DOCSLIB.ORG

Study on the Coloring Mechanism of the Ru Celadon Glaze in the Northern Song Dynasty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Study on the Coloring Mechanism of the Ru Celadon Glaze in the Northern Song Dynasty Journal Pre-proof Study on the coloring mechanism of the Ru celadon glaze in the Northern Song Dynasty Pei Shi, Fen Wang, Biao Zhang, Hongjie Luo, Jianfeng Zhu, Guiqiang Fei PII: S0272-8842(20)31798-3 DOI: https://doi.org/10.1016/j.ceramint.2020.06.139 Reference: CERI 25566 To appear in: Ceramics International Received Date: 5 June 2020 Revised Date: 11 June 2020 Accepted Date: 12 June 2020 Please cite this article as: P. Shi, F. Wang, B. Zhang, H. Luo, J. Zhu, G. Fei, Study on the coloring mechanism of the Ru celadon glaze in the Northern Song Dynasty, Ceramics International (2020), doi: https://doi.org/10.1016/j.ceramint.2020.06.139. This is a PDF file of an article that has undergone enhancements after acceptance, such as the addition of a cover page and metadata, and formatting for readability, but it is not yet the definitive version of record. This version will undergo additional copyediting, typesetting and review before it is published in its final form, but we are providing this version to give early visibility of the article. Please note that, during the production process, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal pertain. © 2020 Published by Elsevier Ltd. Study on the coloring mechanism of the Ru celadon glaze in the Northern Song Dynasty Pei Shi a, Fen Wang a ∗, Biao Zhang a, Hongjie Luo b, Jianfeng Zhu a, Guiqiang Fei c a Shaanxi Key Laboratory of Green Preparation and Functionalization for Inorganic Materials, School of Materials Science and Engineering, Shaanxi University of Science and Technology, Xi'an 710021, PR China b Research Institute of Cultural Relics, Shanghai University, Shanghai 200444, PR China c College of Chemistry and Chemical Engineering, Shaanxi University of Science & Technology, Xi'an 710021, PR China Abstract The Ru kiln is one of the five most famous kilns in the Chinese Song Dynasty. To clarify the coloring mechanism of the Ru celadon glaze, the celadon samples from the Ru Guan kiln site of Qingliangsi were analyzed by spectrophotometer, X-ray fluorescence spectrum, Raman spectroscopy, scanning electron microscopy and X-ray photoelectron spectrum. The results indicated that the molar ratios of SiO 2/Al 2O3 and CaO/(CaO+Al 2O3) affected the formation of micro-bubbles, anorthite crystals and phase separated structures. A large number of bubbles and anorthite crystals formed special glossiness and opacifying effect in the Ru celadon glaze. And then, dense phase separation droplets in the amorphous region were in short-range order, but their diameters (31-46 nm) were too small to form visible structural colors on glaze surfaces. Only “opal effect” was formed by the light scattering, which added the aesthetic feeling for the Ru celadon. Besides, the phase separation droplets intensified the segregation of iron, and thus deepened the chemical color and made the Ru celadon glaze appear green-blue. Due to the neutral to alkaline soil at the Ru Guan kiln site, the water in the soil and its corrosion on the Ru celadon glaze resulted in the formation of Si-OH bond. ∗ Corresponding author: Tel.: +8602986131687; fax: +8602986168188. Email addresses: [email protected] (Fen Wang) 1 Keywords: Ru Guan kiln; Qingliangsi; Celadon glaze; Northern Song Dynasty; Coloring mechanism 1. Introduction Ru kiln, located in Qingliangsi, Baofeng Country, Henan Province, is one of the five most famous kilns (Ru, Guan, Ge, Ding and Jun kilns) in the Chinese Song Dynasty (A.D. 960-1279) [1]. It started from the earlier Song Dynasty, matured in the late Northern Song Dynasty and stopped development in the late Yuan Dynasty. In the later period of the Northern Song Dynasty, from Yuanyou to Chongning for more than 20 years, Ru kiln had been making celadon for imperial courts. The best of glaze color was sky-green, and the body color was the standard of fragrant grey. In the late Northern Song Dynasty, the Ru celadon was with more fresh color and more exquisite craftsmanship. At that time, it had the reputation of “Ru kiln is the chief” [2]. The researches on the chemical composition of the Ru celadon glaze and its raw material were systematic. Ding et al. [3] found that the celadon glaze of the Ru kiln unearthed in the Ru Guan kiln site of Qingliangsi had the characteristics of high calcium and aluminum contents, which provided the physical and chemical basis for the formation of anorthite microcrystalline cluster and thick glaze layer, and created the jade-like quality of the celadon glaze. Also, fibrous and radiating aggregates with optical properties similar to agate were observed in the Ru celadon glaze by polarization microscope. It showed that the Ru celadon glaze was not only made of glaze ash and feldspar materials with relatively high aluminum content but also mixed with agate. For coloring of the Ru celadon glaze, researchers had the same view that the glaze color was the result of the interaction of chemical color and structural color. Zhang et al. [4] investigated that the glaze color of the Ru celadon was mainly related to the concentration of structural iron ions, rather than that of the Fe 2O3 and Fe 3O4. As the Fe 2+ /Fe 3+ ratio gradually increased, the glaze color of the Ru celadon would gradually change from pea green to sky green. Li et al. [5] revealed that the Ru celadon glaze belonged to crystalline and phase separation glaze for the first time. A dual coloring mechanism was in effect for the Ru celadon glaze, covering chemical 2 compositional coloring by iron ion chromophore and structural coloring by structural inhomogeneities including nano-sized phase separation structures and micro-sized crystals, bubbles and inclusions. Yang et al. [6] confirmed the study of Li et al. and indicated that there were amount of crystallites and phase separation structures in the Ru celadon glaze, the former met Mie scattering conditions and the latter met Rayleigh scattering conditions. Nevertheless inspired by structural colors of amorphous arrays in the biological world, Yin et al. [7] proposed the phase-separated structures with short-range order could form the structural color in the glaze for the first time. It was the physical origin of opalescence blue in the Ru celadon glaze. However, until now, few studies have been made to interpret the relationship between composition and structure-property and to explore the coloring mechanism of the Ru celadon glaze. In this paper, the apparent performance, chemical composition, microstructure and chemical state of iron ions of Ru celadon glazes with different colors were compared, and the main factors affecting the appearance of Ru celadon glaze were studied. In addition, the interaction between the chemical color and the structural color, as well as the internal relationship between them and the glaze color were analyzed. Based on these, the color mechanism of the Ru celadon glaze in the Northern Song Dynasty was revealed comprehensively and systematically. 2. Experimental 2.1 Information about the samples All of the samples excavated from the Ru Guan kiln site of Qingliangsi, kindly loaned by the Palace Museum in Beijing. The photos and information of the samples were shown in Fig. 1 and Table 1. 2.2 Methodology The glaze color of samples was analyzed by spectrophotometer (X-Rite Ci7800, America). The measuring aperture was 6 mm. The chemical composition were tested by X-ray fluorescence (XRF, XGT-7200V, Japan) with Rh target. The molecular structure of the glass phase was studied by confocal Raman spectroscopy (Raman, Renishaw-invia, England). The laser wavelength was 532 nm, and the laser power 3 was 3.35 mW. And then, the crystalline phases were identified by X-ray diffraction (XRD, D/max 2200PC, Japan) with Cu K α radiation ( λ=1.5406 Å) under 40 kV and 100 mA. The scanning speed was 8º/min and the step degree was 0.02º. Microstructure and phase compositions were performed by using scanning electron microscopy (SEM, S4800, Japan) equipped with an energy dispersive spectrometry (EDS). Before the testing, the surfaces of samples were etched in 1 vol% HF for 40 s to expose the crystals and phase separation structures, and then sprayed platinum to make the glaze surfaces conductive. Finally, the valence and coordination state of iron ions in the glaze were analyzed by ultraviolet-visible-NIR (UV-vis-NIR) spectrometer (Cary 5000, America) and X-ray photoelectron spectrum (XPS, VG Scientific, England) with Al K α radiation. 3. Results and discussion 3.1 Relationship between chemical composition and apparent performance Table 2 and Fig. 2 show the colorimetric values (L*, a*, b*, C*, h*) of samples and the corresponding scatter diagrams of L*, C* and h*. From Fig. 2 (a), L* values of all samples were between 56 and 66, and increased in the order of R1, R3, R2 and R4. From Fig. 2 (b), the glaze colors of samples were located in the yellow-green-blue area and close to the green axis. By comparing h* of samples, the green-blue tone of samples decreased in the order of R2, R1, R4 and R3. Due to the small difference in body colors of the samples, their glaze colors were mainly determined by the chemical composition, microstructure and the content of different valence iron ions. Table 3 presents the glaze compositions of these samples. The content of SiO 2 changed obviously, from 70.65 wt% to 75.24 wt%. Next were Al2O3 and CaO with contents of 11.56-14.79 wt% and 6.52-8.26 wt%, respectively. And the difference of the Fe2O3 content was not huge. Also, the samples contained 1.49-2.71 wt% MgO+P 2O5+MnO 2, indicating that a certain amount of plant ash was used as a flux for the Ru celadon glaze [8].
Load more

Recommended publications
  • Views of a Porcelain 15
    THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum.
    [Show full text]
  • 2020-Commencement-Program.Pdf
    THE JOHNS HOPKINS UNIVERSITY COMMENCEMENT 2020 Conferring of degrees at the close of the 144th academic year MAY 21, 2020 1 CONTENTS Degrees for Conferral .......................................................................... 3 University Motto and Ode ................................................................... 8 Awards ................................................................................................. 9 Honor Societies ................................................................................. 20 Student Honors ................................................................................. 25 Candidates for Degrees ..................................................................... 35 2 ConferringDegrees of Degrees for Conferral on Candidates CAREY BUSINESS SCHOOL Masters of Science Masters of Business Administration Graduate Certificates SCHOOL OF EDUCATION Doctors of Education Doctors of Philosophy Post-Master’s Certificates Masters of Science Masters of Education in the Health Professions Masters of Arts in Teaching Graduate Certificates Bachelors of Science PEABODY CONSERVATORY Doctors of Musical Arts Masters of Arts Masters of Audio Sciences Masters of Music Artist Diplomas Graduate Performance Diplomas Bachelors of Music SCHOOL OF NURSING Doctors of Nursing Practice Doctors of Philosophy Masters of Science in Nursing/Advanced Practice Masters of Science in Nursing/Entry into Nursing Practice SCHOOL OF NURSING AND BLOOMBERG SCHOOL OF PUBLIC HEALTH Masters of Science in Nursing/Masters of Public
    [Show full text]
  • The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention
    The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention Sabrina Rastelli Department of Asian and North African Studies, Ca’ Foscari University of Venice, Venice, Italy Abstract The concept of the five famous wares of the Song dynasty is a fundamental theory that has influenced both researching and learning about Chinese ceramics. Archaeological excavations carried out since the 1950s and particularly during the past two decades have provided modern scholars with many and precious pieces of information that have deeply changed our understanding of the history of Chinese ceramics. They have also undermined the concept itself, but when discussing Ding, Ru, Jun, Guan or Ge experts seldom resist the temptation to remind that it is one of the five famous wares. The aim of this paper is to trace back when and how this definition was coined, by combing through Chinese sources. Key words five famous wares China ceramics ceramic literature Song The concept of the five famous wares of the Song dynasty (Songdai Wuda Mingyao 宋代五大名窑 ) is a fundamental theory that has influenced both researching and learning about Chinese ceramics. At the end of the 1980s, Song wares were classified as either official or popular. The first category was constituted by the so-called five famous wares of the Song dynasty, namely Ding（定）, Ru（汝）, Jun（钧）, Guan（官）and Ge（哥）. Ten years later, while researching for my PhD thesis, I began to doubt the exactness of this theory, but I explored the problem only from the perspective of the Yaozhou ( 耀州 ) kilns (Rastelli, 2008).
    [Show full text]
  • ESKENAZI CELEBRATES CHINESE CERAMICS of the SONG DYNASTY (960 to 1279 AD)
    ESKENAZI CELEBRATES CHINESE CERAMICS OF THE SONG DYNASTY (960 to 1279 AD) Principal wares of the Song period from a private collection 8 to 29 May 2015, London Eskenazi will present an exhibition of 30 important ceramics of the Song Dynasty from 8 to 29 May 2015 in London. The ceramics are from a highly distinguished private collection and represent almost all the principal wares of the period, widely recognised as a highpoint for ceramic art. The Song Dynasty (960-1279 AD) was a golden age in China. Great prosperity led to huge social and economic changes, and intellectual and technological advances that shaped Chinese culture and politics for centuries to follow. It was during this time that China introduced the first printed banknotes and the use of gunpowder. The ceramics of the period reached a peak with advances in design, decoration, glaze and firing techniques. Song ceramics were revered and copied as early as the 15th century within China and have continued to influence design worldwide into the 21st century, not least the Studio and Art Pottery movements in the West, of the 19th and 20th centuries. Ostensibly simple tea-bowls with plain forms and glazes have been treasured in Japan for hundreds of years as Important Cultural Art Objects. The exhibition in May will offer a fascinating insight into the history of the enduring international popularity of these Chinese wares, with examples previously owned by many of the most celebrated western collectors of the 20th century, including Lord Cunliffe, Mr. and Mrs. Alfred Clark, Johannes Hellner and Alfred Schoenlicht.
    [Show full text]
  • Langdon Warner at Dunhuang: What Really Happened? by Justin M
    ISSN 2152-7237 (print) ISSN 2153-2060 (online) The Silk Road Volume 11 2013 Contents In Memoriam ........................................................................................................................................................... [iii] Langdon Warner at Dunhuang: What Really Happened? by Justin M. Jacobs ............................................................................................................................ 1 Metallurgy and Technology of the Hunnic Gold Hoard from Nagyszéksós, by Alessandra Giumlia-Mair ......................................................................................................... 12 New Discoveries of Rock Art in Afghanistan’s Wakhan Corridor and Pamir: A Preliminary Study, by John Mock .................................................................................................................................. 36 On the Interpretation of Certain Images on Deer Stones, by Sergei S. Miniaev ....................................................................................................................... 54 Tamgas, a Code of the Steppes. Identity Marks and Writing among the Ancient Iranians, by Niccolò Manassero .................................................................................................................... 60 Some Observations on Depictions of Early Turkic Costume, by Sergey A. Yatsenko .................................................................................................................... 70 The Relations between China and India
    [Show full text]
  • Comparative Study of Black and Gray Body Celadon Shards Excavated from Wayaoyang Kiln in Longquan, China
    Microchemical Journal 126 (2016) 274–279 Contents lists available at ScienceDirect Microchemical Journal journal homepage: www.elsevier.com/locate/microc Comparative study of black and gray body celadon shards excavated from Wayaoyang kiln in Longquan, China Hongying Duan a,b,⁎, Dongge Ji a,b, Yinzhong Ding a,b, Guangyao Wang c, Jianming Zheng d, Guanggui Zhou e, Jianmin Miao a,b a Key Scientific Research Base of Ancient Ceramics (the Palace Museum), State Administration of Cultural Heritage, Beijing 100009, China b Conservation Department, the Palace Museum, Beijing 100009, China c Department of Objects and Decorative Arts, the Palace Museum, Beijing 100009, China d Zhejiang Provincial Cultural Relics Archaeological Research Institute, Hangzhou, Zhejiang 310014, China e The Museum of Longquan City, Longquan, Zhejiang 323700, China article info abstract Article history: Longquan celadon is one of the most valuable treasures in Chinese ceramic history. Representative products are Received 8 August 2015 Ge ware (Ge meaning elder brother, black body celadon) and Di ware (Di meaning younger brother, gray body Received in revised form 12 December 2015 celadon) of the Song Dynasty (960–1279 A.D.). In this study, Ge and Di ware shards excavated from Wayaoyang Accepted 12 December 2015 kiln site in Longquan were collected and studied. Chemical and crystallite composition, microstructure, body and Available online 19 December 2015 glaze thickness, firing temperature and glaze reflectance spectrum were observed and examined. Differences in Keywords: raw materials and manufacturing technology between Ge and Di ware were studied. Based on the results and Longquan Ge ware historical background, it was speculated that some Ge wares from Wayaoyang kiln site might be the test products Longquan Di ware of jade-like black body celadon for the imperial court.
    [Show full text]
  • Welcome File:///G:/Parma/Welcome.Html 1 Di 1
    Wel come file:///G:/Parma/Welcome.html Welcome Menu Acknowledgments The Museum Birth of a Project About the Images Jun Ware Technology Literary History Western Literature Archeological History Conclusions Bibliography Ceramiche Jun Tecnologia Letteratura storica Letteratura occidentale Storia arecheologica Conclusione Bibliografia Wood Restoration Visual Menu Frame CNA 0247 Frame CNA 0248 Frame CNA 0249 Frame CNA 0250 Frame CNA 0251 Frame CNA 0252 Frame CNA 0253 Dish CNA 0254 Bases Anorthite Layer Body Paste Light Scattering Microscope Views Frames Compared Reference Collection Index Movie Index Full Slideshow Authors Information 1 di 1 26/09/2012 12:24 Acknowledgments file:///G:/Parma/Acknowledgments.html Welcome Menu Acknowledgments The Museum Birth of a Project About the Images Jun Ware Technology Literary History Western Literature Archeological History Conclusions Bibliography Ceramiche Jun Tecnologia Letteratura storica Letteratura occidentale Storia arecheologica Conclusione Bibliografia Wood Restoration Visual Menu Frame CNA 0247 Frame CNA 0248 Frame CNA 0249 Frame CNA 0250 Frame CNA 0251 Frame CNA 0252 Frame CNA 0253 Dish CNA 0254 Bases Anorthite Layer Body Paste Light Scattering Microscope Views Frames Compared Reference Collection Index Movie Index Full Slideshow Authors Information To Betty March 2011 Acknowledgments giovanni repetti Lo scopo di questa pubblicazione è di catalogare la collezione di cocci Jun del The purpose of this publication is to catalogue the collection of Jun shards of Parma’s Museo d’Arte Cinese di Parma. Gli autori hanno partecipato all’opera senza alcun Museum of Chinese Art. The Authors have participated to this effort with their own lucro e finanziandola in toto, per fornire al Museo un modesto mezzo di raccolta resources and without any remuneration to give the Museum a modest means to fondi.
    [Show full text]
  • Lucy Cooper Beal Family Postdoctoral Fellow in Conservation Science Straus Center, Harvard Art Museums Supervisors: Narayan Khandekar and Katherine Eremin
    Lucy Cooper Beal Family Postdoctoral Fellow in Conservation Science Straus Center, Harvard Art Museums Supervisors: Narayan Khandekar and Katherine Eremin Jun ware – A Technical Study Co-authors: Susan Costello(1), Katherine Eremin(1), Melissa Moy(1), Kathy King(2), Marc Walton(3), Emeline Pouyet(3), Andrew Shortland(4) and Laure Dussubieux(5) (1) Harvard Art Museums (2) Harvard Ceramics Studio (3) Northwestern University/Art Institute of Chicago Center for Scientific Studies in the Arts (4) Cranfield University, UK (5) Field Museum, Chicago Cooper, ANAGPIC 2017, 1 Extended Abstract This paper describes a multi-center collaborative project to investigate the Chinese ceramics known as Jun Ware. These were featured in a recent temporary display of around 30 Numbered Jun pieces at Harvard Art Museums [Adorning the Inner Court: Jun ware for the Chinese Palace] during the summer of 2017. Outside of Asia, the Harvard Art Museums has one of the largest collections of Numbered Jun in the world. Background Jun ware is the name for a well-known and highly appreciated class of glazed stoneware originating from Henan Province in northern China, from the North Song (907-1127) to early Ming (1368 - 1694) dynasties. Jun can be divided into three sub-categories: Classic, Splashed and Numbered Jun: unadorned “Classic” blue Jun ware was first produced in the late 10th century, with “Splashed” Jun ware (decorated with splashes of copper pigment producing purple-red tones) from the 12th century. These everyday objects were made in large quantities. Figure 1. Left: Classic Jun dish (Acc. No. 1942.185.74). Right: Splashed Jun ware dish (Acc.
    [Show full text]
  • The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares
    The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares Shan Huang*1, Ian C. Freestone1, Yanshi Zhu2, Lihua Shen2 * Corresponding Author: [email protected] 1 Institute of Archaeology, University College London, 31-34 Gordon Square, WC1H 0PY, London, UK 2 Institute of Archaeology, Chinese Academy of Social Sciences, 27 Wangfujing Avenue, 100710, Beijing, China Abstract Celadon, technically a stoneware with a lime-rich glaze, had been produced in South China for more than two millennia before it was first made in the North in the second half of the sixth century. It appears to have been an immediate precursor to white porcelain, which was first produced by northern kilns. The compositions and microstructures of early northern celadons from kilns, residential sites and tombs in Shandong, Hebei and Henan provinces, and dated 550s-618 CE, have been determined by SEM-EDS. The majority of the vessels were made using a low-iron kaolinitic clay, with high alumina (20-29%), as anticipated for northern clays. A small number of celadon vessels from a kiln at Caocun, which produced mainly lead-glazed wares, have lower alumina contents and appear to have originated in the South. It seems possible that these imported vessels were being used by the potters as models on which Caocun wares were based. Consistent differences in major element composition are observed between the products of kilns at Anyang, Xing, Luoyang and Zhaili. Unlike southern celadon glazes, which were prepared as two-component mixtures of vegetal ash and body clay, the northern celadon glazes are three-component, and typically contained an additional siliceous component, probably loess.
    [Show full text]
  • Electrification Project of Zhe-Gan Railway Public Disclosure Authorized
    ! ~~~~~~~RP213Volume 2 Electrification Project of Zhe-Gan Railway Public Disclosure Authorized (Jiangxi Section) RESETTLEMENT ACTION PLAN Public Disclosure Authorized Public Disclosure Authorized Foreign-Financing Center of Ministry of Railways, PR China Public Disclosure Authorized East China Investigation and Design Institute I ~~~~under State Power Corporation May 2004 ;FILEFCwOPY Approved by: Gong Heping Examined by: Bian Bingqian Checked by: Yu Zhijian, Zhu Qiang Compiled by: Mao Zhenjun, Yu Zhijian, Zhu Qiang Xia Yunqiu, Gu Chunrong, Han Xiaojin, Li Min'an List of contents OBJECTIVES OF RESETJ'LEMENT PLAN & DEFINITION OF RESETTLEMENT TERMINOLOGY . 1 Generals ................................................................. 3 1.1 Project Background ...................................................... 3 1.1.1 Existing conditions ...................................................... 3 1.1.2 Necessity of of railway electrification ...................................................... 3 1.1.3 Significance of the project ...................................................... 5 1.2 Project Design and Design Approval .................................................... 6 1.3 Description of Project ...................................................... 7 1.4 Project Impacts ...................................................... 9 1.5 Measures To Alleviate Project Inpacts ....................................... 10 1.5.1 In project planning and design stage ..................................................... 10 1.5.2 In project implementation
    [Show full text]
  • Surface Modelling of Jun Ware Based on Ordinary Differential Equations Traitement Du Signal
    Traitement du Signal Vol. 36, No. 1, February, 2019, pp. 53-58 Journal homepage: http://iieta.org/Journals/ts Surface Modelling of Jun Ware Based on Ordinary Differential Equations Hui Liang1, Qian Zhang2*, Chang Fu2, Fei Liang1, Yusheng Sun1 1 Software Engineering College, Zhengzhou University of Light Industry, Zhengzhou 450000, China 2 School of Arts and Design, Zhengzhou University of Light Industry, Zhengzhou 450000, China Corresponding Author Email: [email protected] https://doi.org/10.18280/ts.360107 ABSTRACT Received: 22 December 2018 Considering the immense value and preservation difficulty of Jun ware, this paper designs a Accepted: 9 January 2019 novel digital modelling strategy that captures and simulates the shape of Jun ware as a 3D computer model. The ordinary differential equation (ODE)-based modelling technique, which Keywords: is known for its high accuracy, was introduced to simulate the complex curve surface and stitch ordinary differential equation (ODE), up the connection parts produced by different moulds. The ODE-based modelling was tailored shape modelling, digital modelling, Jun to the two main groups of Jun ware: General Jun ware and Official Jun ware. The analysis ware show that our modelling method keeps Jun ware design simple and engaging to young craftsmen. 1. INTRODUCTION The typical shapes of Jun ware are presented in Figure 1. As shown in Figure 1(a), most Jun wares are natural wheel- Jun ware is a type of Chinese pottery, one of the Five Great formed bowls, small vases or wine-carafes, mostly with a Kilns of Song dynasty ceramics. From material selection to narrow neck, but some are meipings (tall, with a narrow base, moulding, the ware is endowed with rich cultural and artistic a wide body, a sharply-rounded shoulder, a short and narrow value in very production step.
    [Show full text]
  • Visitor's Guide
    VISITOR’S GUIDE INTRODUCTION Ceramics have transformed the world. For thousands of years, hu- mans have shaped and fired clay into practical, social, artistic, and ideo- logical objects that can be found in almost every culture around the globe. Important social and scientific information imbedded in manufacturing techniques and decorative motifs of ceramics has been passed on for generations, exchanged between cultures, and has revolutionized people’s way of life. This exhibition highlights the Art Museum’s ceramic collection which spans six continents and six thousand years. Looking through the lens of cultural and technological influences and exchanges, this showcase seeks to reveal the depth and diversity of the collection and the power these wares possess in shaping our functional, social, and esthetic lives. The Potter’s Tale: Contextualizing 6,000 Years of Ceramics Mount Holyoke College Art Museum Curated by Aaron F. Miller, Assistant Curator of Visual and Material Culture Yingxi Lucy Gong, Art Museum Advisory Board Fellow This exhibition is made possible by the Susan Davenport Page 1931 and Margaret Davenport Page Fales 1929 Art Fund. Technology & Production As the fragmentary pieces in this case demonstrate, there are three primary types of ceramics: earthenware, stoneware, and porcelain. These categories differ based upon both the clay and the temperatures at which the vessels are fired in the kiln. Earthenware is fired at the lowest tempera- tures, and as a result, is the most porous and susceptible to cracking. The higher temperatures used for stoneware and porcelain also require specific varieties of clays and other minerals to allow the process of vitrification to occur, in which the silica in the clay becomes glass.
    [Show full text]