Добірка наукової літератури з теми "Art wares"

Abstract This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).

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

The study of ceramics in the mediaeval Middle East has traditionally been divided into two separate fields, those of archaeology and art history. Archaeologists have generally focused on the finds from their own sites, seeking only precise comparanda for publication. High-quality glazed ceramics such as lustre-wares were made in a restricted number of centres and distributed over a very large area, and thus may be a small percentage of the total ceramic assemblage. No archaeologist constrained to analysis of material from their own site has ever had the opportunity to examine the fine wares as a complete corpus. Broad all-encompassing approaches to the fine wares have only been attempted by art historians utilizing traditional connoisseurship techniques and focusing on the whole vessels which have appeared on the art market since the nineteenth century.This paper represents the reporting of a component of a larger study that is the first attempt at providing a chronology for Middle Eastern élite glazed wares dating from about 700 to 1340 (all dates are in the “common era” or AD) based on the methodologies of archaeological ceramic study. This forms part of a comprehensive multidisciplinary study, including the application of the scanning electron microscope (SEM) with X-ray spectroscopy and petrographic analysis.

The Bennington Museum's 2011 exhibition “Grandma Moses and the Primitive Tradition” invited viewers to reassess the twentieth-century work and reception of painter Anna Mary Robertson Moses. The meteoric rise of her art, marketed as “primitive,” coincided with certain refugee German art dealers’ quest to offer an American alternative to the war-contaminated wares of Europe.

The state’s development, twists and turns of culture and history of the country, circumstances and passing time, often erase facts, that is why the reconstruction of the history of exhibits’ acquisition in museums is one of the most complicated aspects in museology. The article is dedicated to the presentation of Johann Friedrich Böttger’s (1682-1719) collection of red stone mass exhibits in Lithuanian museums and aims at revealing their history. Thanks to the archival register, it was possi­ble to discover the inventory lists with descriptions of valuable works of art that had been prevented from being seized by Germans and pre­served during the Soviet occupation. Among them, there were exhib­its stored at the M.K. Čiurlionis National Museum of Art. Particularly valuable are twelve items of red stone mass by J.F. Böttger. Their iden­tification revealed not only the date (1940) and the manor (the Pakruo­jis manor, Šiauliai region, Lithuania) from which the nationalized art collection was transferred to the museum but also to whom [Leo Carl von der Ropp (27.09.1860 Pakruojis – 09.10.1940 Berlin)] it belonged. That is how the history of J.F. Böttger’s red stoneware exhibits has been unveiled. The Lithuanian Art Museum purchased two exhibits from private persons (1980 and 1982).

The possibility of using folk arts products in the professional training of future teachers of fine arts are theoretically groundeded and elucidated in the article. The methodical aspects of introducing the traditional art technique teacher in the educational process are considered, features of creation of folk toys, folk weaving, artistic weaving, manufacturing of ceramic products are described in it. The preparation of modern teachers of fine arts is not possible without realizing the role of their national community, perceiving and rethinking of the cultural experience of the ethnic group, the need to master the knowledge of material and spiritual culture. It is folk art that reproduces the national model of the world, is an objective factor in the spiritual development of the personality of the future teachers of fine arts in the context of national tradition, ethnic stereotypes of world perception.

The article deals with the features of the use of gems and organogenic formations subjected to various degrees of processing in various jewellery and art products. Using examples of baroque pearls, drusas, gems, cut gems and carved gems, it is shown that the properties and sizes of gems determine compositional solutions for their use in jewellery. It is shown in various jewellery-artistic wares, that depending on the type of mineral raw material or organogenic formations (pearls, shells) a different depth and methods of its treatment are used. Primary systematisation of raw material is conducted on the degree of his treatment. It is shown that inserts with unique properties always occupy a place in the centre of the decoration composition, and the different depth of their processing allows one identifying and emphasising their uniqueness. Examples of historical and modern jewelleries are made with different unique insertions.

Right from the time of independence, Nigeria has adopted different restructuring methods in order to create wealth that will improve her economy, ensure security and enhance sustainable development. In doing this, different aspects of human and natural resources have been explored. But it appears that ceramics which is a branch of industrial art and an aspect of the people’s culture has not been considered even when the major raw material (clay) required is abundantly available as the oil. Perhaps, its non-consideration could be due to the crude tools used which do not give room for mass production of ceramic wares that could generate wealth to the nation and her citizens, ensure security and enhance sustainable development in Nigeria. Therefore, this paper explores restructuring ceramic production for wealth creation, security and enhancement of sustainable development in Nigeria through the construction of kick wheel. In carrying out the construction, materials were sourced and constructed into parts. Thereafter, assemblage was done through welding and screwing of parts. In a trial test, the kickwheel worked effectively in mass production of ceramic wares that could create wealth and make ceramics interesting for people to take up as job, thus reduce idleness and crime and ensure peace and security. The paper recommended among others that our country should establish centres for local constructions and fabrications as it will help in turning out our own Nigerian made tools and equipment, give room for apprenticeship, facilitate establishment of cottage industries, help revamp and restructure moribund industries, create wealth, and enhance security and sustainable development in Nigeria. Keywords: Restructure, National Development, Construction, Kick- Wheel, Ceramics, Wares, Wealth Creation

This paper provides a preprocessing flow for color three-dimension (3D) point cloud according to the characteristics of laser scanning data. The preprocessing methods and their functions are introduced in detail. Automatic system decision and manual polygon selection methods are applied to eliminate unwanted and noise data successfully, which possibly make improper color models reconstructed. A data reduction method is presented based on Grid reduction method considering color-boundary preservation. It can effectively avoid shape and color distortion in model reconstruction. Several experimental results are presented to indicate the feasibility and reliability of these methods, which can be broadly applied in various fields of products design, antiques and art wares digitization, etc.

<p>Training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in Nigeria. The study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in Nigeria. There has been a gender imbalance in various areas of specialization which has left certain areas for male and female. Data for this study were collected in art School in Southwestern Nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. The university selected as sample size within the geographical scope of the study is Ladoke Akintola University of Technology, Ogbomoso. The selection was based on the orientation of their training and admission criteria which differs tremendously. Descriptive analysis was adopted to know the gender affiliation in the practice. Finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. The result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. This perhaps could be attributed to the nature and the demands of each area of specialization. Textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts.</p>

Дисертація на здобуття наукового ступеня доктора технічних наук за спеціальністю 05.17.11 – технологія тугоплавких неметалічних матеріалів, Державний вищий навчальний заклад "Український державний хіміко-технологічний університет", Національний технічний університет "Харківський політехнічний інститут", Харків, 2020. Дисертацію присвячено розвитку наукових основ технології екологічно безпечних захисно-декоративних склоемалевих покриттів широкої колірної гами по сталі і кольоровим металам, а також принципів регулювання та прогнозування їх колірних характеристик. Внаслідок проведення дослідження за темою дисертаційної роботи одержані такі наукові результати: - науково обгрунтовано та експериментально доведено, що отримання на кольорових металах емалевих покриттів, які не вміщують Плюмбум, можливе на основі стекол системи Na₂O–BaO–B₂O₃–SiO₂; за комплексом визначених властивостей та здатності утворювати найбільш якісні покриття на мідній основі виділена область базової системи, мол.%: Na₂O – 24,2–40,5; ВаО – 5,0–10,0; B₂O₃ – 15,2–30,5; SiO₂ – 24,0–53,5, яка у зрівнянні з межами цих компонентів в відомих складах безплюмбатних емалей характеризується збільшеним в 2 рази вмістом B₂O₃ і відносно невеликим вмістом SiO₂; - встановлені основні тенденції зміни колірного тону стекол системи Na₂O–BaO–B₂O₃–SiO₂, які суттєво відрізняються за хімічним складом та забарвлені іонними барвниками, з огляду на розташування максимумів ІЧ-спектрів стекол та їх кислотно-основні властивості; останні оцінювались двома розрахунковими структурними параметрами: fSi – ступінь зв’язності кремнекисневого каркасу і Ψв – орієнтовний показник координаційного стану Бору в структурі скла. Доведено, що між колірним тоном λ та Ψв існує значний кореляційний зв'язок для стекол, забарвлених CuO r*=−0,83 і CoO r*=−0,87 та слабкий – для стекол, забарвлених K₂Cr₂O₇ – r*=0,5; - виявлені закономірності забарвлення одної скломатриці і емалевого покриття на її основі в системі R₂O–ВаО–ZnO–Al₂O₃–В₂О₃–TiO₂–SiO₂ рядом іонними барвників. Незалежно від вмісту барвників, вони надають однаковий колірний тон як стеклам, так і покриттям на основі цих стекол, а саме: CuO (1,0–3,0 мас.%) λ=489–494 нм (синьо-зелений), Fe₂O₃ (0,5–2 мас.%) λ=575–585 нм (жовтий), K₂Cr₂O₇ (0,5–2,0 мас.%) λ=570–576 нм (жовто-зелений), CoO (0,5–1,0 мас.%) λ=441–463 нм (синьо-фіолетовий), NiO (0,5–1,0 мас.%) λскла=559′–571′ нм, λпокриттів=598–629 нм (коричневий). Доказано, що за ступенем інтенсивності забарвлення стекол та покриттів на їх основі барвники розташовуються в наступній послідовності: CoO > NiO > CuO > K₂Cr₂O₇ > Fe₂O₃; - вперше встановлений механізм глушіння прозорого матричного емалевого скла в системі R₂O–ВаО–ZnO–TiO₂–Al₂O₃–В₂О₃–TiO₂–SiO₂ при введені МоО3, в результаті якого виникає явище опалесценції, а саме: за рахунок дифракції при розповсюдженні хвиль в мікронеоднорідному середовищі, в якому розмір часток молібден(VI) оксиду (0,05–0,15 мкм) менше довжини хвиль білого світла; - вперше встановлена залежність коефіцієнта дифузного відбиття емалевих покриттів від хімічного складу емалевих фрит, яка отримана обробкою експериментальної вибірки 471 складу покривних емалевих фрит методом множинного кореляційного аналізу і представлена у вигляді математичної моделі, що дозволяє розрахувати хімічний склад покривних емалей із заданим КДВ; коефіцієнт кореляції між експериментальними і розрахунковими значеннями – 0,98; - використовуючи ідею про введенні в будь-який матеріал (скло, пігмент, ситал, метал) певних компонентів в незначній кількості для модифікації його властивостей, вперше виявлено наступне: «малий додаток» Fe₂O₃ у кількості 0,25 мас.% в складі безплюмбатних емалевих стекол на основі базової системи Na₂O–BaO–B₂O₃–SiO₂ і 1 мас.% в складі безфлуористих склоемалей на основі базової системи Na₂O–B₂O₃–SiO₂ активізує процеси лікваційного розшарування скла, що дозволяє збільшити в 1,5–2,5 рази інтенсивність глушіння покриттів, а також покращити оптико-колірні характеристики пігментнозабарвлених склопокриттів, зокрема, червоного кольору. «Малий додаток» ZrO₂ у кількості до 1 мас.% в складі малофлуористої титанової емалі сприяє активному виділенню анатазу в покритті під час випалу та покращенню його оптичних характеристик; - за допомогою розробленої спеціальної комп’ютерної програми COLOUR GLASS, яка автоматично розраховує координати кольорності x y, колірний тон λ, чистоту кольору Р та наносить колірні характеристики матеріалів на графік МКО, вперше доказано, що за картиною розташування точок кольору, по-перше, можна робити прогнози відносно рівноваги, яка утворюється між іонними забарвлюючими комплексами під час варки скла, по-друге, про колористичні можливості суміши пігментів - вперше в області технологій, які потребують підвищених температур, встановлені залежності координат кольору емалевих покриттів від складу суміші пігментів у вигляді поліноміальних математичних моделей, що дозволило вирішити складну матеріалознавчу колористичну проблему знаходження співвідношення пігментів для відтворення кольору зразка із заданими колірними характеристиками. Практичне значення отриманих результатів: - розроблено склади емалевих стекол для кольорових металів, які не містять Плюмбуму – одного із самих шкідливих для навколишнього середовища елемента, запропоновано основи технології одержання виробів з їх використанням. Нові емалі широкої палітри кольорів, різного ступеню прозорості створено на основі матричної прозорої емалі. Вони характеризуються однаковим інтервалом випалу 780–820 °С, у зв’язку з чим спрощується технологія отримання художніх і ювелірних виробів. Емалі пройшли випробування та рекомендовані до впровадження у виробництво з виготовлення художніх виробів в майстерні, що знаходиться в структурі Музею українського живопису (м. Дніпро), а також на підприємстві з виготовлення ювелірних виробів, компанія "Diadema", м. Вінниця. Палітра емалевих покриттів та вироби з них представлені під час доповіді на 24 Міжнародному Конгресі емальєрів в м. Чикаго у 2018 р. Згідно міжнародного договору між ДВНЗ УДХТУ та компанією "Richemont International SA Varinor SA" м. Делемонт, Щвейцарія, виготовлено і передано замовнику емалеві стекла у вигляді порошку і емальовані мідні зразки; - створено каталог зразків кольорів, в якому представлено склооснови, кількість барвників, глушників, відновників та оптико-колірні характеристики емалевих покриттів, що не містять Плюмбум. Назву кольорів встановлювали у відповідності із назвою кольорів системи RAL. Палітра розроблених емалей ювелірного та художнього призначення включає 54 кольори: жовто-червоні, синьо-зелені, оливково-гірчичні, пастельні та коричнево-чорні; - розроблено склади малофлуористих білих і світлозабарвлених титанових емалей, безфлуористої склооснови для отримання яскравозабарвлених емалевих покриттів пігментним способом, які випробувані в виробничих умовах ТОВ «Новомосковський посуд» і рекомендовані до серійного впровадження на заводах з випуску емальованих виробів господарчо-побутового призначення. Технологічні особливості виробництва запропонованих емалей дозволяють здійснювати високотемпературні операції варки емалей на 100 °С, а випалу покриттів – на 30–50 °С нижче відомих, що в епоху тотальної економії топливно-енергетичних ресурсів дуже актуально. Малофлуористі світлозабарвлені кремова і сіро-блакитна емалі впроваджені на ТОВ "Новомосковський посуд"; - вперше для технології емалевих покриттів на сталі розроблено метод колірного моделювання, завдяки якому побудовано колірний трикутник-номограму для виробничої склооснови і пігментів жовтого, червоного, синього, за допомогою якого задається необхідний колір і розраховується необхідне співвідношення пігментів. Метод колірного моделювання є універсальним і може бути застосованим до широкого асортименту силікатних матеріалів: глазуровані покриття на керамічній основі, кольорові будівельні матеріали та інші. У вступі обґрунтовано актуальність теми дисертації, сформульовано головну мету та завдання роботи, представлено наукову новизну та практичну цінність одержаних результатів. В першому розділі наведено аналіз патентної та науково-технічної літератури, що стосується отримання екологічно безпечних емалей широкої колірної гами, сучасного стану виробництва кольорових емалей та контролю їх колірних показників, механізмів забарвлення скла та емалей і факторів, що впливають на формування кольору. У другому розділі надано основні поняття та визначення, які використовуються в роботі, а також методики дослідження фізико-хімічних властивостей і структури стекол, покриттів та їх колірні характеристики. В третьому розділі представлено дослідження з розробки екологічно безпечних емалей для міді та прогнозування їх колірних характеристик. В четвертому розділі представлено результати досліджень з розробки легкоплавкої титанової емалі, яка відповідала б вимогам діючих стандартів та випалювалась в ресурсо- та енергозберігаючих умовах виробництва та була максимально екологічно безпечною для навколишнього середовища. П'ятий розділ присвячений дослідженням з розробки складів емалевих фрит, що не вміщують Флуор, які використовуються для отримання яскравозабарвлених емалевих покриттів для виробів господарчо-побутового призначення. В шостому розділі представлені результати розробки методу колірного моделювання. Відтворити, а тим більше спрогнозувати колір із заданими колірними характеристиками – надзвичайно складна багатопланова матеріалознавча проблема, навіть якщо відома рецептура скла і покриття, режими їх варки та випалу. В сьомому розділі надано результати промислової апробації, реалізації та впровадження отриманих матеріалів.
Thesis for a Doctor of Science Degree in Specialty 05.17.11 – Refractory Non-Metallic Materials Technology, State Higher Educational Institution "Ukrainian State University of Chemical Technology", National Technical University "Kharkiv Polytechnic Institute", Kharkiv, 2019. The dissertation is devoted to creation of physicochemical bases of technology of ecologically safe protective and decorative glass-enamel coatings of wide color scale on steel and non-ferrous metals, development of principles of regulation and prediction of their color. As a result of the research on the topic of dissertation the following scientific results were obtained: - scientifically substantiated and experimentally proved that the production of lead-free enamel coatings on non-ferrous metals is possible on the basis of the Na₂O – BaO – B₂O₃ – SiO₂ glasses, by the complex of defined properties and the ability to form the highest quality coatings on a copper basis the selected region of the base system, mol %: Na₂O – 24,2–40,5; BaO – 5.0–10.0; B₂O₃ – 15.2–30.5; SiO₂ – 24,0–53,5, which in comparison with the limits of these components in known compositions of lead-free enamels, is characterized by a 2-fold increase in the content of B2O3 and a relatively small content of SiO₂; - the basic tendencies of color change of glasses of Na₂O–BaO–B₂O₃–SiO₂ system has been established, which differ significantly in chemical composition and has colored by ionic dyes, taking into account the structural features of glasses and their acid-basic properties. They has been evaluated by two calculated structural parameters: fSi is the degree of connectivity of the silica framework and Ψв is an indicative index of the coordination state of Boron in the structure of the glass. It had proved that there is a significant correlation between the colors λ and Ψv had proved for glasses colored CuO r * = - 0,83 and CoO r * = - 0,87 and weak – for glasses colored K₂Cr₂O₇, -r * = 0,5; - the patterns of coloring of one glass matrix and enamel coatings on its basis in the system R₂O–BaO–ZnO–Al₂O₃–B₂O₃–TiO₂–SiO₂ by a series of ionic dyes has been founded. Regardless of the content of the dyes, they give the same color tone to the glass and coatings based on these glasses, namely: CuO (1.0–3.0 wt%) λ = 489–494 nm (blue-green), Fe₂O₃ (0.5–2 wt%) λ = 575–585 nm (yellow), K₂Cr₂O₇ (0,5–2.0 wt%) λ = 570–576 nm (yellow-green), CoO (0.5–1.0 wt%) λ = 441–463 nm (blue-violet), NiO (0, 5-1.0 wt.%) λ glass = 559′ – 571 nm, λ coatings = 598–629 nm (brown). It has been proved that in the degree of color intensity of glasses and coatings based on them, the dyes has been arranged in the following sequence: CoO> NiO> CuO> K₂Cr₂O₇ > Fe₂O₃; - for the first time, the mechanism of silencing of transparent matrix enamel glass in R₂O–BaO–ZnO–TiO₂–Al₂O₃–B₂O₃–TiO₂–SiO₂ system with the introduction of MoO₃ has been established, which results in the phenomenon of opalescence, namely: due to diffraction at propagation of waves in micro inhomogeneous medium in which the particle size of molybdenum (VI) oxide is 0.05-0.15 μm less than the wavelength of white light; - for the first time, the dependence of the diffuse reflection coefficient (CDR) of enamel coatings on the chemical composition of enamel frits, obtained by processing the experimental sample 471 of the enamel frit composition by multiple correlation analysis, which is presented in the form of a mathematical model that allows you to calculate the chemical composition of the enamel coatings with a given CDR; the correlation coefficient between experimental and calculated values is 0.98; - using the idea of introducing into any material (glass, pigment, sitall, metal) certain components in a small amount to modify its properties, the following has been first discovered: "small addition" of Fe₂O₃ in the amount of 0.25 wt.% in the composition of lead-free enamel glasses based on the base system Na₂O–BaO–B₂O₃–SiO₂ and 1 wt.% in the composition of fluorless glass enamels based on the basic system Na₂O–B₂O₃–SiO₂ activates the processes of differentiation of the segregation-dropping structure of glass, which allows to increase the intensity of opaque coatings by 1.5–2.5 times, as well as to improve the optical-color characteristics of pigment-colored glass coatings, in particular, red. "Small addition" of ZrO₂ in the amount up to 1 wt.% in the composition of low-fluoride titanium enamel promotes the active release of anatase in the coating during firing and improving its optical characteristics; -with the help of a dedicated COLOR GLASS computer program that automatically calculates color coordinates x y, color tone λ, color purity P, and maps the color characteristics of materials to the СIE graph, it has been first demonstrated that the picture of the location of the color points, first, you can make predictions about the equilibrium that is formed between the ionic coloring complexes during the melting of glass, and secondly, about the color potential of the pigment mixture. - for the first time in the field of technologies requiring high temperatures, the dependences of the color coordinates of the enamel coatings on the composition of the pigment mixture in the form of polynomial mathematical models has been established, which made it possible to solve the complex material-coloristic problem of finding the ratio of pigments to reproduce the color of the sample with the specified color characteristics. The practical significance of the obtained results: - the compositions of enamel glasses for non-ferrous metals, which do not contain Plumbum - one of the most harmful for the environment element, had been developed; the basics of technology of obtaining products with their use had offered. New enamels of a wide range of colors with varying degrees of transparency had been created on the basis of matrix transparent enamel and they had characterized by the same firing interval of 780-820 °C, which makes the technology of obtaining artistic and jewelry easier. Enamels had been tested and recommended for implementation in the production of artistic products in the workshop, which locates in the structure of the Museum of Ukrainian Painting (Dnipro), as well as at the jewelry company, Diadema, Vinnytsia. The enamel coatings palette and their products had presented during a report at the 24th International Congress of Enamels in Chicago in 2018. According to an international agreement between the Ukrainian State University of Chemical Technology (Dnipro) and Richemont International SA Varinor SA, Delmont, Switzerland, enamel glass powder and enameled copper samples had been made and handed over to the customer; - a catalog of color samples, which presents the glass base, the number of dyes, opacifiers, reducing agents and the optic-color characteristics of enamel coatings which do not contain Plumbum, has been created. The color name was set in accordance with the color name of the RAL system. The palette of designed enamels of jewelry and artistic purpose includes transparent matrix enamel and 53 colors: yellow-red, blue-green, olive-mustard, pastel and brown-black; - a series of compositions of white and light-colored titanium enamels containing reduced amount of Fluorine, has been developed, also the composition of fluorless frites to obtain brightly colored enamel coatings pigmented way of color, which were fused and passed extensive testing in production conditions factories for the production of enameled household products, has been synthesized. Technological features of production of the enamels offered permits to carry out high-temperature operations of melting at 100oC below the known ones, and firing of coatings – by 30-50 °C, which is very relevant in the era of total saving of fuel and energy resources. Low-fluoride light-colored cream and gray-blue enamels has been introduced at "Novomoskovsk dishes"; - for the first time for the technology of enamel coatings on steel, a method of color modeling has been developed, through which a color triangle-nomogram has been constructed for the production glass base and pigments of yellow, red, blue, by which the required color is specified and the necessary ratio of pigments is calculated. The color modeling method is versatile and can be applied to a wide range of silicate materials: glazed ceramic coatings, colored building materials, and more. The introduction substantiates the relevance of the dissertation topic, formulates the main purpose and objectives of the work, presents the scientific novelty and practical value of the obtained results. The first section provides an analysis of the patent and scientific and technical literature concerning the production of environmentally safe enamels of a wide color range, the current state of production of colored enamels and the control of their color indices, the mechanisms of color of glass and enamels and factors affecting color formation. The second section provides the basic concepts and definitions used in the work, as well as methods for investigating the physicochemical properties and structure of glasses and coatings and their color characteristics. The third section presents studies on the development of environmentally safe enamels for copper and the prediction of their color characteristics. The fourth section presents the results of research on the development of fusible titanium enamel which would meet the requirements of current standards and be burned in resource- and energy-efficient production conditions and be the most environmentally safe for the environment. The fifth section is devoted to the research on the development of enamel frits that do not contain Fluorine and used to produce brightly colored enamel coatings for household products. The sixth section presents the results of the development the color modeling method. Reproduce, and even more so predict, color with predetermined color characteristics is an extremely complex multifaceted material science problem, even if glass and coating formulations, modes of melting and firing are known. In the seventh section the results of industrial testing, realization and implementation of the received materials has been presented.

Дисертація на здобуття наукового ступеня доктора технічних наук за спеціальністю 05.17.11 – технологія тугоплавких неметалічних матеріалів, Державний вищий навчальний заклад "Український державний хіміко-технологічний університет", Національний технічний університет "Харківський політехнічний інститут". Дисертацію присвячено науковим основам технології екологічно безпечних склоемалевих покриттів широкої колірної гами для сталі і кольорових металів, розробці принципів регулювання та прогнозування їх кольору. Розроблена спеціальна комп’ютерна програма COLOUR GLASS, яка за визначеними координатами кольору XYZ автоматично розташовує точки кольору на графіку МКО. Отримані емалі ювелірного та художнього призначення на основі стекол системи Na₂O–BaO–B₂O₃–SiO₂. Розроблені малофлуористі білі і світлозабарвлені титанові емалі, безфлуориста основа для пігментного способу забарвлення. Створено метод колірного моделювання, за допомогою якого можна розрахувати співвідношення пігментів для відтворення кольору зразка за заданими колірними характеристиками.
Thesis for a Doctor of Science Degree in Specialty 05.17.11 Refractory Non-Metallic Materials Technology, State Higher Educational Institution "Ukrainian State University of Chemical Technology", National Technical University "Kharkiv Polytechnic Institute". The dissertation is devoted to development of scientific bases of technology of ecologically safe protective and decorative glass-enamel coatings of wide color scale on steel and non-ferrous metals, making of principles of regulation and prediction of their color. The introduction substantiates the relevance of the dissertation topic, formulates the main purpose and objectives of the work. The first section provides an analysis of the patent and scientific and technical literature. The second section provides the basic concepts and definitions used in the work, methods for investigating the physicochemical properties and structure of glasses and coatings and their color characteristics. The third section presents studies on the development of environmentally safe enamels for copper and the prediction of their color characteristics. The fourth section presents the results of studies on the development of small fluoride titanium enamel with a firing temperature of 830 °C. The fifth section had devoted to scientific bases of technology of fluorless enamel frits for pigment method of coloring. The sixth section has devoted to the development of the color modeling method for reproducing the color of a sample with specified color characteristics. In the seventh section the results of industrial testing, implementation and implementation of the received materials has presented. As a result of the research on the topic of dissertation the following scientific results has obtained: - scientifically substantiated and experimentally proved that the production of lead-free enamel coatings on non-ferrous metals is possible on the basis of the Na₂O–BaO–B₂O₃–SiO₂ glasses, the regions of glass formation has been determined, and the regularities of changes in the properties of glasses depending on their chemical composition has been established; - the main tendencies of change of glasses color tone has established in the Na₂O–BaO–B₂O₃–SiO₂ system, which has colored by ionic dyes given the structural features of the glasses and their acid-base properties; - it has been proved that the degree of color intensity of glasses in the system R₂O –BaO – ZnO – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ and coatings based on them has been arranged in the following sequence: CoO> NiO> CuO> K₂Cr₂O₇> Fe₂O₃; - for the first time the mechanism of opacifying of transparent matrix enamel glass in the R₂O – BaO – ZnO – TiO₂ – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ system was introduced when MoO₃ has been established, namely: due to diffraction, which results in the phenomenon of opalescence; - for the first time the dependence of the diffuse reflection coefficient of enamel coatings on the chemical composition of enamel frits has been established, which is presented in the form of a mathematical model; the correlation coefficient between experimental and calculated values is 0.98; - for the first time the mechanism of opacifying of transparent matrix enamel glass in the R₂O – BaO – ZnO – TiO₂ – Al₂O₃ – B₂O₃ – TiO₂ – SiO₂ system was introduced when MoO3 has been established, namely: due to diffraction, which results in the phenomenon of opalescence; - for the first time it has been discovered that Fe₂O₃ "small additive" in the amount of 0.25 wt.% in the composition of lead-free enamel glasses on the basis of the Na₂O – BaO – B₂O₃ – SiO₂ base system and 1 wt. Fe₂O₃ in the composition of fluor-free enamel glasses on the basis of the Na₂O – B₂O₃ – SiO₂ base system activates the processes of glass removal stratification, which allows to increase 1.5-2.5 times the intensity of coating damping; - with the help of a special computer program COLOR GLASS, which automatically calculates the coordinates of the color x, y, the color tone λ, the purity of the color P and applies the color characteristics of the materials to the CIE graph, it has been proved for the first time that the chart of the location of color points can make forecasts about the equilibrium, which formed between ionic coloring complexes during glass melting; - for the first time in the field of technologies requiring high temperatures, the dependences of the color coordinates of enamel coatings on the composition of the pigment mixture in the form of polynomial mathematical models has been established, which allowed to solve the complex material-coloristic problem of finding the ratio of pigments to reproduce the color of the sample with the specified color characteristics. The practical significance of the obtained results: - the compositions of enamel art and jewelry glasses for non-ferrous metals, which do not contain Plumbum, has been developed. They are characterized by the same firing interval of 780-820 °C. A catalog of color samples has created. The palette includes fondon and 53 colors: yellow-red, blue-green, olive-mustard, pastel and brown-black; - a series of compositions of white and light-colored titanium enamels containing reduced amount of Fluorine (up to 2.5 wt.%), has been developed, also the composition of fluorless frites to obtain brightly colored enamel coatings pigmented way of color. Temperature operations of the enamel melting is 100 °C and firing of coatings is 30-50oC below the known ones.

This thesis assesses the work of four art writers who were active in Britain between the wars, Laurence Binyon, Paul Nash, Herbert Read and Geoffrey Grigson. In a period that has generally been viewed as dominated by a formalist criticism, their art writing exhibited a persistent romanticism that was fundamental to their engagement with modernism and was also integral to their interpretation of the role of the artist in the modem world. The main contention of this thesis is that this sensibility, far from being regressive, was a vital "- factor in their understanding and active promotion of modernist movements such as abstraction and surrealism. The main period under consideration is the inter-war years, leading up to the year 1936 as a significant moment, with the International Surrealist Exhibition in London and the publication in Axis of Geoffrey Grigson and John Piper's important article 'England's Climate'. Chapter One focuses on Laurence Binyon, a key figure bridging late nineteenth-century romanticism and the new romanticism of the mid twentieth century who, in his writing on Asian art and in his studies of eighteenth and nineteenth-century English artists, found relevant exemplars for modem artists. Chapter Two examines the art writings of Paul Nash, whose explorations into abstraction and surrealism in the 1920s and 1930s were driven by a need to find an appropriate vehicle for his own artistic expression. A study of Herbert Read's art writing between the wars in Chapter Three demonstrates the extent to which his romantic sensibility and a desire for cultural continuity with the past informed his interpretation of modem movements, most notably surrealism. The fourth chapter reassesses the role of Geoffrey Grigson, a controversial but, I would maintain, crucial figure in the 1930s, and demonstrates the importance of his contribution to the promulgation of modernism in Britain.

This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.

The study aims to analyse the culture of the visual arts in Wales between 1940 and 1994 – a period when the British state took formal responsibility for arts patronage through the Arts Council of Great Britain. Special attention focuses on how exhibitions organised by Welsh representatives of the Arts Council helped define and assert a Welsh sense of national identity, whose interests this served, and what were its wider implications. Following Peter Lord’s idea of an “Aesthetics of Relevance,” the study therefore examines Welsh art in relation to the broader social, political and economic development of the Welsh nation. Using discourse analysis of exhibition files held in the Welsh Arts Council Archive, together with other primary and secondary sources, the study finds that the Welsh Arts Council promoted a British sense of Welshness – conceived first in communal, later in more progressive terms – that served to legitimise and reproduce the British social democratic consensus negotiated between government, capital and labour during the Second World War. At the same time, it marginalised nationalist ideas of Wales. This was achieved not only through the kinds of images shown by the Welsh Arts Council, but also how they were presented to Welsh audiences. In conceptual terms, the Welsh Arts Council can therefore be thought of as a “disciplinary mechanism” which made use of curatorial practices of display to regulate images into discursive formations that permitted, and so naturalised, certain ways of thinking about national identity, while silencing others. In turn, this codification of national culture helped define the social-space of the Welsh nation. On the other hand, audiences often challenged the authorised version of Welsh art through the different knowledges and experiences they brought to a display site. Art is therefore a key discursive space in which consensus on national identity is negotiated and contested.

Among the treasures of the Montana Museum of Art and Culture is a lovely and elaborate work of art entitled Wars of the Romani, a Flemish tapestry woven in the last third of the 16th century. It is a large weaving, 10 x 15, portraying two armies intertwined in merciless combat. The specific subject matter of Wars of the Romani is unknown, but a standard displaying the Roman eagle held aloft in the background indicates the presence of the Roman legions. The tapestry displays rushing horsemen mounted on vigorous horses, marching spearmen, and supine warriors, imagery common to Flemish battle tapestries from the last quarter of the sixteenth century. Framing the battle scene is a grotesque style border composed of gods placed within whimsical filigree architectural pavilions interwoven with fanciful decoration and mythical beasts. Wars of the Romanis Mannerist battle scene offers a view into the pictorial trends of the late Renaissance and displays the energy of the tumultuous era in which it was woven.

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).

Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.

Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.

Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.

Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.

Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.

Review question / Objective: The purpose of this scoping review is to identify and evaluate available evidence concerning assessments under the Mental Health Act (1983) (MHA) (and international equivalents) which are carried out with the assistance of a spoken or signed language interpreter. ‘International equivalents’ refers to pieces of legislation in countries other than England and Wales that concern formal assessment for compulsory assessment and treatment, including hospital detention, with respect to a mental disorder. [Both the specific Act that applies to England and Wales and its international equivalents are henceforth referred to as MHA]. The guiding questions are: • What are the enablers and barriers to good practice in interpreter mediated MHA assessments? • To what extent and how might interpreter mediation support or impede the legal rights and best interests of those assessed under the MHA? The aim is to determine whether the body of research available to date is sufficient to inform evidence-based guidelines for interpreters and for mental health professionals, in particular those who have the duty to make decisions under the MHA, known in England and Wales as Approved Mental Health Professional (AMHPs), to work in a joint and effective manner.