Piezoelectric Sensing Element-Assisted Ceramic Art Process Optimization and Visual Quantitative Characterization

In this paper, piezoelectric sensing elements are used to assist in the study and analysis of ceramic art process optimization and visual quantization characteristics. A series piezoelectric element impedance sensor is designed based on the resonant frequency characteristics of the series piezoelectric element. Combining the resonant frequency characteristics of the series piezoelectric element and the basic principle of the impedance method, a multisensing impedance method based on the series piezoelectric element impedance sensor is proposed. The feasibility of the multisensing impedance method for monitoring the grout compactness was verified experimentally, and the basic principle of the method was further investigated by finite element simulation. The vase-type porcelain vessels were classified according to symmetry elements to find the characteristic points, the abdominal morphology was used as the basis for classification, and the screened samples were extracted from the contours to exclude the influence of other factors on the vessel shape. By the symmetrical elements of each type of ware, the classification principle of the ware type was designed and divided into six types, and each type was further subdivided into various types to establish a typological map of Qing dynasty bottle porcelain. The information entropy redundancy that describes the uniformity of the code appearance probability and the visual redundancy that describes the human eye’s sensitivity to image content or details are all entry points that can be considered for image coding. The experimental results show that the LBP-HOG fusion features can digitally express the information of ancient ceramic ornamentation and dig and verify the evolution of ceramic ornamentation with the times from the digital quantity. The GRNN model has an excellent performance in processing small samples of ancient ceramic data.

Research on Art Design Application of Modern Ceramic Techniques

In the process of modern art design, ceramic techniques are widely used and can fully show modern ceramic art. In this paper, the application of ceramic techniques was deeply explored. Firstly, the basic characteristics of modern ceramic techniques and art were briefly described, and then the application status of modern ceramic techniques art design was analyzed. Finally, the main application measures of ceramic techniques were discussed emphatically, including plane design, indoor design, product design, decoration design, so as to show the innovative development of modern ceramic techniques and provide some reference for the relevant personnel.

Research on Component Elements and Interaction of Environmental Ceramic Works Facing Public Art Category

Objectives: With the development of modern ceramic art and public art, environmental ceramic art, as a new form of public art, has appeared in many fields of public space. Methods: Environmental ceramic art also has a close interactive relationship with urban culture and is the value embodiment of urban culture. This article will study the composition and interaction of environmental ceramic art works facing the public art category. Results: Research shows that environmental ceramic art adds dazzling highlights to public art with its special artistic language and performance connotation. Public art also expands the development space due to the involvement of environmental ceramic art. Conclusion: Today, when public art has become the symbol of modern civilization, the environmental ceramics, which is based on modern ceramic art murals and ceramic sculptures, is applied to the environmental space of modern architecture, bringing a unique artistic feeling to modern public art.

The sacred symbolic meaning of ceramics glazed with a yellow background: possibilities of reconstruction (archaeological artifacts from the Kultobe settlement)

Turkistan’s ceramic style development occurred over several centuries and was formed by the Middle Ages. In Kazakh culture the ceramic art was raised up to an original artistic phenomenon. Studies of the production of South Kazakhstan pottery from the archeologic point of view has involved many Kazakh scientists such as: Karl Baipakov, Alexander Podushkin, Yerbolat Smagulov and many others. Their works are the foundation for further cultural and art historical interpretations of Kazakhstani pottery art, and they have contributed to Kazakhstan’s national art history. This article, based on the analysis of specific works representative of South Kazakhstan ceramics and on samples of ceramic production found during the archaeological research on Kultobe settlement (Turkistan, Turkistan region), presents the attempt to reconstruct the sacred and symbolic meaning of ceramics that are glazed with a yellow base. In the article, the authors study two main aspects: the relationship between the artistic language and the sign system (ornament and color), which can be called one of the visual reflections of a large number of languages in traditional culture. In particular, the article discusses folk ideas related to color, shape, and ornamentation of ceramic products and their relationship with ceremonial and ritual life. The materials in this work expand scientific knowledge of the genesis and specificity of traditional Kazakh crafts of South Kazakhstan, where pottery has been partially preserved to this day. The article was prepared within the project of the Ministry of Education and Science of the Republic of Kazakhstan AR09259862 “Research of traditional crafts of modern Kazakhstan: state and search for ways to preserve”.

Traditional Japanese pottery and its influence on the American mid 20th century ceramic art

The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.

Ceramic, Art and Civilisation, Paul Greenhalgh (2020)

Review of: Ceramic, Art and Civilisation, Paul Greenhalgh (2020) London: Bloomsbury, 512 pp., ISBN 978-1-47423-979-7, h/bk, £30.00; ISBN 978-1-47423-972-1, ePDF, £27.00; ISBN 978-1-47423-973-8, eBook, £27.00

Eclecticism Style in Ceramic Art Practices of Ife Art School

Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation. Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence. Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice. Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.

The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions

This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.