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Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Restoring the morphology and functionality of dental arches affected by carious lesions and/or edentations using fixed prosthetic restorations has been a continuous challenge for dentists. Porcelain fused to metal prosthetic restorations using lost wax technique or modern digital methods have proven to be a useful tool in restoring aesthetics and mastication, aspects that lead to the social reintegration of patients. The natural aspect of the prosthetic restoration depends on the talent and inspiration of the dental technician as the art of layering of ceramic masses cannot be surpassed by new emerging technologies. [ABSTRACT FROM AUTHOR]

The blue and white porcelain produced in Jingdezhen during China's Yuan Dynasty is an outstanding cultural heritage of ceramic art that has attracted wide attention for its identification. However, the traditional visual identification method is susceptible to misjudgment, thermoluminescence dating damages the samples, and the methods based on chemical analysis are limited by the accuracy and specificity of the elemental features. In this paper, we address the identification challenge by using machine learning techniques combined with portable X-ray Fluorescence Spectrometer (pXRF) analysis. We collect a large dataset of chemical compositions of Yuan blue and white porcelain from Jingdezhen using pXRF, and propose a graph anomaly detection method based on gradient attention map (GRAM) to identify the porcelain from different dynasties. We treat the porcelain produced in the Yuan dynasty as normal samples and those from other dynasties as abnormal samples. For GRAM, we merely train the variational graph autoencoder (VGAE) model with normal graphs and then use its encoder to extract graph features and compute the anomaly scores by utilizing the GRAM of the graph representations with respect to the node feature embeddings. Finally, we compare GRAM with state-of-the-art graph anomaly detection techniques and show that it achieves superior performance. [ABSTRACT FROM AUTHOR]

The aim of this work is to show the importance of the licenses of passage -customs records where the goods that were transported through the Iberian Peninsula were noted down- for the History of Art and, specifically, as a source of information on the missing ceramics. From their study and analysis, we can see that earthenware and porcelain travelled between European courts as royal gift, as well as to the homes of the elite of society, which is evidence that it was an artistic object valued and esteemed by society during the 16th and 17th centuries. [ABSTRACT FROM AUTHOR]

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When Islam spread from the Arabian Peninsula to the rest of the world, it impacted the lives of millions of people. One of the impacts was related to the influence on art, especially when Islam entered China in the 7th century. The Chinese Islamic art was a challenging product due to two major factors. The first factor was that the transition of traditional Arabic calligraphy to Chinese Arabic calligraphy was not straightforward due to the huge difference in how Arabic letters and Chinese characters are displayed. The second factor was related to the translation because the Chinese language uses characters to explain the intended meaning, whereas the Arabic language is an expressive and specific language. This paper provides examples of Chinese Islamic art where errors have been observed in written verses from Qur'an or even in spelling the names of Allah. Moreover, it provides interesting examples of pottery and porcelain pieces that were found and preserved in Qatar Museum as well as in Al-Zubara Fort. [ABSTRACT FROM AUTHOR]

In China's long history tea culture, Zisha ceramic, from Yixing city, Jiangsu province of China, has been widely accepted as the optimum vessel for tea brewing. Zisha ceramic has existed for a millennium, but there are seldom studies that explore the composition and structure of this traditional ceramic. In this work, Dicaoqing-Zisha, a typical Zisha, is investigated as a representative. The results reveal that the Dicaoqing clay is natural composited clay and is very rich in Fe 2 O 3. After fired at 1180 °C, Dicaoqing-Zisha is achieved with 33.2 wt% quartz, 32.8 wt% mullite, 3.2 wt% cristobalite, 5.9 wt% hematite, and 24.9 wt% amorphous phase. The percentages of mullite and cristobalite in Dicaoqing-Zisha are close to that in porcelain and much higher than that in pottery (an ordinary earthen pot). At the same time, the amorphous phase percentage of Dicaoqing-Zisha is in between that of porcelain and pottery. Compared with porcelain and pottery, the Dicaoqing-Zisha has specific pore structure including the highest specific surface area, middle porosity (larger than porcelain, but smaller than pottery), even distribution, and two main classes of pores: one is about 0.2 μm in diameter and the other is < 10 nm in diameter. We propose that Zisha is like pottery and yet not pottery, it is similar to porcelain but not porcelain. "Zisha" should be a specific name. The crystal-phase composition and pore structure of Dicaoqing-Zisha are investigated for the first time. The results reveal that "Zisha" should be a specific ceramic, which is like pottery and yet not pottery, similar to porcelain but not porcelain. [Display omitted] [ABSTRACT FROM AUTHOR]

• This is the first study of Coteau/Parpette's jewelled (hard-/soft-paste) porcelains by Raman spectroscopy. • Use of arsenic as a flux to bind gold foils to glaze is revealed. • Cassiterite in some enamels is linked to Coteau's production. Gilt-decorated porcelains of the French enamellists Joseph Coteau and Philippe Parpette, unifying metal and ceramic enamel techniques had been produced for a short time period, between ∼1770 to 1800 AD. However, this type of production was limited and poorly documented. Their enamelled decorations consist of lead-based transparent and opaque enamels coating gold foils fired on the porcelain glaze. Rare items had been produced at different factories (Sèvres Royal Factory, Comte d'Artois Factory) and it is reported that some copies had been made during the 19th century. We present here the first (non-invasive) Raman study of four cups and two pairs of vases (also analysed by pXRF) belonging to the productions from these factories. The decors made of enamel on gold foil (paillon in French) were applied both on soft-paste and hard-paste porcelain body. The bonding between the gold foil and the glaze was found to be obtained by addition of arsenic and perhaps some other fluxes (boron, bismuth?). Differences were identified in the glazing/enamelling technology. The use of cassiterite opacifier seems to be characteristic of Coteau's technique. [ABSTRACT FROM AUTHOR]

Copyright of Dirasat Tarbawiya is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents experimental research on the contribution made by spectral analysis to the identification and dating of Persian ceramics with a blue glaze or blue motifs. Since we know that the characteristic blue colour of these ceramics can vary according to their composition and traditions of manufacture that are specific to the different centuries in which they were created, it would be interesting to determine whether a non-destructive and non-invasive method of analysis would be possible to date the ceramic without altering the object itself. To do this, 72 ceramics from the Royal Ontario Museum of Toronto, as well as 2 other dishes (a Qajar dish from the nineteenth century and a dish from the twentieth century) were photographed and readings of the blue colour present on the objects were processed using the ImageJ software. Colour values obtained were then plotted on a graph and sorted by century for analysis. This study shows that it is possible to date Persian ceramics using a photograph, a spectrometer, and calibrating software, to establish the century in which a Persian ceramic with blue glaze or blue motif was made. [ABSTRACT FROM AUTHOR]

The article is concerned with copying and imitation in ceramic art, i.e. it looks into how these activities applied in artistic practice make it (im)possible for an imitation to qualify as an original artwork. The question is raised whether original work is possible without creating any new aesthetic content. The analysis of copying focuses on such practices as imitation of Chinese ceramics, mimicking involved in the invention of European porcelain and in the learning technique of spontaneous drawing as well as repetition of shapes in pottery making. Copying of Chinese ceramics, a common practice in Europe, has survived to this day; for example, tiled stoves at the Palace of the Grand Dukes of Lithuania have been restored in this manner. Research into the potential of porcelain imitation led me to create a collection of vases entitled Pinniped vs Louhan. I attempted triple replication and re-created the vases. While questioning the idea of newness in art, I find that copying, as a specific research method, ensures major opportunities for investigation. By appropriating or making use of someone else's artwork in order to give it a different, personal meaning, one can open up infinite possibilities for reconstructing works of art. [ABSTRACT FROM AUTHOR]

This study investigates the origin and development of Tang blue-and-white porcelain. Test samples consist of excavated shards of blue-and-white porcelain, white porcelain, Tang tricolor pottery, and blue-on-white pottery from the Tang strata of the Baihe and the Huangye kiln sites. The chemical compositions, firing temperatures, and physical properties were studied scientifically, and multivariate statistical analysis was applied to analyze the compositional data. The results show that Tang blue-and-white porcelain developed from a mature manufacturing technology of white porcelain in the late Tang. Moreover, the type of cobalt pigment used is similar to that used for blue-on-white pottery. This study contributes to our understanding of the invention of Tang blue-and-white porcelain. Statement of significance In recent years, several shards of blue-and-white porcelain have been found in the late Tang strata of the Huangye and the Baihe kiln sites in Gongyi district of Henan Province (Henan Provincial Institute of Cultural Relics and Archaeology 2005,17; 2007; 2009,22). Notably, these are the only pieces of blue-and-white wares of the Tang dynasty that have been excavated at a kiln site. For the very first time, with data analysis of the chemical compositions and comparisons among pottery and porcelain throughout distinct time periods of the Tang Dynasty, this study explicates the invention of Tang blue-and-white porcelain from a scientific standpoint. Derived from Tang tricolor pottery, blue-on-white pottery and, especially, white porcelain production, raw materials and firing techniques lay the groundwork for the emergence of blue-and-white wares. The invention of Tang blue-and-white porcelain marks a crucial milestone in the developmental history of ancient Chinese ceramics. [ABSTRACT FROM AUTHOR]

SUMMARY: The Great War had a dramatic impact upon the manufacturing industries and trade of the United Kingdom, and not least upon the ceramics industry. Manufacturers faced tremendous difficulties, including a massive decline in the overseas trade essential to their survival. At the same time, however, the war itself presented opportunities for the expansion and development of British ceramic manufacture and the repositioning of British ceramics in the global market. In August 1914 the British ceramics trade was in a precarious state, threatened both at home and in long-held overseas markets by low-priced porcelains from German and Austria–Hungary. However, the naval blockade of Continental ports which followed the outbreak of war denied these countries access to what had been an extremely lucrative overseas trade, leaving customers in many countries desperate for replacements for the goods no longer available. British manufacturers rose to the challenge, maintaining production, developing new lines and taking trade from its enemies. The war halted the steady decline of the British ceramics industry, but its post-war future was by no means secured. [ABSTRACT FROM PUBLISHER]

SUMMARY: In 1595, the Portuguese merchant banker Duarte Ximenez bought the Blauwhof, a castle-like estate in the Flemish countryside. An assemblage of pottery, recovered from the moat adjacent to the estate’s manor house, testifies to the status and hybrid identity of this 17th-century immigrant family. Although they were well assimilated into Antwerp’s high society, their foreign roots are still evident from particular Portuguese imports or the unconventional use of locally produced ceramics. Comparison with probate inventories shows that the two categories of Portuguese pottery serve different purposes, one in the public sphere of knowledgeable actors, and one in the intimacy of the Ximenez family. [ABSTRACT FROM PUBLISHER]