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Qu, Liang, Xinqiang Zhang, Hongying Duan, Rui Zhang, Guanghua Li, and Yong Lei. "The application of LIBS and other techniques on Chinese low temperature glaze." MRS Advances 2, no. 39-40 (2017): 2081–94. http://dx.doi.org/10.1557/adv.2017.85.
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ABSTRACT The focus of this paper is on analysis, comparison and research on the colorful low-temperature, lead-containing overglazes on glazed porcelain body and on the enamel glazes on the metal body of the Qing Dynasty by adopting several analytical methods. Analysis and tests on the element, boron in overglaze on glazed porcelain body and enamel glaze on metal body, were performed using laser induced breakdown spectroscopy (LIBS), and the results showed that Cloisonné enamel, painted enamel and Falangcai samples contained boron, while Famille Rose (Fencai) samples did not contain boron. Meanwhile, such analysis methods as laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS), energy dispersive X-ray spectroscopy (EDXRF), Micro-Raman, stereomicroscope and Confocal laser scanning microscopy (CLSM) were used to test and observe the element composition, crystal composition and microstructure of the samples. The results illustrated that matrix glaze of Cloisonné enamel, painted enamel and Falangcai was the same. The yellow glaze was a lead-alkali glass and other color glazes were boron-lead-alkali glass, while all color glazes of Famille Rose were lead-alkali glass. Colorful low-temperature overglaze on glazed porcelain body and enamel glaze on metal body had a common practice and technology in the use of opacifiers and colorants. Compared to painted enamel, the painting technique of Famille Rose was more complicated, and effect was apparently praised as being superior.
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Pérez-Arantegui, Josefina, and Paz Marzo. "Characterization of Islamic Ceramic Production Techniques in Northeast Iberian Peninsula: The Case of Medieval Albarracin (Spain)." Applied Sciences 11, no. 16 (August 5, 2021): 7212. http://dx.doi.org/10.3390/app11167212.
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Ceramic objects found in the Islamic Taifa of Albarracin (Spain), 12th century CE, were studied to ascertain the main characteristics and influences of its manufacture. Production centers even from small kingdoms can add new insights in medieval ceramic technology. Several types of decorated ceramics, such as tin-opacified glazed, monochrome glazed and cuerda seca, were investigated. Ceramic bodies were analyzed by ICP-Optical Emission Spectrometry, and glazes were studied by Scanning Electron Microscopy with Energy Dispersive X-ray Spectrometry. All the ceramic bodies showed the use of Ca-rich pastes, although three groups could be distinguished and related to their decoration. Lead and silicon were the main components of the glazes, as well as scattered tin oxide in the case of white or green opacified glazes. Some features, such as calcareous bodies, double firing for tin-opacified glazes, glaze components, and coloring oxides, were common in Albarracin samples and other Islamic production centers in the Iberian Peninsula. However, some differences were also highlighted in lead/silica proportions and cuerda seca decoration, and several influences from northern or southern pottery centers. Lead isotope ratios, measured by ICP-Quadrupole Mass Spectrometry, revealed two different sources or suppliers of lead raw materials according to the type of glaze to be prepared.
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Damjanovic-Vasilic, Ljiljana, Vesna Bikic, Srna Stojanovic, Danica Bajuk-Bogdanovic, Djurdjija Dzodan, and Slavko Mentus. "Application of analytical techniques to the unveiling of the glazing technology of medieval pottery from the Belgrade Fortress." Journal of the Serbian Chemical Society 85, no. 10 (2020): 1329–43. http://dx.doi.org/10.2298/jsc200401036d.
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Medieval glazed ceramics, dated to the early 15th century, excavated at the Belgrade Fortress, Serbia, were investigated by combining optical microscopy, X-ray powder diffraction (XRPD), scanning electron microscopy with energy-dispersive spectroscopy (SEM-EDS), micro-Raman spectroscopy and multivariate statistical analysis. The decoration and style of the investigated ceramics were characteristic of workshops from different areas of the medieval Serbian State: Ras, Krusevac and Belgrade/Smederevo. Comparison was made with ceramic samples from the same period excavated at the Studenica Monastery, the hitherto earliest workshop discovered, which were used as reference material for the Ras area. Ceramics from the Belgrade Fortress were covered with a transparent, lead-based glaze. The majority of the glazes were produced by application of mixture of lead oxide and quartz to the clay body, whereas only two samples were glazed by application of lead oxide by itself. The brown colours of the glaze originated from Fe-based spinel, whereas copper and iron were responsible for the colouring of the green and yellow glazes. The obtained results revealed glazing technology taken from Byzantine tradition.
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Hallett, Jessica R., Michael Thompson, Edward J. Keall, and Robert B. Mason. "Archaeometry of medieval Islamic glazed ceramics from North Yemen." Canadian Journal of Chemistry 66, no. 2 (February 1, 1988): 266–72. http://dx.doi.org/10.1139/v88-045.
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Microscopic examination and electron microprobe analysis were employed to determine the materials and techniques used to decorate ten glazed types of medieval Islamic ceramics from North Yemen. Eight types were underglaze-painted, one was slip-painted, and one was monochrome glazed. The glazes were of two compositions, soda–silica and lead oxide – silica with annealing temperatures of approximately 835 and 640 °C, respectively. The colourants used in the glazes and paints were cobalt (blue), iron (green), copper (green and blue), and antimony (yellow). Where clay slips or slip-paints were present, alumina enrichment of the glaze had occurred during application or firing, and pigment-paints on top of slip grounds masked enrichment. The Mellor ratio for the lead glazes ranges from 0.68 to 0.74 and is well above the acceptable safety limit of 0.5.
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Camara, Carlos Andrés, María José Gonçalves, José Antonio Paulo Mirão, Susana Gómez Martínez, and Massimo Beltrame. "High-Lead Glazed Ceramic Production in Western Iberia (Gharb al-Andalus) between the 10th and Mid-13th Centuries: An Approach from the City of Évora (Portugal)." Ceramics 6, no. 4 (November 15, 2023): 2213–42. http://dx.doi.org/10.3390/ceramics6040135.
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In the present study an archaeometry programme has been developed on a limited number of coarse wares, monochrome, and bichrome glazed ceramics retrieved in the cities of Évora, Mértola, and Silves, located in Western Iberia, Portugal (Gharb al-Andalus during the Islamic period). The goals were to shed light on glazed ceramics provenance, technology, trading, and on the glaze technology applied. For this purpose, a multi-analytical approach was employed to characterize ceramic pastes and glazes using optical microscopy (OM), X-ray diffraction (XRD), X-ray fluorescence (XRF), and a Scanning Electron Microscope coupled to an Energy Dispersive Spectrometer (SEM-EDS). Results evidenced that over the Islamic rule, coarse wares were locally produced at Évora. On the contrary, monochrome and bichrome glazed ceramics were imported from the city of Silves, Mértola, and from unidentified workshops, probably located in southern Iberia. The analysis of decorations evidenced that despite the provenance of the samples, the glaze technology applied was rather uniform over time, depicting a widespread technological transfer in the al-Andalus.
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Jones, Donald E., Mario Covarrubias Pérez, Bret Ericson, Daniel Estrada Sánchez, Sandra Gualtero, Andrea Smith-Jones, and Jack Caravanos. "Childhood Blood Lead Reductions Following Removal of Leaded Ceramic Glazes in Artisanal Pottery Production: A Success Story." Journal of Health and Pollution 3, no. 4 (January 1, 2013): 23–29. http://dx.doi.org/10.5696/2156-9614-3.4.23.
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Background. Lead exposure within artisanal ceramics workshop communities in Mexico continues to be a major source of childhood lead poisoning. Artisanal ceramics workshops expose children through direct ingestion, contaminated soil, and food prepared in lead-glazed pottery. Conversion to non-lead glazes alone may not effectively reduce exposure. This paper describes a model comprehensive intervention and environmental remediation of an artisanal ceramics workshop in the state of Hidalgo, Mexico. Objectives. The purpose of the project was to evaluate the effectiveness of environmental interventions—including removal of lead-contaminated equipment, soil and pottery—on childhood blood lead levels. Methods. A typical artisanal workshop using lead glaze was identified and assessed for lead contamination. Baseline blood lead levels (BLL) were taken from 5 children inhabiting the workshop prior to remediation. Follow-up paired BLL were taken 3- and 12-months post-remediation and results compared. Results. A mean 54% decrease in BLL within 3 months of remediation and a 57% decrease within 1 year was observed. Conclusions. This project shows the effectiveness of environmental lead remediation at artisanal Mexican ceramics workshops for purposes of sustained BLL reductions. Application of the methods presented in this paper to other ceramics workshops using lead glaze in central Mexico will likely help to further reduce childhood lead poisoning.
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Santarelli, Brunella, David Killick, and Sheila Goff. "Technological Behavior in the Southwest: Pueblo I Lead Glaze Paints from the Upper San Juan Region." MRS Proceedings 1656 (August 21, 2014): 199–209. http://dx.doi.org/10.1557/opl.2014.813.
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ABSTRACTAlthough widely employed in Eurasia, lead glazes were produced in only two small regions of the Americas prior to European contact, both in the Southwest. Southwestern glaze paints are unique in that they developed as decorative elements instead of as protective surface coatings. The first independent invention of glaze paints was in the Upper San Juan region of southwestern Colorado during the early Pueblo I period (ca. 700-850 CE). Despite recent interest in the later Pueblo IV glaze paints of New Mexico (ca. 1275-1700 CE), there have been no technological analyses of the Pueblo I glaze paints. This research project presents the first analysis and technological reconstruction of the Pueblo I glaze paints. It is in the production of the glaze paints that the potters were innovating and experimenting with materials. These early glaze paints have the potential to provide important information regarding both technology of production as well as the relationships and interactions of potters during this period in the Upper San Juan region. Preliminary results reveal a pattern of traits that involves raw materials, processing, properties and performance of the final product suggesting the existence of a patterned technological behavior.
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Röhrs, Stefan, Alexandra Dumazet, Katharina Kuntz, and Ute Franke. "Bodies and Glazes of Architectural Ceramics from the Ilkhanid Period at Takht-e Soleyman (North-Western Iran)." Minerals 12, no. 2 (January 27, 2022): 158. http://dx.doi.org/10.3390/min12020158.
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Bodies and glazes of tiles from the Ilkhanid period found at the UNESCO World Heritage site of Takht-e Soleyman were studied to identify materials and certain technical characteristics of the architectural ceramics as part of a larger project to establish different productions. In addition, ceramic vessels and technical ceramics excavated at the site were analysed for comparison. µXRF, SEM/EDX, and Raman spectroscopy were used for the material investigations. Qualitative non-invasive µXRF results allowed for categorisation of the glazes and ceramic bodies based on their overall composition. Quantitative analysis by SEM/EDX on a subset of the samples delivered detailed results on the bodies and glazes. Tiles, made from clay or stonepaste, were almost exclusively decorated with a mixed alkaline lead glaze. The PbO content of this type of glaze ranged from 8 wt% to 25 wt%. The clay bodies of some tiles corresponded to the material of the locally used kiln furniture. Moreover, glaze residues preserved on the kiln furniture proved to be from a mixed lead alkaline glaze with a PbO content of 15 wt% to 25 wt%, a composition that is comparable to the tiles’ glazes. For more insights into the local or regional production of the tiles, supplementary in-depth studies including petrographic analysis would be needed to confirm and further specify the results.
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Owen, J. Victor, Erin Adlakha, and Delaney Carter. "Crawling Glazes on Mid-Century Modern Maritime Canadian Studio Pottery: Shared or Re-Created?" Material Culture Review 96 (January 31, 2024): 63–82. http://dx.doi.org/10.7202/1109047ar.
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<p>This paper presents compositional data for crawling glazes made by prominent studio potters in New Brunswick and Nova Scotia during the mid-20th century (Erica and Kjeld Deichmann, Eleanor and Foster Beveridge, and Carrie Mackenzie) with the objective of (1) identifying key glaze ingredients, and (2) determining whether glaze recipes were shared by these potters, or if the glaze produced by one (likely the Deichmanns) inspired others to re-create it. Crawling glazes are those that retract during firing, creating “islands”. They commonly have unusual compositions (e.g., high alumina contents) to ensure a high viscosity and surface tension, but crawling can also be triggered by treating the ceramic surface to minimize adhesion with the glaze prior to firing. The Deichmanns used different formulae to produce their signature “Snow on the Mountain” (SOTM) crawling glaze used on redware versus stoneware. Three of four of their analysed glazes are magnesian owing to the use of magnesium carbonate (the mineral magnesite); the fourth is highly potassic and calcic (suggesting the use of “pearl ash” and “whiting”) and less aluminous. The Beveridges’ counterpart, though visually-similar, has a distinct composition, and calcium-magnesium carbonate (dolomite) was used instead of magnesite. Crawling was ensured in most samples by high alumina contents. Mackenzie’s glaze is visually distinct (i.e., is brown, not white) and has very high lead and low alumina, lime and magnesia contents. Crawling in it and in the single low-alumina Deichmann glaze is attributed devolatilization of carbonate minerals, thick application and/or pre-glazing surface treatment. The analytical data suggest that the Deichmanns did not share specific details of their SOTM glaze formulae with the Beveridges, who evidently sought to re-create them. Mackenzie formulated a distinct crawling glaze, but also made knobbed wares likely inspired by the Deichmanns’ well-known “Kish” bowls.</p>
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Coentro, Susana, Rui C. da Silva, Cátia Relvas, Teresa Ferreira, José Mirão, Alfonso Pleguezuelo, Rui Trindade, and Vânia S. F. Muralha. "Mineralogical Characterization of Hispano-Moresque Glazes: A µ-Raman and Scanning Electron Microscopy with X-Ray Energy Dispersive Spectrometry (SEM-EDS) Study." Microscopy and Microanalysis 24, no. 3 (June 2018): 300–309. http://dx.doi.org/10.1017/s1431927618000338.
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AbstractThis work explores the combination of µ-Raman spectroscopy and scanning electron microscopy with X-ray energy dispersive spectrometry (SEM-EDS) for the study of the glazes in 15th–16th century Hispano-Moresque architectural tiles. These are high lead glazes that can be tin-opacified or transparent, and present five colors: tin-white, cobalt-blue, copper-green, iron-amber, and manganese-brown. They are generally homogenous and mineral inclusions are mostly concentrated in the glaze-ceramic interface. Through SEM-EDS, these inclusions were observed and chemically analyzed, whereas µ-Raman allowed their identification on a molecular level. K-feldspars, wollastonite and diopside were the most common compounds, as well as cassiterite agglomerates that render the glaze opaque. Malayaite was identified in green glazes, and andradite and magnesioferrite in amber glazes. Co–Ni–ferrites were identified in blue glazes, as well as Ni–Fe–olivines. Manganese-brown is the color where most compounds were identified: bustamite, jacobsite, hausmannite, braunite, and kentrolite. Through the µ-Raman analysis of different areas in large inclusions previously observed by SEM, it was possible to identify intermediate phases that illustrate the reaction process that occurs between the color-conferring compounds and the surrounding lead glaze. Furthermore, the obtained results allowed inference of the raw materials and firing temperatures used on the manufacture of these tiles.
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Σοφιανοπούλου, Α., Β. Λαμπρόπουλος, and Ν. Καντηράνης. "STUDY OF TECHNOLOGY OF GLAZED POTTERY FROM AN EXCAVATION IN THESSALONIKI, GREECE." Bulletin of the Geological Society of Greece 36, no. 3 (January 1, 2004): 1120. http://dx.doi.org/10.12681/bgsg.16453.
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Samples of seven shells from vessels of glazed pottery of Palaeologan and post Byzantine period that were found during saving excavation of the 9th Ephoreia of Byzantine Antiquities in the centre of Thessaloniki, were studied with the methods of PXRD and SEM-EDS in order to investigate their firing conditions. Each shell is separated in three layers: the biscuit, the slip and the glaze. Biscuit constituted mainly of quartz, feldspars and muscovite, while the slip from quartz, feldspars, Pb-rich phase and muscovite. The glaze is constituted mainly by the Pb-rich phase that was recognized in the slip, quartz and feldspars. Amorphous phase was determined in all samples with increased percentages from biscuit to glaze. The EDS study confirms most of the results of PXRD study and shows, particularly in the glaze, the presence of very high percentages of PbO. The presence of Pb-rich phase in glaze constitutes an evidence for the temperature of second firing of glazed pottery and we believe that this temperature varied between 650 and 750 °C. Relatively to the maintenance of the studied glazed ceramics is recommended the reject of chemicals that solvating and dissolving the lead (e.g. EDTA, ethyl alcohol). The use of these chemicals can be cause weakening and destruction of enamelling and accordingly alteration of exterior layer of vessel.
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Amadori, Maria Letizia, Serse Cardellini, and Valeria Mengacci. "Advances in Lead-Barium-Zinc-Silicate-Type Glazed Warming Bowl Related to the Chinese Xuande Reign (1426–1435)." Heritage 7, no. 3 (March 12, 2024): 1496–509. http://dx.doi.org/10.3390/heritage7030072.
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Diagnostic investigations were carried out on a rare Chinese polychrome glazed ceramic dating back to the reign of the Xuande Emperor (1426–1435). The double-walled warming bowl was investigated using several non-invasive methods such as portable optical microscopy, endoscopy, portable X-ray fluorescence spectrometry, X-radiography, and computed tomography. One microsample was collected and analyzed by scanning electron microscopy with an energy dispersive X-ray detector. According to the results, the chemical composition of the paste suggested a porcelain typology, while the glaze belongs to the lead–barium–silicate (PbO-BaO-ZnO-SiO2) system. These unexpected data contrast with common knowledge, which attests that the addition of barium in glass and ceramics manufacturing disappeared soon after the Han dynasty (206 BCE-220 CE). Moreover, the combination of PbO-BaO-ZnO-SiO2 seems to be quite rare both in ancient pre-Han times and during the Ming and Qing dynasties. This paper aims to demonstrate that (a) the use of barium for glaze and glass composition, which seems to have its roots in Taoist alchemy, was not totally halted in later periods compared to the Han dynasty; (b) lead–barium–zinc–silicate glaze was used during the Xuande Emperor’s reign. Through a review of ancient Chinese literary sources, we found a lot of unpublished information on the use of barium, lead, and zinc in the production of glazed ceramics during this period. The polychrome glazed warming bowl suggests a particular production that flourished during the brief reign of the Xuande Emperor.
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Colomban, Philippe, and Gulsu Simsek Franci. "Timurid, Ottoman, Safavid and Qajar Ceramics: Raman and Composition Classification of the Different Types of Glaze and Pigments." Minerals 13, no. 7 (July 23, 2023): 977. http://dx.doi.org/10.3390/min13070977.
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Raw materials significantly determine the final composition and properties of a fired ceramic. Raman analysis which characterizes micro- and nanostructures of (coloured) glazes, opacified or not, was applied to shards mostly collected before the 1960s, currently at the Louvre Museum, originated in Anatolia, the Caucasus, Iran and Central Asia, which are, for most of them, characterized by the use of black lines to separate coloured areas, and dated to the period between the 12th and 19th centuries. Measurements were carried out in the laboratory with a blue laser excitation and/or on the conservation site with a mobile device (green laser). Three types of glazes were identified by their nanostructure of the silicate network: (i) a lead-rich glaze analogous to that of Byzantine, Zirid to Hafsid and al-Andalus productions, (ii) a lead-alkali glaze typical of the Ottoman productions of Iznik-Kütahya, and (iii) a mixed (poor lead/lead-free)-alkali glaze typical of Safavid productions. The colour determines the precise composition of the glaze. The identification is not only based on the signature of the stretching mode of the SiO4 tetrahedron (position of the wavenumber of the component(s)) but also on the position and shape of the continuous luminescence of the Raman background, characteristic of the raw materials used. Lead-tin yellow, Fe-rich, Mn-rich and Cr-rich black pigments and opacifiers made of cassiterite and wollastonite were also identified. The results (type of glaze and deduced processing temperature) were discussed in the light of the ternary phase diagrams visualizing elemental composition determined in previous works and the microstructure examination on the polished section (defining single or multistep firing cycles). Continuity was highlighted on the one hand between the tiles of Bursa, Edirne and Istanbul (Ottoman Iznik-like production) and on the other hand between those of Samarkand area (Timurid) and Iran. The procedure was then applied in the study of three objects (two dishes and a bowl) which are very representative of the productions of the Turkish-Persian cultural areas: a polychrome mina’i cup with decoration representing a rider, an Ottoman Iznik fritware with polychrome floral decoration, and a blue-and-white Safavid ceramic with a decoration representing a shrub.
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Sushko, Alina. "Ceramic Glazed Painted Eggs Production Technology Based on Kyiv Archaeological Materials." Archaeology, no. 4 (December 14, 2020): 105–12. http://dx.doi.org/10.15407/archaeologyua2020.04.105.
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Glazed painted eggs were one of the most vivid manifestations of Ancient Rus’ ceramic art. Nevertheless, today there are still unsolved problems in study of this category of archaeological material. It concerns technological aspects. These articles were made of ordinary pottery loam in a band way. They were formed hollow and contained a small ceramic ball in the inner part. After the molding they were fired, then covered with transparent glaze, which served as a background. In most cases green and fulvous glaze was used. Then, by using a special tubular instrument the painting was made with glaze of another colour, usually yellow and green, and the item was heated up again in the kiln in order to smooth the surface. Paintings were not multifarious. There were three main types of designs: ordinary stripes, which surrounded the item several times; unsystematic stripes that were put lengthwise and athwart; and also braces, which were the most common ornament. The question of the Ancient Rus’ glaze, which covered the glazed painted eggs, was raised in the 1960-ies by T. Makarova. However, today, on the basis of our collection and in the context of significant changes in the field of science, we have succeeded in clarifying and extending the known facts. The Nanomedtech Electron Microscopy Laboratory with the help of a Tescan Mira 3 LMU scanning microscope and the Gatan Pecs 682 precision etching and coating system was kindly performed with spectral analysis. Spectral analysis confirmed that Ancient Rus’ glaze had a lead-silica composition with a high content of tin. Brown colour was obtained by iron oxide, yellow by lead, green by copper. A general glaze formula was developed, which should consist essentially of Pb and Si oxide. On the example of two samples that have the same yellow colour, the difference in the quantitative composition of the components and their percentage can be seen that, by-turn, confirms the view of the relative dimensions of component measurement. The analysis of a small amount of material allowed describing the technology of painted eggs manufacturing.
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Huang, Hongjun, Junjie Yu, Fangfang Liu, and Haipeng Zeng. "Preparation of A High-Performance Frit Glaze Using High-Potassium Feldspar." IOP Conference Series: Earth and Environmental Science 943, no. 1 (December 1, 2021): 012018. http://dx.doi.org/10.1088/1755-1315/943/1/012018.
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Abstract In this study, a lead-free transparent frit glaze was fabricated using a high potassium feldspar ore from Northeast China. The effect of the potassium feldspar grade and compositions of CaO and ZnO content on the performance of a block glaze was studied. The study on the effects of the potassium feldspar grade on the molten glaze demonstrated that as the grade of the potassium feldspar in glaze increases, the glaze appearance, gloss, hardness, and thermal stability of the sample become better, and the roughness decreases. CaO and ZnO in glaze have good fusible effects on the performance of melt glaze: the high-temperature viscosity of glaze decreases, and the surface tension and quality of the glaze increase. Moreover, an optimal lead-free frit glaze formula was determined, which provided insight into the production of high-added-value products using complex and refractory potassium feldspar ore.
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Wood, Jonathan R., and Yi-Ting Hsu. "RECYCLING ROMAN GLASS TO GLAZE PARTHIAN POTTERY." Iraq 82 (October 14, 2020): 259–70. http://dx.doi.org/10.1017/irq.2020.9.
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Alkaline glazes were first used on clay-based ceramics in Mesopotamia around 1500 B.C., at the same time as the appearance of glass vessels. The Roman Empire used lead-based glazes, with alkaline natron glass being used only to produce objects of glass. Chemical analysis has had some success determining compositional groups for Roman/Byzantine/early Islamic glasses because of the discovery of major production sites. Parthian and Sasanian glass and glazed wares, however, have been found only in consumption assemblages, which have failed to inform on how they were made. Here we reanalyse compositional data for Parthian and Sasanian glazes and present new analyses for Parthian glazed pottery excavated at the early third century A.D. Roman military outpost of Ain Sinu in northern Iraq. We show that some Parthian glazes are from a different tradition to typical Mesopotamian glazes and have compositions similar to Roman glass. We propose that Roman glass was recycled by Parthian potters, thereby suggesting that as yet undiscovered Mesopotamian glass production centres ordinarily supplied glass for indigenous glazed pottery. Furthermore, if recycling glass to make glazed pottery was extended to indigenous glassware, this may provide an explanation for the paucity of Parthian and Sasanian glass in the archaeological record.
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Balliana, Eleonora, Eugénie Marie Claudine Caveri, Laura Falchi, and Elisabetta Zendri. "Tiles from Aosta: A Peculiar Glaze Roof Covering." Colorants 2, no. 3 (August 14, 2023): 533–51. http://dx.doi.org/10.3390/colorants2030026.
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The 18th century roof tiles from the “Casa delle vigne”, located in the Aosta region (north-east Italy), were investigated as an example of a peculiar historical roof covering: ceramic tiles with a lead-based glaze finishing to waterproof them are used to create colourful patterns. A conservation project proposed the integration of the original tiles with new ones, produced according to traditional methods. Ancient and new tiles were analysed with Fiber Optics Reflectance Spectroscopy, micro-Raman, Fourier Transform Infrared Spectroscopy and X-ray Fluorescence Spectrometry, Thermogravimetry and Differential Scanning Calorimetry for understanding the composition and the production technology of this manufacture. Their resistance to freezing and thawing cycles was then tested, considering their exposure in the severe alpine climate of Aosta. The use of pure clays with low calcium contents, high firing temperature and lead-rich glazes was found in ancient tiles, able to outstand several freezing-thawing cycles without damages. Iron and copper pigments were used in old yellow and green glazes. Zinc-based pigment, low lead and calcium-rich glazes are used in the new ones, which remained mainly coherent to the ceramic body during the freeze-thaw test.
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Tian, Tao, Yujing Zhang, Zhiyuan Kang, and Haibo Dang. "The effect of acetic acid extraction time on the dissolution of lead and cadmium in ceramic tiles." E3S Web of Conferences 185 (2020): 04043. http://dx.doi.org/10.1051/e3sconf/202018504043.
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With the improvement of people's living standard, the glazed tiles will be decorated with some colored glaze materials in order to increase strength and surface decoration effect, and these ceramic tiles containing lead and cadmium will be dissolved out under the action of acid. The dissolved lead and cadmium and other heavy metals after inhalation will affect the human liver, nervous system, hematopoiesis, and even paralysis. The Influence of detection mechanism and detection time on the results is discussed in this paper.
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Shi, Xiao Tao, Ting Zhang, Xue Yun Fan, and Huang Zhong. "Study on Low-Temperature Fast-Firing CuO-MnO2-TiO2-NiO with Oxidizing Flame in the Preparation Process of Metallic Lustre Artistic Glaze Optimization." Advanced Materials Research 415-417 (December 2011): 1017–22. http://dx.doi.org/10.4028/www.scientific.net/amr.415-417.1017.
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Abstract. The subject is mainly about making metallic lustre glaze at a low temperature with the basic glaze of lead frit and the nucleation agent of metallic oxides of CuO-MnO2-TiO2-NiO. It makes a study on the effect on the metallic lustre glaze through observing the process factors like the formula of glaze, the content of additive, the thickness of the glaze and the firing system. The results show that the optimum formula is Mn and Cu,The mass ratio of TiO2 ,NiO and CeO2 is respectively 4, 16%, 4.5% and 4.5%.
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Miller, Jack M., Timothy R. B. Jones, Tina Kenney, David W. Rupp, Brian N. Green, and Robert S. Bardoli. "A fast atom bombardment study of the lead isotope ratios in early nineteenth century Niagara Peninsula pottery glazes." Canadian Journal of Chemistry 64, no. 3 (March 1, 1986): 488–91. http://dx.doi.org/10.1139/v86-077.
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The application of fast atom bombardment (FAB) mass spectrometry to the determination of lead isotope ratios in nineteenth century pottery glazes from the Niagara Peninsula has been investigated with the aim of determining the source of the lead used in the glazes. Methods of sampling have been compared, including direct analysis of glass chips, analysis of powdered glaze scrapings, analysis of acid extracts of the former, and simple acid leaching of the surface of a piece of pottery. The latter method gave the best results. The FAB data, as obtained on an older mass spectrometer, can distinguish lead from igneous vs. sedimentary deposits, but is not adequate to determine specific mining locations. Although newer FAB instrumentation can narrow this range, the overlap of data from the Niagara Peninsula and England precludes a simple answer to the archeological question as to English vs. Canadian origin of the lead used in the Jordan pottery glazes. However, the data do suggest that the potter used a local source for the lead.
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Kolářová, Mária, Alexandra Kloužková, Martina Kohoutková, Jaroslav Kloužek, and Pavla Dvořáková. "Degradation Processes of Medieval and Renaissance Glazed Ceramics." Materials 16, no. 1 (December 30, 2022): 375. http://dx.doi.org/10.3390/ma16010375.
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Corrosion effects in deposit environments (soil, waste pit, etc.), together with the glaze adherence and fit, could cause severe deterioration accompanied by different types of defects or growth of corrosion products. The aim of this work was to identify the source of surface degradation of the lead-glazed ceramics sets from the Prague area from the Romanesque to the Renaissance period. A combination of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM/EDS), and simultaneous thermal analysis (STA) techniques along with stress state calculations was used to study the defects. Based on the interpretation of the possible sources of the observed defects, four types of degradation effects were schematically expressed for the archaeological samples. It was shown that the glazes were already appropriately chosen during the production of the Romanesque tiles and that their degradation occurred only due to long-term exposure to unsuitable environmental conditions.
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Leonidova, Aleksandra, Vladimir Aseev, Denis Prokuratov, Denis Jolshin, and Mikhail Khodasevich. "Application of Laser-Induced Breakdown Spectroscopy for Quantitative Analysis of the Chemical Composition of Historical Lead Silicate Glasses." Quantum Beam Science 7, no. 3 (August 2, 2023): 24. http://dx.doi.org/10.3390/qubs7030024.
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The study of the chemical composition of historical glasses is widely used in archaeometry. The results of such analyses provide information on the probable date, place, and technological features of their production. Over time, a weathered layer may form on the surface of the glass, which differs in composition from the original one. To determine the initial composition using conventional methods (for example, X-ray fluorescence spectroscopy), the weathered layer should be removed. For historical objects, such manipulation is unacceptable and should be minimized. One of the methods for analyzing the chemical composition with minimal damage to a sample is laser-induced breakdown spectroscopy. The aim of this work was to develop a LIBS method, which makes it possible to perform a quantitative analysis of lead silicate glasses, including glasses containing a weathered layer. Reference glasses with a variable content of potassium, silicon, and lead oxides were synthesized, and based on the LIBS spectra, a calibration dependence was obtained that made it possible to measure the concentration of lead and potassium oxides in glasses within 70–85 and 5–20 wt%, respectively. The method was applied to analyze the composition of the glaze on a historic glazed tile from the burial church in the Euphrosinian monastery in Polotsk (the second half of the 12th century AD). The crater formed with the laser beam on the glazed surface was about 200 microns. Such damage is negligible compared to the total surface area of the tile (~10 cm2). The thickness of the weathered glaze layer was 70 microns, which was determined using variation in lead oxide content.
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Coutinho, Mathilda L., João Pedro Veiga, Andreia Ruivo, Teresa Pereira da Silva, Silvia Bottura-Scardina, Maria Margarida R. A. Lima, Carlos Pereira, et al. "Characterization of Tableware from Fábrica de Loiça de Sacavém—Linking Analytical and Documental Research." Minerals 14, no. 3 (March 21, 2024): 324. http://dx.doi.org/10.3390/min14030324.
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Fábrica de Loiça de Sacavém (ca. 1858–1994) was among the first to produce white earthenware in Portugal, becoming one of the country’s leading ceramic manufacturers during the late 19th to early 20th centuries. Research on white earthenware has accompanied the growing interest in post-industrial archaeology but is still poorly explored compared to more ancient ceramic productions. This study focused on the ceramic body, glazes, and colourants of tableware produced by Fábrica de Loiça de Sacavém during the first 50 years of its activity (1859–1910). A multi-analytical approach was selected to investigate the chemical and mineralogical composition of the ceramic body, glaze, and pigments using optical microscopy, variable-pressure scanning electron microscope energy-dispersive X-ray spectroscopy (VP-SEM-EDS), μ-Raman spectroscopy, μ-X-ray Diffraction (μ-XRD), and reflectance spectroscopy (hyperspectral image analysis). The studied tableware was produced with a Ca-poor siliceous–aluminous white earthenware ceramic body covered with transparent alkali lead or lead borosilicate glaze, and most colourants were complex Cr-based pigments. These results are in agreement with the little documental evidence from this period found in the manufacturer’s archives.
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Wang, Yue, Yihang Zhou, Zhefeng Yang, and Jianfeng Cui. "A technological combination of lead-glaze and calcium-glaze recently found in China: Scientific comparative analysis of glazed ceramics from Shangyu, Zhejiang Province." PLOS ONE 14, no. 7 (July 11, 2019): e0219608. http://dx.doi.org/10.1371/journal.pone.0219608.
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Shi, Xiao Tao, Jun Li Feng, Ting Zhang, and Xue Wen Gao. "Preparation Process and Mechanism of CuO-MnO2-TiO2-V2O5 in the Metallic Luster Glaze." Applied Mechanics and Materials 670-671 (October 2014): 275–78. http://dx.doi.org/10.4028/www.scientific.net/amm.670-671.275.
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The article is on the preparation of metallic luster glaze based on metallic oxide: CuO-MnO2-TiO2-V2O5 as the nucleation agent in the basic glaze of lead frit. Through the study on process factors such as: glaze formula, additive content, firing system as well as the modern testing instrument: XRD and SEM, the experimental results show that the optimum formula is: the mass ratio of Mn/Cu is 4, TiO2, NiO is respectively 20% and 3.5%. The composition of the frit and its content affect glaze surface luster, the mass ratio of Mn, Cu and its additive total amount, the content of Ti, ViO also affects the tone of metal luster and its crystallization degree.
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Chen, Tiantian, Bin Gong, and Chun’an Tang. "Origin and Evolution of Cracks in the Glaze Surface of a Ceramic during the Cooling Process." Materials 16, no. 16 (August 8, 2023): 5508. http://dx.doi.org/10.3390/ma16165508.
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Because of the significant difference between the thermal expansion coefficients of ceramic blank and glaze, the glaze typically undergoes more pronounced shrinkage than the blank during ceramic cooling, which results in high stress concentrations and cracking. In this study, the mechanical mechanism of glaze cracking is studied, based on the statistical strength theory, damage mechanics, and continuum mechanics. Furthermore, the influence of the glaze layer thickness, heat transfer coefficient, expansion coefficient, and temperature difference on the creation and propagation of inner microcracks is systematically investigated, and the final discrete fracture network of ceramics is discussed at the specific crack saturation state. The results show that (1) a higher heat transfer coefficient will lead to a more uniform distribution of the surface temperature and a faster cooling process of the ceramics, reducing the number of microcracks when the ambient temperature is reached; (2) the thinner glaze layer is less prone to cracking when its thickness is smaller than that of the blank. However, when the thickness of the glaze layer is similar to that of the blank, the increased thickness of the glaze layer will increase the number of cracks on its surface; and (3) when the expansion coefficient of the glaze layer is smaller than that of the blank, cracks will not occur inside the glaze layer. However, as the coefficient of the thermal expansion of the glaze layer continuously rises, the number of cracks on its surface will first increase and then decrease.
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Duan, Hongying, Liang Qu, Xiaolin Cheng, Yan Su, Aiguo Shen, and Shiwei Wang. "Study of Cloisonné enamel glaze of decorative components from Fuwangge in the Forbidden City by means of LA-ICP-MS and micro-Raman Spectroscopy." MRS Proceedings 1656 (August 21, 2014): 187–98. http://dx.doi.org/10.1557/opl.2014.663.
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ABSTRACTTwo Cloisonné enamel architectural components from Fuwangge in the Forbidden City that were produced from Yangzhou (one production center) in Qing Dynasty (1616-1911 A.D.) were chosen and analyzed. A combination of Laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS) and micro-Raman spectroscopy was successfully used to analyze eight colors in enamel glazes (yellow, white, pink, turquoise, yellow green, deep blue, red and deep green). Chemical composition results reveal that the enamel glaze matrix belongs to lead-potash-lime glass (PbO-K2O-CaO-SiO2). Based on Raman spectroscopy, lead-tin yellow types II, cassiterite, lead arsenate, fluorite and hematite were found as opacifiers and/or colorants. In addition, a detailed discussion of raw materials, such as fluorite and borax, might provide valuable information to trace manufacturing technology and provenance.
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Vieira Ferreira, L. F., T. M. Casimiro, C. Boavida, M. F. Costa Pereira, and I. Ferreira Machado. "An Archaeometric Study of Lead-Glazed Medieval Ceramics (13th–14th Century) from Santarém, Portugal." Heritage 7, no. 5 (April 25, 2024): 2217–38. http://dx.doi.org/10.3390/heritage7050105.
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Ceramic sherds from approximately 20 samples of lead-glazed tableware, recovered from diverse archaeological sites, including three repurposed storage pits transformed into dumpsters within the medieval city of Santarém (13th–14th century), underwent a meticulous examination. This investigation utilised techniques such as micro-Raman, ground-state diffuse reflectance absorption, and X-ray fluorescence spectroscopies, in addition to X-ray diffraction and stereomicroscopy. A parallel study was conducted on contemporaneous European ceramics (glazed sherds) sourced from archaeological sites dating back to the 13th–15th centuries in Saintonge (France), Ardenne, Zomergem, and Bruges (Belgium), as well as Surrey–Hampshire, Kingston, and Cheam (England). The first premise for comparing the Santarem samples with European production locations was their frequent commercial relations with Portugal and the frequency of these productions being found in Portugal. The colour of the ceramic bodies is predominantly white or whitish, with a few exhibiting a vivid red hue. Analyses of the fabric, mineralogical, and elemental composition of the sherds suggest that the majority of Santarém’s glazed ceramics were locally or regionally produced, potentially derived from a Pliocene kaolin-rich sand formation. However, this conclusion is not supported by the absence of discovered lead glaze kilns or workshops in Santarém for the late Middle Ages.
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Mazukabzova, E. V., and L. V. Zaytseva. "Organoleptic, rheological and crystallization properties of confectionery glaze with beet powder." Food systems 5, no. 2 (July 11, 2022): 132–38. http://dx.doi.org/10.21323/2618-9771-2022-5-2-132-138.
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The recipe composition of confectionary glaze determines its high caloricity upon the low content of physiologically significant substances. Introduction of fruit and vegetable raw materials makes it possible to increase a content of dietary fibers, vitamins, macro- and microelements in a product, as well as to reduce an amount of added sugar. This paper considers a technological possibility of introducing vegetable powders into the confectionary glaze recipe by the example of the beet powder. Physico-chemical indicators of the beet powder were studied in comparison with the classic recipe components of confectionary glaze. An effect of an amount of the beet powder (3–15%) introduced instead of part of sugar on the organoleptic, rheological and crystallization properties of glaze was studied. Organoleptic evaluation revealed that addition of the beet powder into the confectionary glaze recipe in an amount of more than 15% led to appearance of floury off-flavor. It was found that yield strength of glaze increased in the direct proportion to the content of beet powder in its composition (from 3.601 Pа to 4.446 Pa) and its value was in a range of the optimal values of 3÷7 Pа. Therefore, addition of the beet powder in an amount of up to 15% will not lead to technological difficulties. The study of the kinetics of the process of confectionary glaze structuring showed that addition of the beet powder led to a decrease in the solidification point and an increase in the time of glaze crystallization. The main crystallization parameters of the developed glaze were established: solidification point Tmax=28.0÷28.3°C, crystallization time τmax=8.2÷8.6 min. Based on the performed research, the following recipes were developed: vegetable-containing confectionary glaze with the beet powder content of 3 to 10%; vegetable confectionery glaze with the beet powder content of 13%.
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Siligardi, Cristina, Monica Montecchi, Monia Montorsi, and Luca Pasquali. "Lead Free Cu-Containing Frit for Modern Metallic Glaze." Journal of the American Ceramic Society 92, no. 11 (November 2009): 2784–90. http://dx.doi.org/10.1111/j.1551-2916.2009.03250.x.
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Counter, S. Allen. "Brainstem Neural Conduction Biomarkers in Lead-Exposed Children of Andean Lead-Glaze Workers." Journal of Occupational and Environmental Medicine 44, no. 9 (September 2002): 855–64. http://dx.doi.org/10.1097/00043764-200209000-00008.
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Buggakupta, Wantanee, Chanyanud Tianthong, and Sirithan Jiemsirilers. "Turning Electric Arc Furnace Dust Waste into Oil Spot Ceramic Glaze." Key Engineering Materials 690 (May 2016): 33–38. http://dx.doi.org/10.4028/www.scientific.net/kem.690.33.
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Electric Arc Furnace (EAF) is commonly used in steel recycling industries. Apart from steel metal product, a waste in the form of dust is also produced and so called EAF dust. The fine particulates mainly contain zinc-iron oxides along with a small amount of heavy metals like chromium and lead, and have been categorized as a toxic waste. Proper treatments can be crucially required in order to recover crude zinc oxide and iron oxide from the dust; however, no practical recycling plants have been now readily operated in Thailand. To reduce its toxicity, EAF dust could be mixed with silica-based materials and vitrified into glass. Therefore, EAF dust can possibly be employed as a ceramic glaze raw material. This work pointed out how to make decorative “oil spot” ceramic glaze by substitution of EAF dust for a conventional iron oxide. The prepared glaze mixtures were applied over the ceramic bodies and fired at 1250 °C in oxidation atmosphere. The as-fired glaze appearances with tiny and silvery crystals floating over dark brown based-glaze were exhibited. Phase content and characteristics of the obtained glaze were analyzed. The roles of zinc oxide to iron oxide ratios on oil spot and crystal generation was concerned. A comparison of oil spot effects due to different iron oxide sources was presented and discussed. Oil spot glaze made from a combination of EAF dust and iron oxide powder was also proposed.
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Inberg, Alexandra, Dana Ashkenazi, Yishai Feldman, Omri Dvir, and Deborah Cvikel. "A Tale of Two Tiles: Characterization of Floor Tiles from the Nineteenth-Century Akko Tower Shipwreck (Israel)." Coatings 10, no. 11 (November 14, 2020): 1091. http://dx.doi.org/10.3390/coatings10111091.
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Fragments of decorated floor tiles were retrieved from the Akko Tower shipwreck, Israel. Most tiles were made of bright brown fired clay with a white glaze decorated with colored stenciled motifs (Type A); and others consisted of a red-brown fired clay body, coated with a brown pigment covered with transparent brown glaze (Type B). This study aimed to characterize the two tile types; to reveal information concerning the manufacturing process; and to determine the origin of their raw material. A multidisciplinary approach was used, including light microscopy, SEM-EDS, electron probe microanalysis with wavelength-dispersive X-ray spectroscopy (EPMA-WDS), XRD, Raman spectroscopy, and time-of-flight secondary ion mass spectrometry (TOF-SIMS) analyses. The characterization of both tile types demonstrated the use of different raw materials. The Type A tiles were covered with tin-opacified majolica glaze and colored with various mixtures of pigments. The blue color was due to pigment rich in cobalt; the yellow color was due to Naples yellow and lead-tin yellow I minerals; and the green, orange, and brown colors were all prepared by mixing the Naples yellow pigment with different minerals. These majolica glaze tiles were probably manufactured in Sicily. The brown coating of the Type B tiles was due to pigment rich in lead and iron minerals. These tiles were produced with different manufacturing processes, and apparently made in France.
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Vandiver, Pamela B., Sean Arnold, and Yeraly Akimbek. "Islamic Twelfth Century C.E. Glazes from Aktobe, Kazakhstan, and Comparison to Modern Practice in Afghanistan and Uzbekistan." MRS Advances 2, no. 39-40 (2017): 2101–33. http://dx.doi.org/10.1557/adv.2017.299.
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ABSTRACT A preliminary survey of the microstructures and compositions of representative ceramic styles using minimally invasive analytical techniques provides a method of gaining insight into the materials and techniques of ceramic production dating from the eleventh to twelfth centuries C.E. at the archaeological site of Aktobe and from the 14-15th centuries C.E. at Aspara in southeastern Kazakhstan, both walled cities on the Silk Road trading corridor. The case is made for local production based on the argument of technological style or patterning of practices. Seven ceramic sherds representative of glazed earthenware and stoneware traditions were selected for study from excavations of Y. Akimbek and others that are maintained at the Institute of History and Archaeology of the Republic of Kazakhstan in Almaty. Fragments from serving bowls, a cup and bottle were studied by optical microscopy (OM), scanning electron microscopy with energy dispersive x-ray spectroscopy (SEM-EDS), electron beam microprobe analysis (EPMA) and refiring tests of the bodies and glazes. This initial study aims to characterize the range of physical and chemical variability of ceramics either produced at or imported into Aktobe and Aspara. Most stylistic studies consider these ceramics to have been imported from the Silk Road trade routes that connected many Central Asian cities. The styles include an imitation lusterware bowl made with a ground chromite underglaze pigment, a copper turquoise and cobalt blue and black painted white slipped alkaline-glazed cup, two green lead-glazed copper bowls, an imitation three-color of Chinese sansai bowl, a four-color lead-glazed bowl with underglaze mottled red, gray and black painted slips on a white slipped background and a stoneware bottle. Comparison of the weight ratios of the glaze compositions to possible plant ash raw material sources is presented as a possible way of studying raw material variability; however, analysis is complicated by having two other possible sources that may have supplied fluxing agents, including, salts present in the clays and salts from evaporite deposits.
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Maggetti, Marino, Antoine d' Albis, and Afifé El Korh. "Le Bleu d’Arras." Sèvres. Revue de la Société des Amis du musée national de Céramique 30, no. 1 (2021): 28–39. http://dx.doi.org/10.3406/sevre.2021.1563.
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This paper presents and discusses the first analyses made to date on the body, the glaze and the “ Ronda” under-glaze blue of a plate from the French Arras manufacture. The body is an association of quartz (relict) + cristobalite + ß-wollastonite + vitreous phase. Chemically, it is the richest in SiO 2 and Al 2 O 3 and with the lowest MgO content of all French soft porcelains. The glaze is silica-and lead-rich, with little aluminum, calcium, potassium and sodium. Its formula must have been close to that of Vincennes. The composition of the blue painting is compatible with a blue glass containing cobalt, nickel, arsenic, barium and bismuth, very different from the blue of a Sèvres plate from 1781.
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Godet, Marie, Gauthier Roisine, Emmie Beauvoit, Daniel Caurant, Odile Majérus, Nicolas Menguy, Olivier Dargaud, Anne Bouquillon, and Laurent Cormier. "Multi-Scale Investigation of Body-Glaze Interface in Ancient Ceramics." Heritage 2, no. 3 (August 28, 2019): 2480–94. http://dx.doi.org/10.3390/heritage2030152.
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Bernard Palissy is a French Renaissance ceramist renowned for his masterpieces called Rustiques Figulines on which dozens of glazes of different chemistries (and thus firing behaviors) coexist harmoniously. This study aims at gathering information on the master procedure -never revealed- by investigating the body-glaze interface region (focusing on iron-colored honey transparent glaze-white body system). Optical and electron microscopies including transmission electron microscopy (TEM) are used to characterize the micro and nanostructure of both archaeological and replicas interfaces elaborated in controlled conditions (firing time, cooling rate, addition of Al in the glazing mixture). Both types of interfaces are comparable: a modified paste area from which are growing a relatively continuous layer of interfacial crystals identified as lead feldspars (K,Ca)PbAl2Si2O8 micro-sized single-crystals incorporating mullite 3Al2O3.2SiO2 nano-sized single-crystals. Modification of the firing parameters and removal of Al from the glazing mixture change essentially the interface extension and the micro-crystals morphology. By comparing archaeological and replica interfaces and considering previous studies, we can now state that Palissy was very likely adding clay (Al) in his frit. Moreover, he was probably working with a firing time of more than 1 h followed by slow cooling in the oven.
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Roberge, Raymond J., Thomas G. Martin, Bonnie S. Dean, and Robert W. Lasek. "Ceramic lead glaze ingestions in nursing home residents with dementia." American Journal of Emergency Medicine 12, no. 1 (January 1994): 77–81. http://dx.doi.org/10.1016/0735-6757(94)90205-4.
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Li, Rong Wu, Jian Bao Wang, Guo Xia Li, Zhi Zhong Zhang, Juan Wu, and Mao Lin Zhang. "The Discovery and Preliminary Analysis of an Ancient Kiln Site near Cao Village in Linzhang Town of Hebei Province." Advanced Materials Research 415-417 (December 2011): 1190–95. http://dx.doi.org/10.4028/www.scientific.net/amr.415-417.1190.
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In order to find out the kiln of some articles unearthed at Fancui tomb of Northern Dynasty, we use the article samples to track to a kiln site near Cao village, Linzhang town, Hebei province. By compare and contrast of Cao village kiln samples with Northern Dynasty tomb articles, we conclude that Cao village kiln are of Northern Dynasty. We measure the physical properties and the chemical composition of the samples using energy dispersive X-ray fluorescence (EDXRF), and identify the samples are of lead glaze pottery, Fuzzy cluster analysis of the samples shows that Cao village kiln body samples raw materials come from 3~4 batches, while the glaze samples raw material come from 3 batches. It also shows that the body raw materials and the glaze raw materials of the sample supporting pins are the same as those of Cao Village kiln.
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Feng, Shan Xin, Zheng Sun, and Yu Rong Wang. "Innovative Production of Lead-Free Wood Leafhopper under High Temperature Firing Environment." Materials Science Forum 980 (March 2020): 79–87. http://dx.doi.org/10.4028/www.scientific.net/msf.980.79.
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The lead-free wood leafhopper is the iconic traditional ceramic art of the Jizhou kiln in the Song Dynasty of China. The traditional lead-free wood leafhopper is usually made of black glaze. The glaze is placed on the mulberry leaf and fired at a high temperature of about 1230 °C-1260 °C. And the veins are clear. Jizhou kiln was founded in the late Tang Dynasty. It flourished in the Five Dynasties and Northern Song Dynasty. It was the most prosperous in the Southern Song Dynasty. It began to decline in the late Yuan Dynasty and then stopped for more than 700 years. However, its unique artistic value has gradually be attracted the attention by the world. And it recovered in 1985 at last after unremitting efforts. The re-burning of the lead-free wood leafhopper has successfully opened the ceramic market of the lead-free wood leafhopper and made it occupy a certain position in the ceramic market. The price of lead-free wood leafhopper has remained high, and therefore ceramic producers are waiting for opportunities to produce on a large scale in order to achieve huge economic benefits. However, due to the great difficulty in the firing process of the lead-free wood leafhopper, the market has a phenomenon of low yield, high price, low consumer desire, and the use of chemical materials to fire products. The subject analyzed and solved these phenomena through a large number of experiments. Lead-free in this subject is a relatively broad definition, especially referring to the new type of lead-free wood leafhopper without contain heavy metals.
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Özçatal, M., M. Yaygıngöl, A. İssi, A. Kara, S. Turan, F. Okyar, Ş. Pfeiffer Taş, I. Nastova, O. Grupče, and B. Minčeva-Šukarova. "Characterization of lead glazed potteries from Smyrna (Izmir/Turkey) using multiple analytical techniques; Part I: Glaze and engobe." Ceramics International 40, no. 1 (January 2014): 2143–51. http://dx.doi.org/10.1016/j.ceramint.2013.09.014.
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Chmil, L. V. "THE RESULTS AND PERSPECTIVES OF STUDYING CERAMIC WARE PRODUCTION TECHNOLOGY IN THE MIDDLE DNIEPER REGION IN THE 16th — 18th CENTURIES." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 323–41. http://dx.doi.org/10.37445/adiu.2018.04.19.
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The paper focuses on studying ceramic ware production technology in the 16th—18th centuries. The main perspective methods for each production stage, such as chemical, petrographic and trajectory have been considered, as well as archaeological, sphragistic and ethnographic sources have been analysed.
The ware was made of kaolin clay with the addition of sand. Glaze consisted of lead, sand and metallic oxide for color. Clay with the addition of metallic oxide, such as iron, copper etc. was colorant for painting. The ware was formed with foot potter fast wheel by drawing from a piece of clay. Decor represented relief or painting without or with glaze. The glaze was colored or colorless. The ware was roasted in bicameral kilns with vertical movement of hot gases in oxidizing or reductive medium.
Perspective directions of the further study of pottery production technology can be physical and chemical methods, petrography and experiment to verify results of the research.
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SAKAI, Toshihiko, Kazutaka TAKIZAWA, Akira NAGATOMI, Takashi WATANABE, Naofumi MORITA, and Takashi KANIE. "Lead Release from Glaze during Firing in a Water-Vapor Atmosphere." Journal of the Ceramic Society of Japan 106, no. 1235 (1998): 731–33. http://dx.doi.org/10.2109/jcersj.106.731.
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BENEDETTO, G. E. DE, P. ACQUAFREDDA, M. MASIERI, G. QUARTA, L. SABBATINI, P. G. ZAMBONIN, M. TITE, and M. WALTON. "INVESTIGATION ON ROMAN LEAD GLAZE FROM CANOSA: RESULTS OF CHEMICAL ANALYSES*." Archaeometry 46, no. 4 (November 2004): 615–24. http://dx.doi.org/10.1111/j.1475-4754.2004.00177.x.
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Priadi, Cindy Rianti, Anita Anita, Putri Nilam Sari, and Setyo Sarwanto Moersidik. "ADSORPSI LOGAM SENG (Zn) DAN TIMBAL (Pb) PADA LIMBAH CAIR INDUSTRI KERAMIK OLEH TANAH LIAT." Reaktor 15, no. 1 (April 6, 2014): 10. http://dx.doi.org/10.14710/reaktor.15.1.10-19.
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ADSORPTION OF ZINC AND LEAD FROM CERAMIC WASTEWATER USING CLAY. Ceramic industry generates glaze wastewater and clay waste. Glaze wastewater contains heavy metal from ceramic painting process which can potentially cause severe pollution problem. Glaze wastewater from PT.X typically contains Cd (0.013 mg/L); Cu (0.033 mg/L); Pb (1.20 mg/L); and Zn (7.00 mg/L). Clay waste used as adsorbent to reduce heavy metal amount in glaze wastewater. The present study investigates in bench scale and uses batch adsorption method to determine effective adsorbent amount and contact time in removing heavy metals in glaze wastewater in order to fulfill the discharge requirement based on regulation of Minister of Environment No.16/2008concerning effluent water standard for ceramic industries. The results showed that the effective adsorbent amount and contact time respectively are 5 g/L and 15 minutes with pH 8 and stirring speed of 150 rpm. Concentration of heavy metal adsorbed are 0,614 mg/L and 2,07 mg/L for lead (Pb) and zinc (Zn) with removal efficiency up to 61.0% for Pb and 9.8% for Zn.From this study clay waste could be potentially used as an adsorbent to reduce heavy metal amount in glaze wastewater. Keywords: adsorption, clay waste, heavy metals Abstrak Industri keramik menghasilkan limbah glasir dan limbah tanah liat. Limbah glasir mengandung logam berat yang berasal dari proses pewarnaan keramik dan berpotensi mencemari lingkungan. Kandungan logam berat pada limbah glasir PT.X yaitu Cd (0,013 mg/L); Cu (0,033 mg/L); Pb (1,20 mg/L); dan Zn (7,00 mg/L). Limbah tanah liat digunakan sebagai adsorben yang berguna mengurangi kadar logam berat pada limbah glasir.Penelitian ini dilakukan dalam skala laboratorium menggunakan metode batch adsorpsi untuk menentukan dosis adsorben dan waktu kontak yang efektif dalam mengolah limbah glasir agar memenuhi persyaratan Peraturan Menteri Negara Lingkungan Hidup Nomor 16 Tahun 2008 tentang baku mutu air limbah bagi usaha dan/atau kegiatan industri keramik. Hasil penelitian menunjukan dosis efektif adsorben sebesar 5 g/L dan waktu kontak 15 menit dengan kondisi pH 8 dan kecepatan pengadukan 150 rpm. Kadar logam setelah diadsorpsi telah mencapai baku mutu yaitu sebesar 0,614 mg/L dan 2,07 mg/L untuk Pb dan Zn dengan efisiensi pengurangan kadar logam Pb sebesar 61% dan Zn sebesar 9,8%. Dari hasil penelitian didapatkan data bahwa limbah tanah liat berpotensi dijadikan adsorben untuk mengurangi kandungan logam pada limbah cair industri keramik.
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Dong, Zhanhua, Lixin Lu, Zhigang Liu, Yali Tang, and Jun Wang. "Migration of Toxic Metals from Ceramic Food Packaging Materials into Acid Food Simulants." Mathematical Problems in Engineering 2014 (2014): 1–7. http://dx.doi.org/10.1155/2014/759018.
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Long-term extraction experiments were carried out on glazed tile specimens with 4 and 10% (v/v) acetic acid, 1% (w/v) citric acid, and 1% (v/v) lactic acid solution in three temperature conditions (20, 40, and 60°C) to investigate the effect of temperature and pH value on extraction of lead, cobalt, nickel, and zinc from ceramic food packaging materials and to study the extraction kinetics of toxic metals. Results showed that except at 60°C the amount of extraction of lead, cobalt, nickel, and zinc had linear dependence on time at longer times and removal of these toxic metals under other conditions increased linearly with the square root of the time, indicating a diffusion-controlled process. The amount of these toxic metals leached out from ceramic food packaging materials into the leachate, and the leaching rate increased with temperature and decreased with pH value of the food simulants. In addition, among these four toxic metals lead was the least leachable element, and nickel was the most leachable one. Disagreement between the ratios of the oxide of lead, cobalt, nickel, and zinc in the glaze and their release in the leachate suggested that extraction of these toxic metals was an incongruent dissolution process.
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Yin, Xuesong, Tang Jiao Huang, and Hao Gong. "Chemical evolution of lead in ancient artifacts -A case study of early Chinese lead-silicate glaze." Journal of the European Ceramic Society 40, no. 5 (May 2020): 2222–28. http://dx.doi.org/10.1016/j.jeurceramsoc.2020.01.002.
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Dechboon, Nophawan. "Development of Characteristics and Thermal Properties of Ash Celadon Glazes in Thailand." Materials Science Forum 1059 (April 25, 2022): 137–41. http://dx.doi.org/10.4028/p-1svqd5.
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In this paper, we will study the development and comparison of characteristics and thermal properties of original celadon glazes and celadon glazes developed by adding black rice husk ash, Using Mae Rim black clay in Chiang Mai Province as raw material for the original celadon glaze (CG), including clay in the rice paddies, Kha wood ash and mixed wood ash. The raw materials for the development of celadon glazes formula were 14BR, 15BR, 20BR, 21BR, 27BR and 28BR, respectively. Using a triangular phase diagram system, Mae Taeng clay (MT), Kha wood ash (KWA) and black rice husk ash (BR) were used in the ratios of 40, 50, 60 and 70 wt.%, and using the red clay from Doi Saket, Chiang Mai as a coloring agent. Subsequently, the raw materials are ground and mixed to form a coating. Coated onto Mae Rim black clay test specimens. and fire the test specimen at 1250 °C in a reducing atmosphere. After that, the characteristics of the glazes after firing were tested, including crack, melt, flow, color appearance, and chemical composition. Thermal properties tests include the coefficient of thermal expansion and thermal shock resistance in temperature. The results showed that by comparing the original formula celadon glazes (CG) with the celadon glazes formula developed by adding black rice husk ash. crazing were reduced when adding more black rice husk ash. All formulations were melted at 1250 °C due to their CaO content of 55.0, 47.6, 41.0, 51.0, 47.9, 47.7 and 43.0 % respectively. From the chemical composition analysis with XRF, celadon glazes after firing in all formulas did not see any flow due to the content of SiO2 being 28.0, 28.8, 35.4, 26.7, 28.3, 27.9 and 31.1% respectively. The appearance of glazes after firing was more greenish-yellow when rice husk ash was added when using a color analyzer. Because the amount of Fe2O3 up to 4.6, 9.3, 10.4, 8.2, 9.1, 5.9 and 6.0% respectively from Mae Taeng clay and Doi Saket clay. The chemical composition of celadon glaze consists of CaO as the main component, followed by SiO2 and Fe2O3. The important thing is the chemical composition of the glazes was not found with lead and cadmium. The thermal expansion coefficient of celadon glazes at 25-1250°C decreased when adding more black rice husk ash. Finally, the percentage of strength loss after thermal shock temperature change was CG ˃ 20BR ˃ 21BR ˃ 27BR ˃ 28BR ˃ 14BR ˃ 15BR, respectively, using the Celadon Pottery Community Standards Test. (MorChor. 245/2013).
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Mangone, Annarosa, Maria Cristina Caggiani, Tiziana Forleo, Lorena Carla Giannossa, and Pasquale Acquafredda. "A Possible Natural and Inexpensive Substitute for Lapis Lazuli in the Frederick II Era: The Finding of Haüyne in Blue Lead-Tin Glazed Pottery from Melfi Castle (Italy)." Molecules 28, no. 4 (February 6, 2023): 1546. http://dx.doi.org/10.3390/molecules28041546.
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The blue color of glass and ceramic glazes produced in Apulia and Basilicata (Southern Italy) between the 13th and 14th centuries and connected to the Norman-Swabian Emperor Frederick II, has been, for a long time, under archaeometric investigation. On the one hand, it has usually been associated with lapis lazuli, due to the finding of the polysulphide blue chromophores typical of lazurite. Moreover, the observation that the mineral haüyne, which belongs to the sodalite group as well as lazurite, can be blue and/or can gain a blue color after heating, due to the same chromophores, has caused this automatic attribution to be questioned, and also considering that the mineral is characteristic of the rock haüynophyre of Melfi (Potenza, Southern Italy), a location of interest for glass and pottery findings. In this paper, for the first time, several haüyne crystals were found in the blue glaze of a ceramic dish found at Melfi Castle, leading to the hypothesis that, in this case, the local haüyne-bearing source could have been used as the coloring raw material. The discovery was possible thanks to SEM-EDS and Raman analyses that, respectively, highlighted the typical numerous presence of very fine sulphur-based inclusions in the crystals and the characteristic Raman signal of blue haüyne. This study was also focused on the composition of the crystals inclusions, aided by SEM-EDS and Raman maps, since the original very fine pyrrhotite was transformed into Cu and Pb phases (copper sulphates, copper sulphides, and lead oxide) due to reactions with cations that had mobilized from the glaze, while the migration of Si from the glass allowed the transformation of the rim of the haüyne, a silica-undersaturated mineral, into a corona of small euhedral and neomorphic Pb-rich feldspars, a silica-saturated phase.
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Chaouali, Nadia, Anouar Nouioui, Manel Aouard, Dorra Amira, and Abderazek Hedhili. "Occupational lead toxicity in Craft Potters." Lebanese Science Journal 19, no. 1 (April 27, 2018): 105–11. http://dx.doi.org/10.22453/lsj-019.1.105-111.
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Lead intoxication risks were studied in a community of ceramic folk art workers in Nabeul (Tunisia),where the manufacture of low temperature lead ceramic ware is a family tradition and often the only source of income. Data onlifestyle, working conditions and clinical disorders were collected from workers.31 potters working in five different workshopswere included in this study. Blood lead levels wereanalyzed by graphite furnaceatomic absorption spectrometry.Blood lead levels ranged from 40 to 540 μg/L, with a mean of 220.3 μg/L. 42 percent of potters had a blood lead level over 200 μg/L and 13 % over 400 μg/L,which is over the World Health Organization guidelinesfor removingworkersfrom exposure,as this is the concentration over which renal damage is accelerated.In the community of ceramic folk art workers living in north-eastern Tunisia, blood lead concentrations were significantly higher (p<0.05).Our findings showedthat the use of lead-oxide glaze can increase the risk ofleadtoxicity and reiterate the needfor strict guidelines regarding the useof lead in pottery and replacing it by lead free paints.
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Adl, Soheila, and Ismail A. Rahman. "Preparation of low melting temperature, lead-free glaze by the sol–gel method." Ceramics International 27, no. 6 (January 2001): 681–87. http://dx.doi.org/10.1016/s0272-8842(01)00019-0.
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