will guide us in this research. In ceramic, chemical reac- tions need high temperature as condition to exist (Firing process), and that have main role in determined final appearance of surface treatments for ceramics forms. When the chemical reactions and phy- sical properties which happen in firing process are responsible of final appearance and aesthetics treatments of ceramics forms, the changing of reactions conditions was used for achieving new treatments for ce- ramic surface beauty. The atmosphere of kiln during and after firing process whom decide the final appearance for ceramics forms, presen- ted as technique for modifying kiln structure as a factor of enriching aesthetics treatments for ceramic surface. The history and science of ceramics techniques in some civilizations was studied to understand some firing techniques and its roles in ceramic surface esthetics. These provided evidence with experimental study to design a new kiln which can be used as a tool to enrich ceramics forms aesthetically. vii R´esum´e Introduction ans les arts plastiques, la beaut´eest associ´eeaux techniques. L'artiste doit D choisir et ma^ıtriserles techniques pour les appliquer en vue d'atteindre les objectifs esth´etiques.Une approche historique de ces techniques doit permettre `al'artiste d'en accumuler les savoirs, d'en saisir l'´epist´emologie et l'heuristique tandis qu'une approche m´ecaniqueet thermique permet d'am´eliorerla qualit´e, de diversifier la production, bref de d´efinirla ph´enom´enologie. C´eramiqueset poteries appartiennent `aun domaine complexe o`ules r´eactions chimiques et les propri´et´esphysiques des argiles et des gla¸curesdoivent ^etreprises en compte. Cette histoire des m´ethodes et des rationalit´esest pr´ecis´eed`esle trait´e de l'Art de terre, de son utilit´e,des ´emauxet du feu que Bernard Palissy publie vers 1585, `aParis : je te mettrai ici par ordre tous les secrets qu e j'ai trouv´e en l'art de la terre, ensemble les compositions et divers effets des ´emaux: aussi te dirai les diversit´esdes terres argileuses qui sera un point lequel il te faudra bien noter [1]. Pour Palissy comme pour Brongniard, deux si`eclesplus tard, la raison permet d'´echapper aux secrets ; la technique, mot nouveau du XVIIIe si`ecle,ap- plique concr`etement cette rationalit´e.L'histoire des techniques c´eramiques,dans diff´erentes civilisations, nous m`ene`aun panorama des techniques de cuisson. ix RESUME La compr´ehensionscientifique de ces techniques nous conduit `asaisir les in- telligences qui ont con¸cules fours que l'arch´eologied´ecouvreet `ad´efinirdes strat´egiesen vue de modifier la conception du four et la pratique de la cuisson. Ainsi pour les c´eramiques,les r´eactionschimiques se produisant `ala phase haute temp´eraturedu processus de cuisson d´eterminent essentiellement l'aspect final de la surface du produit. En cons´equence,changer les conditions de ces r´eactions (profils de temp´erature,la nature de l'atmosph`eredu four) est un bon moyen d'obtenir de nouveaux aspects de surface. L'atmosph`eredu four pendant et apr`es la cuisson permet de contr^oler,dans une large mesure, l'aspect final des produits c´eramiques,et cela d´epend `ala fois de la conception et de la mise en place du four. Contexte La cr´eationdans le domaine de la porcelaine est li´ee`adivers facteurs dont le c´eramistedoit ^etre`am^emede se servir. La multiplicit´edes facteurs revient `a la grande diversit´edes ´etapes par lesquelles passe la production c´eramique; les- quelles ´etapes requi`erent des outils nombreux et divers qui ´evoluent en raison du fa¸connageet de la production.