陶瓷论文英文参考文献

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CiZao territory along the stream of ancient sites, more numerous, early in the 1950s, the Palace Museum ChenWanLi FengXianMing, Mr CiZao kiln for such had survey, Thereafter, xiamen university, quanzhou museum of human JiaoTongShi overseas JinJiangXian museums, museums, museums in fujian province as the unit of the researchers have done a lot of research work, and have tried to dig, local large specimens, found in the southern dynasty - 26. In January of this place, Tang and five six sites, 12 this song and yuan dynasties, Qing dynasty. This 7 The song and yuan dynasties, TongZiShan spider mountain sites, soil sites include the tail set this mountain sites, CiZao referred to as listed in the first batch of fujian, this unit of provincial level. In this mountain, song dynasty xikou retaining golden hill sites listed jinjiang municipal units of cultural relics kiln product variety, the shape of diversity. The breed with life daily utensils for bulk, in addition to display device, building materials, etc. Life in the vessel is bowl, plate, lamp, disc, basin, bowls, wash, cans, cylinder, urn, pot, bottle, lamp, dishes, lamp, ZhiHu, water injection, army, must hold pillow etc, porcelain, Display device are furnace, sweet fume, vase, flowerpot, animals, plants and animals YanDi fractal model (such as lions, tigers, tortoise, toad, peach, etc), and other like such a piggy bank, waist, can artifacts, Building decoration materials, etc. Among them, huang painted iron army, the market, the decorative plate is green glair for export products, dragon urn is the most local CiZao kiln chinaware TaiZhi general grayish, particle TaiZhi thicker, dense enough. Also because of this, the porcelain clay glair place more womb a yellowish-white makeup. But generally only half glaze, was in no glaze. Glaze can be classified into five categories, namely green glair, sauce black glaze, huang, green and yellow green glair glaze. Green glair in bowls, disc, lamp, port, basin, caddy, pot, ZhiHu, army, lamp, holding furnace, sweet fume, etc in green glair color; add brown under Many in the dark glaze sauce bowl, the lamp, lamp, cans, pot, ZhiHu, water injection, furnace waist, such as, some of the light side or bowl, the mouth ShiQing glaze, along the sauce black glazed, Yellow green glair is in bottles, cans, army, hold, water injection, basin, plate, furnace, pillow, birds and animals eat model, Some for the yellow color glaze, green glair, green glair is much "silver" return, Some are yellow and green glair with n a device. Adornment gimmick, picking flowers, there MoYin, DiaoLou, glazing and coloured drawing or pattern, etc. Decoration pattern has flowers (Ephraim, chrysanthemum, peony flowers, tangle, flowers, etc.), the grass (grass), the melon leng, melons, chicken, and stroke, YunLei, string grain, the cloud, water color and spread point, especially in the dragon the jinjiang county annals "have" China township, take a focal porcelain kiln, and the earth open BoZi, cylinder, the size of the urn what genera, and give the foot." The records. Based on the field investigation and CiZao kiln relevant archaeological data, in Japan and the Philippines, Indonesia, Malaysia, Singapore, Thailand, Sri Lanka, Kenya, south east Asia, southeast Asia etc. Nation in the east and have CiZao kiln products. In these countries, some of the museum, the museum collections often works, thus the kiln, CiZao kiln is an important area of export army, bottle, ZhiHu, cans, disc is a song period of the main export products. Among them, the army is dedicated to people in southeast Asia and the religious activities, "Dragon" production since Ming dynastiy urn, follow, but also continuously domestic exports to southeast Asia. During the Ming and qing dynasties, CiZao to burn a daily ceramics, thick, with overseas Chinese still marketing of going abroad, porcelain making technology also spread throughout southeast, promote the development of local ceramic technology, such as the Philippines meters of land "neville" fires, CiZao WuXing overseas Chinese porcelain is taught. Until recently, still have many overseas Chinese in this camp, imparting kiln is China's southeastern coast, with the important export ceramic kilns, is a strong kiln of local characteristics and style of the kilns. Its location - near quanzhou harbor port, make its export condition is superior. At the same time, it is closely related to the rise in quanzhou port quanzhou in song and yuan dynasties, when the traffic and foreign trade reached its peak, is the development of CiZao kiln production period of prosperity. Some of the CiZao kiln product is specially designed for export and fire, such as army as may be to adapt to the southeast Asia and religious life of furnace burn CiZao artifacts, the products implement class colorful, although is extensive, but it should be pointed out that special features, CiZao kiln unearthed some porcelain sculpture, deep eye high nose figure, vividly reflected quanzhou sea port of song and yuan dynasties "rise in birth million."But CiZao ceramic in Ming dynasty, because when the glazed products mainly of extinction, cylinder, pot, cans, disc, production and sale of demand, narrow. How to position yourself? ChongZou ancestors certainly not, then the path of people are turning to architectural ceramics. In 1979, CiZao WuJinShi people, through many thousands of practice in the ancient kiln burned modern glazed pottery. Since the start CiZao on real significance of ceramic enterprise, the development of extraordinary more than ten years of development, CiZao town as the five big building ceramic production base, become one of national xinghuo regional ceramic materials pillar industrial technology innovation, national ceramics industry in fujian province, the demonstration base of science and technology, and has ShiFanZhen ceramic group, advanced kiln production line 15 more than 300. Output value over 100 million yuan of enterprise group has 6, the value of the enterprise has super million, the building materials CiZao 159 products sold throughout the country, the exterior wall tiles yield an equivalent to two thirds of the production. Almost the glazed tiles. CiZao town by an unknown technocrat rural town has become MinDongNa economic hub. For many years in fujian province and comprehensive economic strength strong town. June 2000, Chinese sanitary ceramics association awarded "China ceramic town" honorary title.磁灶境内古窑址多沿溪分布，数量众多，早在二十世纪五十年代，故宫博物院陈万里，冯先铭等先生就对磁灶窑进行过调查；其后，厦门大学人类博物馆、泉州海外交通史博物馆、福建省博物馆、晋江县博物馆等单位的研究人员均对其进行了大量的调查工作，并进行过局部试掘，采集到大量标本，发现了南朝至清代的二十六处窑址。其中南朝窑址1处；唐、五代窑址6处；宋元时期窑址12处；清代窑址7处。宋元时期的蜘蛛山窑址、童子山窑址、土尾庵窑址、大坪山窑址统称为磁灶窑址，列为福建省第一批省级文物单位。南朝溪口山窑址、宋代金交椅山窑址列为晋江市级文物保护单位. 磁灶窑产品品种繁多，器形多样。其品种以生活日用器皿为大宗，此外还有陈设器、建筑材料等。生活日用器皿中有碗、盘、盏、碟、盆、钵、洗、罐、缸、瓮、壶、瓶、灯、盂、盏托、执壶、水注、军持、急须、瓷枕等；陈设器则有炉，香熏、花瓶、花盆、动物形砚滴、动植物模型（如狮、虎、龟、蟾蜍、寿桃、力士像等），以及其它如腰鼓、扑满、鸟食罐等器物；建筑材料有装饰板等。其中，黄釉铁绘花纹大盘、军持、青釉碟是专供外销的产品，龙瓮是最具地方特色的。 磁灶窑瓷器的胎质一般呈灰色，颗粒较粗，胎质不够致密。也正因为此，瓷器胎土施釉处多上一层黄白色化妆土。但一般仅施半釉，器内无釉。釉可分为五大类，即青釉、酱黑釉、黄釉、绿釉与黄绿釉。青釉多见于碗、碟、盏、钵、盆、小罐、壶、执壶、军持、灯、炉、香熏等器物，有的还在青釉下添加褐彩；酱黑釉多施于碗、盏、盏托、罐、壶、执壶、水注、炉、腰鼓等器物，有的如碗、盏里侧或口沿施青釉，外施酱黑釉；黄绿釉则见于瓶、壶、罐、军持、水注、盆、盘、炉、枕、鸟食罐及动植物模型等；有的为单色的黄釉、绿釉，绿釉器多有“返银”现象；有的则黄、绿釉同施一器。装饰手法有刻划、剔花、模印、雕镂、施釉及彩绘等。装饰纹样有花卉（莲、菊、牡丹、缠枝花、折枝花等）、草叶（卷草）、瓜棱、瓜、凤，以及篦划、云雷、弦纹、卷云、水波及点彩、文字等，其中尤以龙纹最具特色。 在《晋江县志》中就有“瓷器出瓷灶乡，取地土开窑，烧大小钵子、缸、瓮之属，甚饶足，并过洋。”的记载。通过对磁灶窑的实地调查和有关考古资料证实，历年来日本、菲律宾、印度尼西亚、马来西亚、新加坡、泰国、斯里兰卡、肯尼亚等东亚、东南亚、南亚和东非国家中多有磁灶窑产品出土。在这些国家的一些博物馆、美术馆，常收藏有该窑作品，由此，证明磁灶窑是一处重要的外销陶瓷产地。 军持、瓶、执壶、罐、碟等是宋元时期大量外销的主要产品。其中，军持是专门适应东南亚人民进行宗教活动需要而烧制的；“龙瓮”的生产自宋明至今，沿袭不断，除了内销外还输出到东南亚各国。明清时期，磁灶以烧制单一的日用粗陶为主，仍运销海外，随着华侨的大批出国，制瓷技术也传播南洋各地，促进当地陶瓷工艺的发展，例如菲律宾米岸烧制的“文奈”瓷器，就是磁灶吴姓华侨传授的。直到近代，仍有众多华侨在海外操营此业，传授技艺。 磁灶窑是我国东南沿海地区，以烧造外销陶瓷为主的重要窑口，是具有浓量的地方特色和时代风格的民窑。它所处的地理位置---濒临泉州港口岸，使其外销条件优越。同时，它与泉州港的兴衰密切相关，当泉州在宋元时期对外交通和贸易达到鼎盛的时候，也正是磁灶窑生产发展昌盛的时期。磁灶窑的某些产品是专门为外销而烧造的，如军持等可能是为适应东南亚各地宗教性生活而接受的定烧器物，磁灶窑的产品器类丰富多彩，虽然比较粗放但却颇具特色，特别应指出的，磁灶窑出土的一些瓷雕塑，深目高鼻的人物形象，生动地反映了泉州港宋元时期“涨海声中万国商”的景象。 但磁灶的陶瓷在明清之后，由于宋时釉彩等工艺的的失传，产品主要以缸、壶、罐、碟为主，生产和销路窄小，市场需求低。如何定位自己？重走祖辈们的老路肯定不行，于是人们把目光投向了建筑陶瓷。1979年，磁灶人吴金世，历经多次的实践终于在千百年的古窑里烧出了现代的釉面砖。磁灶从此开始了真正意义上的跨越，建陶企业得到了超常规模的发展。 经过十几年艰苦的发展,磁灶镇作为全国5大建筑陶瓷生产基地之一，成为国家级星火区域性陶瓷建材支柱产业区、国家级技术创新陶瓷工业示范基地、福建省第三批科技示范镇，目前，拥有建陶集团15家，先进辊道窑生产线300多条。产值超亿元的企业集团有6家，产值超千万元的企业有159家，磁灶的建材产品畅销全国各地，外墙砖产量一项就相当于全国产量的三分之二。琉璃瓦几乎垄断全国的市场。磁灶镇由原来名不见经传的乡村小镇一跃成为闽东南经济重镇。连续多年综合经济实力位居福建省10强乡镇前列。2000年6月，被中国建筑卫生陶瓷协会授予“中国陶瓷重镇”荣誉称号。

Despite their ostensible crumbling , flaking ,sagging or wilting ,the diminutive ceramic sculptures of Chinese artist Bai Ming are inspired less by fascination with the visual effects of decay than by respect for forms that resist the destructive influences of time .In these minimalist works ,time seems the agent in a process of abstraction that seizes the essence of endurance ,and compresses that quality into dense masses of clay scarcely larger than a person’s heart . This vague allusion to the heart ----both as a vital organ and as the symbolic locus of sentiment - provides a key to the integral relationship between time and humanity that Ming’s works are intended to express. These simple sculptures, simultaneously melancholic and majestic, are in their ambivalence characteristically human, blending a lamentation over the effects of time with a kind of apologia for it. “I am,” say Ming, “very sensitive to the significance of time for human life .In my work, I strongly emphasize transformation. It is a serious theme ,because time changes people form young to old .However ,I am also acutely aware of the value of time , since it can leave behind an elite body of cultural knowledge.” Once a student and now a faculty member at the Central Academy of Art and Design at Tsing-Hua University in Beijing , Ming could hardly have been indoctrinated into a more “elite body of cultural knowledge ” than that of Jingdezhen porcelain production . The utilitarian works through which he established his reputation as a ceramist in the early 1990s clearly the influence of this venerable tradition, not only in terms of materials and techniques but also through incorporation of such distinctive features as the glazed foot, a Jingdezhen innovation once reserved exclusively for wares commissioned by the imperial household. Technically flawless and serenely elegant , Ming’s porcelain vessels are all the more impressive for the knowledge that ,over the past decade ,only part of his time has been devoted to his career as a potter .Truly multifaceted ,he has authored three books on contemporary ceramics ,and achieved important stature as a painter whose somber textural compositions recall European postwar abstractionists such as Alberto Burri and Antoni Tapies ,while elaborating a distinctly Chinese perspective on nature. Four pieces the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain Despite the material and stylistic distinctions between his pottery and paintings, he has always maintained a conceptual unity to his creative activity .The long -standing Jingdezhen tradition -into which new forms have been periodically introduced while the porcelain itself and the technology used to produce it have remained remarkably constant over the centuries-is analogous, for Ming, to the eternal essence of nature, which perseveres despite the convolutions of history. Perhaps it was inevitable that he would consider bringing his work in clay stylistically more in line with the nature symbolism of his paintings .This would entail a move into the realm of sculpture -where conceptual concerns would be solely responsible for dictating form and content--- without compromising the knowledge of convention gained form his background as a potter. Working in Jingdezhen porcelain, Ming decided to develop a series of abstract sculptures that would simultaneously emphasize the characteristics of tradition and transformation, perseverance and natural decay .Although the softness of the clay body initially hindered his efforts, it would ultimately lead to the fortuitous discovery of the simple, compact stele form to which he subsequently adhered for the majority of his sculptures. “I frequently failed in my early sculptures,” he recalls, “because the clay was just not stiff enough, and the form that I constructed collapsed. But after one such unsuccessful attempt ,I massed the clay in the traditional Jingdezhen way and was preparing to discard it ,when I realized that its shape was reminiscent of a meditative position in yoga .Form the time I was ten years old ,I have worked while sitting in a similar fashion cross-legged on the floor . I can sit in that position comfortably for five or six hours at a time .Something about the piece that I had made by accident suggested this position .Obviously, it wasn’t literal. It had something to do with the motion, the feeling of being both compact and slightly twisted around.” Drawing inspiration from this impression, Ming set about producing a series of unobtrusive 8-inch sculptures intended to suggest contemplative states, Entitled “Sit in Meditation-The Forms and Process,” the series reflects Ming’s general affinity for meditative practices rather than a specifically religious dedication. “I’m not a devout follower of Zen,” he explains, “but I have always been involved in cultural practices that derive from it. Untitled ,from the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain “My way of stretching or positioning myself when I work is very much related to Zen .The works themselves reflect upon this kind of motion ,which in turn is a way of ordering the mind .My work is simple and pure ,a reflection of my lifestyle. I’m accustomed to spending time drinking tea, writing and meditating .They’re peaceful activities, and that’s the sense that I want to convey through my work.” The early works in the “Sit in Meditation” series ,consisting of porcelain accentuated by sparing applications of blue and white glazes ,are closely linked ,materially and conceptually , to Jingdezhen pottery .Their is enhanced by the balance between incised rectangular forms and more spontaneous punctuate patterns. In addition, a quiet dialogue is established between smoothly glazed surfaces and irregularly dimpled and fissured expanses. Often the individual sculptures appear similar to one another in form but are unique in the traces of process on their surfaces, a point that Ming emphasizes in relation to the dynamic between the one and the many in Zen. “The position of meditation is the form,” he explains, “not the content , which is process .This process involves achieving levels of understanding .The sculptures could be compared to a group of people sitting together in the same meditative position ,but each achieving a different state of understanding .” In the spring of 2001, his work entered a new and more openly expressive phase when he began a residency at the Clay Studio in Philadelphia .Although he continued to emphasize the serene ,concentrated mass characteristic of his “Sit in Meditation” series , he temporarily abandoned porcelain for stoneware ,and began exploring a slightly brighter and more varied palette. “In Philadelphia, I began to exaggerate the color,” he explains. “It was a natural response to my experiences in America. There were so many things that were different in my daily life. I heard a lot of jazz music, for instance, and I was trying a lot of new foods. My new lifestyle began to affect my work in important ways. ” Equally significant was the availability of a variety of commercial glazes. Unaccustomed to such a broad selection, Ming enthusiastically explored new and more dynamic color combinations. Although the works that Ming produced in Philadelphia, he is quick to assert that their underlying inspiration remained essentially Chinese. For example , in addition to works for the “Sit in Meditation” series , he produced several low ,horizontal sculptures that allude both to the narrow ,rectangular format of traditional Chinese scrolls and to the mountain ranges that are a recurring theme in classical literati painting . "scenery ,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware "scenery ,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware ,by Bai Ming, Beijing, ChinaThe overall form shared by the sculptures of the “Mountains and Rivers with Time” series suggests a literal expanse of peaks, and the rough textures of the pieces are reminiscent of eroded stone. At the same time, the surfaces are articulated in a loose brushwork that emphasizes the nature of the mountains as representations. “I like to develop two principles in my work,” Ming explains. “One is clearly that of the ceramic artist, a three-dimensional orientation toward real space, but there is also the conceptual sensitivity of a painter.” The integral relationship between the material and the conceptual in the work of art became particularly significant to Ming several years ago during a visit to the famous Yungang Buddhist caves at the foot of Wuzhou Mountain in China’s Shanxi Province .The 53 chambers of this historic site contain dozens of sculptures hewn from the living rock, but the most imposing feature is the colossal Buddha carved from the face of the mountain itself ,an insinuation of the human body into the immortal substance of nature .While Ming made no attempt to represent the specific attributes of the site in his own sculptures ,the caves and their carving held important implications for him regarding the integration of human art and ingenuity with a form and material that are literally as old as the hills. If there is melancholy in the reflection that the cave reliefs are the work of ancient hands that left no other trace of their brief existence in the world, there is something equally inspirational about the perseverance of the sculptures themselves. For Ming, time is the greatest abstracter of all, and what survives its relentless negation is not only awe inspiring, but the purest form of truth. “I am interested in the motion of time and the traces of meaning that it leaves behind in things that seem eternal,” he explains. “For that reason ,inorganic objects touch me more than living things .The carvings in the Yungang caves ,for example ,affect me more than grass or birds ,the kind of nature that doesn’t endure for thousands of years .The region where the caves are located is a dry expanse under a vast sky ,but somehow in those conditions a great culture left its traces for the ages . That is what excites me, and that is what inspires my sculpture.”