Relevant bibliographies by topics / Luster ceramic

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Luster ceramic'

Author: Grafiati
Published: 23 September 2022
Last updated: 28 September 2022

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Journal articles on the topic "Luster ceramic"

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Kanda, Yui. "Kashan Revisited: A Luster-Painted Ceramic Tombstone Inscribed with a Chronogram Poem by Muhtasham Kashani." Muqarnas Online 34, no. 1 (October 8, 2017): 273–86. http://dx.doi.org/10.1163/22118993_03401p011.

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The production site(s) of luster-painted ceramics from the fifteenth century onward have yet to be precisely identified due to a paucity of material and textual evidence regarding ceramic production during this period. This study focuses on a hitherto undeciphered Persian poem, which was inconspicuously inscribed in the unskilled nastaʿlīq script on a luster-painted ceramic tombstone dated 25 Jumada II 967 (March 23, 1560). This poem can be identified as a qiṭʿa by Muhtasham Kashani (d. 1588), a renowned court poet who spent his entire life in Kashan. The identification of this poem is particularly important for two reasons. First, it may imply that luster-painted ceramics were produced in Kashan during the early Safavid period. Second, it suggests that there is indeed potential for using epitaphs as historical sources, as the poem in question sheds valuable light on the editing process of Haft dīvān, as well as on the social context of the growing popularity of chronogram poems in Iran during this period.
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Xie, Ru Hong, Jun Jie Feng, and Shan Xin Feng. "Application Research of High Temperature Silver Plating in Products." Materials Science Forum 980 (March 2020): 70–78. http://dx.doi.org/10.4028/www.scientific.net/msf.980.70.

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Silver has functional properties such as disinfection, sterilization, and anti-corrosion.The combination of silver and conventional ceramics by high-temperature silver plating can impart the functionality to ceramic products and increase the functionality of ceramic products.The traditional way of decorating ceramic products is mainly glazed decoration, which combines silver and ceramics, and its silver metallic luster can bring decorative effects to ceramic products. And it is produced by high-temperature silver plating, which saves costs in the production process compared to traditional silver plating.At the same time, compared with traditional ceramics, high-temperature silver-plated ceramics can take into account the properties of ceramics and can also play the role of disinfection, sterilization, anti-corrosion and other properties of silver. It is produced by high-temperature silver plating, which is more cost-effective than traditional silver plating in the production process. At the same time, compared with traditional ceramics, high-temperature silver-plated ceramics can achieve the disinfection and sterilization of silver in consideration of the properties of ceramics,anti-corrosion and other attributes, a reasonable combination of the two, fully demonstrate the functionality and decoration of both.
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Siligardi, Cristina, Monica Montecchi, Monia Montorsi, and Luca Pasquali. "Ceria-Containing Frit for Luster in Modern Ceramic Glaze." Journal of the American Ceramic Society 93, no. 9 (June 7, 2010): 2545–50. http://dx.doi.org/10.1111/j.1551-2916.2010.03880.x.

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Leoni, Francesca, Dana Norris, Kelly Domoney, Moujan Matin, and Andrew Shortland. "“The Illusion of an Authentic Experience”: a Luster Bowl in the Ashmolean Museum." Muqarnas Online 36, no. 1 (October 3, 2019): 229–49. http://dx.doi.org/10.1163/22118993-00361p11.

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Abstract In 2014 the Ashmolean Museum conserved and examined one of the largest and most handsome ceramic vessels in its renowned Islamic art collection. An accomplished example of early thirteenth-century Persian lusterware from the bequest of Sir Alan Barlow, the salver had an unusually deformed profile and uneven wear that pointed at a number of past interventions. Some of these had already been uncovered in 2008 when the object was prepared for reinstallation in the revamped Ashmolean. However, it was only when analyzed by a team of inhouse specialists and scientists from Cranfield University and the Research Laboratory for Archaeology at the University of Oxford, that the extraordinary nature of its “restoration” could be assessed. This article presents the results of this collaborative effort and contributes important evidence to the thorny issue of the faking and forging of Islamic ceramics in the early twentiethc century, when collecting Islamic decorative arts was at its peak.
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Barceló, Carmen, and Anja Heidenreich. "Lusterware Made in the Abbadid Taifa of Seville (Eleventh Century) and Its Early Production in the Mediterranean Region." Muqarnas Online 31, no. 1 (October 19, 2014): 245–76. http://dx.doi.org/10.1163/22118993-00311p10.

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This article presents a study of the expansion of Islamic lusterware across the Mediterranean before its production was fully consolidated in al-Andalus between the end of the twelfth and the thirteenth century. A number of examples are presented here that indicate a flourishing trade around the Mediterranean as early as the tenth century, including pottery as well as other luxury goods. A survey of lusterware found on the Iberian Peninsula has yielded relevant information on the complex technical history of local luster production. We present seven Andalusi luster fragments from the eleventh century that feature decoration on both sides, with one piece bearing epigraphic inscriptions naming two of the Abbadid rulers of Seville, al-Muʿtaḍid and al-Muʿtamid. Discovered in Spain (Seville and Palma del Rio) and Portugal (Silves and Coimbra), these fragments indicate the existence of a ceramic production center in Seville and another at the Abbadid palace during the second half of the eleventh century. These pieces indicate the direct and marked influence that the various centers of luxury luster production in the Islamic East and West exerted on one another, a phenomenon not uncommon in the history of Islamic pottery.
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Klesner, Catherine, Jay A. Stephens, Emilio Rodriguez-Alvarez, and Pamela B. Vandiver. "Reconstructing the Firing and Pigment Processing Technologies of Corinthian Polychrome Ceramics, 8-6th Centuries B.C.E." MRS Advances 2, no. 35-36 (2017): 1889–909. http://dx.doi.org/10.1557/adv.2017.257.

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ABSTRACTDecorative, polychrome ceramics from Corinth, Greece, produced during the 8th-6th centuries B.C.E. were luxury goods widely traded throughout Greece and the Mediterranean. Corinthian pottery is the first 5-color polychrome ceramic technology, having slip-glazes in distinctive white, black, red, yellow, and purple colors, and in a variety of surface finishes from glossy, to semi-matte, to matte. The firing temperature range, 925-1075°C, was determined experimentally to be to be higher than previously reported, similar to the Corinthian amphorae and other ceramic products. This firing range is higher than that of the better known, more prestigious Athenian Black-figure and Red-figure ceramics. In this study three examples of Corinthian and one example of Athenian Black-figure ceramics from the Marie Farnsworth collection at the University of Arizona were tested and compared to thirteen clays from Corinth. Analytical techniques included Fourier-transform infrared spectroscopy (FTIR), scanning-electron microscopy with energy-dispersive spectroscopy (SEM-EDS), micro-Raman spectroscopy, and wavelength-dispersive electron microprobe (EPMA with BSE-SEM).Artisans in Corinthian workshops experimented to change the colors of the slips by varying the type and amount of iron-rich raw material, as well as the composition of the clay used as a binder and the amount of flux used as a sintering aid to promote glass formation. Corinthian artisans developed not only different recipes to produce the various colors, but also they were able to control raw-material particle size and composition to produce variations in surface luster (matte, semi-matte and glossy). This research suggests that Corinthian polychrome-slip technology was based on careful control of particle processing, of compositional control of raw materials and their admixtures, and of firing temperature. The behavior or practice of adding different ratios of pigments and glass-forming fluxes to form various optical effects implies a detailed knowledge of what happens when these are heated and fired. This is a process of experimentation focused on developing a distinctive craft practice, which produced a distinctive and highly valued material. The Corinthians developed a more complex, easily recognizable, and culturally distinctive ceramic technology that was intentionally established as a cultural brand, and probably as a luxury brand of high socio-economic value. This research deepens our understanding of the complex pigment processing and firing technologies employed in the production of Corinthian ceramics.
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Goncharuk, Vladislav, Volodymyr Ogenko, Liubov Dubrovina, Oleksii Vyshnevskyi, and Igor Dubrovin. "MODIFICATION OF TUBULAR CERAMIC MEMBRANES WITH PYROCARBON AND SILICA." Ukrainian Chemistry Journal 85, no. 11 (December 16, 2019): 52–62. http://dx.doi.org/10.33609/0041-6045.85.11.2019.52-62.

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The tubular ceramic membranes of clay minerals were modified with silica and pyrocarbon, which was obtained by carbonizing of polymer precursors at 750 ° С in an argon flow. The precursors to carbonation were polymers formed from the polyisocyanate and sodium carboxymethylcellulose (membrane II) and polyisocyanate and sucrose (membrane III). Silicon dioxide was formed at high temperature from liquid glass. As a result of the modification, the membranes became black with a metallic luster. The composition and structure of the membranes were studied by XRF and SEM. The modifier of the membranes is located in the pore space in the form of separate particles and sintered agglomerates. The particle size of the modified membrane filler varies from 30 nm to ~ 1 μm depending on the modifier composition. The apparent density and open porosity for the unmodified membrane are 1.80 g/cm3 and 21.9 %, for membrane II - 1.83 g/cm3 and 19.7 %, for membrane III - 1.82 g/cm3 and 18.9 %. Testing of modified membranes was carried out by water purification from Ca2+ and Fe3+ using the baromembrane method at a working pressure of 0.6 MPa. The concentration of Ca2+ in aqueous solutions of CaCl2 was 100 mg/dm3, the concentration of Fe3+ in aqueous solutions of FeCl3 was 100 and 36 mg/dm3. The period of time until the establishment of dynamic equilibrium in systems during water purification is 4 hours. The unmodified membranes does not inhibit Ca2+ and Fe3+ at all. After reaching equilibrium the retention factor (R) of Ca2+ during water purification with modified membranes pressure vary from 20 to 28 % and the specific productivity – from 22 to 40 dm3/(m2×h). The retention coefficient of Fe3+, depending on the membranes modifier and concentration of the FeCl3 solutions being purified, is 78 - 99.9 %. The specific productivity in this case is 15 - 52.3 dm3/(m2×h).
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Teslenko, I. B. "CERAMIC ASSEMBLAGES OF THE THIRD QUARTER OF THE 15th CENTURY FROM THE FUNA CASTLE: UTENSILS OF THE «GARRISON KITCHEN»." Archaeology and Early History of Ukraine 34, no. 1 (March 1, 2020): 31–67. http://dx.doi.org/10.37445/adiu.2020.01.04.

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The Funa fortress is located in southern Crimea and is one of the reference architectural and archaeological complexes of the Northern Pontic Region with precise date of existence. The fortress was built by Mangup authorities near 1423 on the border with possessions of Genoese and was destroyed in a fire during the Turkish invasion of the Crimea in 1475. The detailed chronology of the site which includes three stages of its construction history — 1423, 1425—1450s and 1459—1475, has been developed so far. So it becomes possible to clarify the dating of ceramic finds in line with these periods also. Ceramic assemblages of the last stage from the layers of fire and destruction of 1475 are the most representative. There is the complex from courtyard 1 among them. The ceramic collection includes 101 and 163 fully or partially reconstructed vessels respectively. There are large and average household containers, various kitchen utensils and tableware, both of the local Crimean production and import (Miletus Ware, Spanish Luster and Blue and White Ware, Fritware). The comparative analysis of artefacts made it possible to establish the chronological changes in ceramic assemblages during 25 years. Moreover, statistical and typological studies of the pottery from the layer of fire demonstrated a set of vessels there is suitable for cooking and table setting for at least 40 people. Large number of luxury tableware for diverse using and their location in the context allow suggest that there was a large feast on the platform above the «kitchen», and the remains of this banquet were not removed. According to the archaeological evidence as well as analysis of historical events the inhabitants of the fortress could burn it themselves before Turkish invasion and retreat to the capital of the principality at Mangup. Perhaps the remains of a farewell feast arranged just before leaving was fixed archaeologically.
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Nourhan Sayed Saleh Ahmed, Mohamed Labib Zamzam, Maha Taymou, Nourhan Sayed Saleh Ahmed, Mohamed Labib Zamzam, Maha Taymou. "Evaluation of patient satisfaction and the color difference between natural teeth and all-ceramic crowns fabricated from "Celtra press" treated with different surface finishing protocols. (Randomized controlled clinical trial): تقييم رضا المريض وفرق اللون بين الأسنان الطبيعية والتيجان الخزفية بالكامل المصنعة من "مطبعة سيلترا" المعالجة ببروتوكولات تشطيب الأسطح المختلفة: (تجربة سريرية معشاة ذات شواهد)." Journal of medical and pharmaceutical sciences 5, no. 3 (September 30, 2021): 83–69. http://dx.doi.org/10.26389/ajsrp.r140321.

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All studies agree that glazing can produce a smooth porcelain surface, but although the glaze is an important factor in esthetics, with respect to light reflection, it can frequently change the color value of the restorations, reflecting more light than the natural teeth, thus creating an artificial effect on these restorations. A number of more recent studies have suggested that a polished surface may be as acceptable as a glazed surface. Many ceramists prefer polishing instead of glazing to control the surface luster. Other studies have reported no significant differences between polished and glazed surfaces.Since studies addressing the effect of surface finishing protocols on the color of ZLS ceramics are rare, thus our study is important to investigate this issue. Methodology: 20 teeth esthetic zone requiring full - coverage crown -with their contralateral are sound and not severely discolored - were prepared to receive an all -ceramic crown. The crowns are divided into two groups: Group I: Teeth received crowns fabricated from glazed Celtra Press ceramic Group II: Teeth received crowns fabricated from polished Celtra Press. The color difference ΔE was measured using an intraoral spectrophotometer and evaluated for each group. Shade matching to the contralateral tooth was evaluated by 2 experienced prosthodontists according (USPHS) criteria. Patient satisfaction of the two groups assessed using the (VAS) scale which is Binary and documented in the chart. Results: Patient satisfaction was graded according to the (VAS) scale. There was no statistically significant difference between (Group I) and (Group II). The color change was recorded according to the (ΔE), the polished Celtra Press group recorded statistically non-significant higher color changes than the glazed Celtra Press group. shade matching was graded according to USPHS, where in Glazed Celtra Press group most of the patients stated Alpha score (80%) while minority showed Bravo score (20%). In the Polished Celtra Press group, all of the patients informed Bravo score100%. Conclusion: Within the limitations of this clinical study: Glazed and polished Celtra Press full coverage restorations revealed excellent patient satisfaction. Glazed celtra restorations have a clinically more acceptable shade matching.
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Zou, Xiaosong, and Tao Tao. "Dynamic Modeling and Simulation Analysis of Virtual Product Design and Creation Based on OSG Artificial Intelligence Platform." Discrete Dynamics in Nature and Society 2022 (January 17, 2022): 1–11. http://dx.doi.org/10.1155/2022/6214097.

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The creation of Koji Pottery art is a creative act that has risen rapidly in recent years. The difference in the proportion of ingredients in the glaze directly affects the roughness, luster, and glaze of the glazed surface of the work. The curve of heating and cooling is also the key to the success or failure of the work. Therefore, taking the Koji tea bowl shape as a research example, a virtual reality simulation system and an OSG (OpenSceneGraph) artificial intelligence platform are used to construct a Koji tea bowl shape simulation model, and then the physical production is performed according to the model. After the design and production of the Koji tea bowl shape, the RTM (resin transfer molding) model is used to evaluate the process quality standard requirements of the Koji bowl shape. According to the RTM model test results, the homogeneity test results show that the result is much larger than 0.10, from which it can be inferred that the Koji tea bowl shape has reached the national process quality standard requirements. At the same time, the OSG artificial intelligence platform uses the iterative random sampling method to extract and display the abnormal data in the simulation model, which greatly improves the success rate of ceramic creation. In this paper, the creation and simulation of virtual ceramics based on OSG artificial intelligence platform are deeply studied and analyzed, and the related processes are improved, which reduces the difficulty of software operation and improves the creation efficiency.
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Dissertations / Theses on the topic "Luster ceramic"

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Leone, Anaïs. "Revêtements au lustre métallique dans l'architecture religieuse et funéraire de l'Iran Ilkhânide (1256-1335)." Thesis, Aix-Marseille, 2021. http://theses.univ-amu.fr.lama.univ-amu.fr/211122_LEONE_737y812yyedr752wxnmi508jgy_TH.pdf.

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La période ilkhanide (1256-1335) en Iran marque l’apogée de la production de céramique à décor de lustre métallique des ateliers de Kâshân (Iran central). L’architecture qui s’est développée sous le règne de cette dynastie mongole employait un large répertoire décoratif mobilisant ce procédé technique. Pourtant, ces carreaux ont été massivement retirés de leurs murs d’origine et ont emprunté des parcours individuels. Ils nous sont parvenus isolés ou en petits groupes, dispersés dans les collections publiques et privées du monde entier. Cet éparpillement a entrainé une décontextualisation qui a largement entamé notre connaissance de leurs formes, fonctions et significations initiales. Cette étude propose la reconstitution de neuf ensembles décoratifs lustrés qui ornaient l’architecture religieuse et funéraire de l’Iran ilkhanide. Ce travail de recomposition s’appuie sur des prospections menées dans les monuments concernés et sur la constitution d’une base de données des éléments lustrés existants. Ces deux types d’informations permettent un travail de recontextualisation de ces pièces de leur place au sein d’un programme décoratif global à celui d’élément isolé. Des thématiques majeures pour la période ilkhanide sont abordées à partir des preuves matérielles concrètes réunies et analysées. Ainsi, le cadre architectural originel de ces pièces permet d'identifier les typologies, les choix épigraphiques et la présence de certains motifs dans ces contextes architecturaux. Ces propositions livrent un matériel reconstitué inédit ainsi que des analyses et pistes de recherches initiatrices de perspectives autour de ces pièces
The production of Kashan's luster ceramic workshops (Central Iran) boomed during the Ilkhanid period (1256-1335). Luster tiles played an important role within a larger repertory of the decorative schemes in the architecture developed during the reign of this Mongol dynasty. Regrettably, the removal of Ilkhanid-period luster tiles from their original location occurred in most sites and tiled ensembles that remain in situ are now exceedingly rare. Indeed, the stripping of an important number of buildings led to the arrival of thousands of tiles of unidentified or incomplete provenance in public and private collections. Therefore, each tile provides context about its creation but also about the removal of its original walls. Considering tile revetments could clarify issues concerning the forms, functions, and significations of the original decorative schemes.This study formulates new proposals about the luster tilework in nine ilkhanid religious and funerary monuments. These reconstitutions are based on data collected at surviving monuments and on an inventory of surviving luster elements preserved throughout the world. By cross-referencing of these two types of information it is possible to unite formerly isolated elements. These ensembles, more coherent as a whole, allows to investigate some general topics of the Ilkhanid period. These original decorative scheme are fundamental to identify typologies, epigraphic choices, or the presence of specific motifs on these architectural programs.Further investigations will be required to complete and increase our knowledge. Nevertheless, these propositions provide data and analyzes which instigate new approaches to these pieces
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Suleman, Fahmida. "The lion, the hare and lustre ware : studies in the iconography of lustre ceramics from FaÌ?tÌ£imid Egypt (969 - 1171 CE)." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404878.

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Velimirovic, Nada. "Reflections of the divine| Muslim, Christian and Jewish images on luster glazed ceramics in Late Medieval Iberia." Thesis, Graduate Theological Union, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10240733.

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For eight centuries, from 711 until 1492, a unique combination of political, cultural, and faith traditions coexisted in the mostly southern region of the Iberian Peninsula now called Spain. From the thirteenth century through the fifteenth century, two key production centers of luster glazed ceramics emerged in this region: Islamic-ruled Málaga and Christian-ruled Valencia. Muslim artisans using Islamic decorative motifs on reflective luster glaze ceramics created objects that patrons, including nobility and Christian royalty, clamored to collect. Initially, traditional Islamic decorative motifs dominated luster glazed ceramic production by Muslim artisans in Málaga; eventually, these artisans used combinations of Islamic and Christian motifs. As wars raged near Málaga, Muslim artisans migrated to Valencia—some converting to Christianity. Here, luster glazed ceramics evolved to include combinations of Islamic and Christian motifs, and, in one example, Islamic and Jewish motifs.

This investigation of Iberian luster glazed ceramics examines religious decorative motifs and their meaning by using a methodology that combines material culture studies and art history. Material culture studies seeks: (1) To find value and meaning in everyday objects; and (2) To introduce the understanding that visual motifs communicate in a different way than texts. Additions from art historians augment the conceptual framework: (1) Alois Riegl’s concept of Kunstwollen—that every artistic expression and artifact that is produced is a distillation of the entirety of creator’s worldview; and (2) Oleg Grabar’s definition of Islamic art as one that overpowers and transforms ethnic or geographical traditions. In this dissertation, religious decorative elements on Iberian luster glazed ceramics are categorized as: (1) Floral and vegetative motifs; (2) Geometric symbols; (3) Figurative images; (4) Christian family coats of arms; and (5) Calligraphic inscriptions.

This dissertation will demonstrate how Muslim, Christian, and Jewish artisans used and combined the visual expressions of their respective faith traditions in motifs that appear on luster glazed ceramics created in the Iberian Peninsula under both Islamic and Christian ruled territories. Investigation of objects previously deemed not worthy of scholarly attention provides a more nuanced understanding of how religious co-existence (convivencia in Spanish) was negotiated in daily life.

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Simmons, Andrew Martin. "Darker Now." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302806445.

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Maalaoui, Jamila. "Perceptions, influences et transferts mutuels entre la civilisation arabo-musulmane et la civilisation occidentale chrétienne : l’exemple de la céramique." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080060.

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Les transferts scientifiques et culturels entre l’Orient musulman et l’Occident chrétien ont évolué en dents de scie. En effet, avec l’avènement de l’Islam, les transferts entre science, philosophie, et arts hellénistiques connaissent une rare intensité. C’est sur cette base que la culture arabo-musulmane développera son identité propre. Le contact direct avec l’Occident a favorisé un échange des plus fructueux, mais varié suivant les zones géographiques de contact (royaume franc de Jérusalem, Maghreb, Andalousie, Europe centrale et échanges maritimes). Cet échange va s’intensifier tout au long du Moyen âge pour connaître des moments de régression par la suite. Au XIIème siècle un deuxième courant intense de traduction permet à l’occident chrétien de connaitre les sciences et la philosophie arabes et à travers elles les bases hellénistiques qui fonderont la renaissance, et à plus long terme le rationalisme européen. Une attention particulière est apportée dans cette thèse à la céramique, utilisée comme marqueur des courants d’influences prolongés et intenses, et, ce qui est moins connu, plus équilibrés qu’on ne le pense usuellement. Le cas de la majolique est exemplaire et poursuit ses ramifications jusqu’en Amérique latine
The scientific and cultural transfers between the muslim Orient and the Christian Western civilisation have evolved unevenly. Indeed, with the advance of Islam, the transfers between the two in the field of science, philosophy and Hellenistic art had known a rare intensity. It is on this basis that that the Arab-Muslim culture developed its own identity. Their close relation with the Western civilisation favored a most fruitful exchange which varied according to the different geographical regions (the city-state of Jerusalem, Maghreb, Andalucia, central Europe and naval exchanges). This exchange would continue to intensify across the Middle Ages only to gradually lessen. In the 12th Century a second intense period of translation allowed the Christian West to acquire the knowledge of Arab science and philosophy and through this the Hellensitic bases which founded the renaissance and on a long term basis, European rationalism. A particular attention is dedicated in this thesis to ceramic, used as a marker of the differing deep and intense trends, which were, what is less well known, more even than one once thought. The example of Majolica is exemplary, the ramifications of which extend to Latin America
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Books on the topic "Luster ceramic"

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Dauterman, Maguire Eunice, Maguire Henry 1943-, and Krannert Art Museum, eds. Ceramic art from Byzantine Serres. Urbana: University of Illinois Press, 1992.

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Piedra, Carlos Cano. La cerámica verde-manganeso de Madīnat Al-Zahrā. [Granada]: Sierra Nevada 95, 1996.

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Guimarães, Gonçalves. Contributo para o estudo da cerâmica esmaltada peninsular da Baixa Idade-Média. Vila Nova de Gaia, Portugal: Câmara Municipal de Vila Nova de Gaia, Casa Municipal de Cultura/Solar Condes de Resende, Núcleo Museológico de Arqueologia, 1992.

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LLorens, Jordi. Ceràmica catalana de reflex metàl·lic: Segles XV al XVII. [Barcelona: F. Llorens, 1989.

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Centro universitario europeo per i beni culturali di Ravello, ed. Décor de lustre métallique et céramique glaçurée. Bari: Edipuglia, 2005.

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Jones, Elizabeth. Lustre work: An investigation into the historical and technical traditions of the use of lustre in ceramics.... Derby: Derbyshire College of Further [sic] Education, 1986.

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Museo regionale della ceramica di Deruta. Museo regionale della ceramica di Deruta: Ceramiche policrome, a lustro e terrecotte di Deruta dei secoli XV e XVI. Milano: Electa, 1999.

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Rubboli, Maurizio Tittarelli. La maiolica Rubboli a Gualdo Tadino. Perugia: Volumnia, 1996.

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La maiolica italiana del Cinquecento: Capolavori di maiolica della collezione Strozzi Sacrati : atti del convegno di studi, Museo internazionale delle ceramiche, Faenza, 25, 26, 27 settembre 1998. Firenze: Centro Di, 2001.

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Fontaines, Una Des. Miss Jones and her fairyland: Wedgwood fairyland lustre : the work of Daisy Makeig-Jones. Edited by Lambourne Lionel, Eatwell Ann, and Victoria and Albert Museum. [London]: Victoria and Albert Museum, 1991.

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Book chapters on the topic "Luster ceramic"

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Gillier, D. "Gold and Lusters for the Ceramic Tile Industry." In Materials & Equipment/Whitewares: Ceramic Engineering and Science Proceedings, Volume 8, Issue 11/12, 1184–87. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470310458.ch8.

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Waksman, Yona, Claudio Capelli, Trinitat Pradell, and Judit Molera. "The ways of the lustre: Looking for the Tunisian connection." In Craft and science: International perspectives on archaeological ceramics. Bloomsbury Qatar Foundation Journals, 2014. http://dx.doi.org/10.5339/uclq.2014.cas.ch12.

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Gutierrez, P. C., T. Pradell, J. Molera, A. D. Smith, A. Climent-Font, and M. S. Tite. "The colour and golden shine of early silver Islamic lustre." In Craft and science: International perspectives on archaeological ceramics. Bloomsbury Qatar Foundation Journals, 2014. http://dx.doi.org/10.5339/uclq.2014.cas.ch18.

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Sciau, Philippe. "Nanoparticles in Ancient Materials: The Metallic Lustre Decorations of Medieval Ceramics." In The Delivery of Nanoparticles. InTech, 2012. http://dx.doi.org/10.5772/34080.

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5

Phillips, Sarah. "The pig in medieval iconography." In Pigs and Humans. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199207046.003.0032.

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Abstract:
Representations of the pig can be found in a wide variety of visual material worldwide, and throughout time. The term ‘pig’ is used here as a general term to cover all domestic and wild forms of Sus scrofa (where relevant and possible precise distinction between these forms will be specified). The images that exist, vary in terms of the form or shape of the pig, the representation of its characteristic features according to sex (male–boar vs female–sow), form (domestic or wild), age (adult pig or piglet), or physical characteristics (i.e. snout, tusks, tail, trotters, hair and hide coloration, razorback, and bristles). A visual appreciation of different living forms can be found in works such as Burnie (2001) or Buczacki (2002). This chapter is concerned with the creation and use of visual images of the pig. It offers a selection of materials dating in range from the medieval to the early modern period and will cite selected examples to represent continuity or change in the use of images where appropriate. The materials providing representations of the pig include (but are not exclusive to) illuminated manuscripts, prints and posters, engravings and drawings on either parchment or paper, canvas paintings, stained and painted glass, wood carvings, embroidery and textiles, stonework, moulded or cast metal, ceramic wares, and figurines. Exclusive porcine works discussing this iconography include those by Foster (1977), Ryba (1983), Brochier (1988), Bonera (1991), and Lawson (1995). In addition to depictions of pigs, functional and decorative and artistic uses were also found for the inedible body parts of real pigs such as the tusks appearing in visual cultural materials reflecting the precious value of the animal by some people. The main approach of this paper is thematic in order to emphasize how visual representations of the pig have had associations with filth, shame, lust, fantasy, care and consumption, inspiration, and human identity. Many assumptions have been made about the relative importance of the sources of inspiration drawn upon for the creation of particular images or motifs in the surviving media, and the availability of these to their creators (for a discussion on the practice of artistic transmission during the Middle Ages, see Scheller 1995).
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