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Статті в журналах з теми "Luster ceramic"

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Автор: Grafiati

Опубліковано: 23 вересня 2022

Оновлено: 28 вересня 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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, № 3 (30 вересня 2021): 83–69. http://dx.doi.org/10.26389/ajsrp.r140321.

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Анотація:

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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10

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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11

Goncharuk, Vladislav, Dmitry Kucheruk, Liubov Dubrovina, Oleksii Vyshnevskyi, Igor Dubrovin, and Volodymyr Ogenko. "MODIFICATION OF TUBULAR CERAMIC MEMBRANES BY PYROCARBON FROM CARBONIZED POLYMERS." Ukrainian Chemistry Journal 85, no. 6 (July 31, 2019): 97–103. http://dx.doi.org/10.33609/0041-6045.85.6.2019.97-103.

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The tubular ceramic membranes of clay minerals were modified with pyrocarbon, which was obtained by carbonizing of polymer precursors at 750 ° С in an argon flow. The precursor to carbonization of membrane II was polyurethane, obtained from laprol and polyisocyanate. A precursor to carbonization of the membrane III was a mixture of polymers formed by the reaction of components of an aqueous solution of a dry solution with NCO-groups of polyisocyanate. 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 membrane II is located in the pore space in the form of sintered agglomerates. The modifier of the membrane III is represented not only by the same agglomerates, but also envelops the structural elements of the membrane material. The apparent density and open porosity for the unmodified membrane are 1.80 g/cm3 and 44.9 %, for membrane II - 1.67 g/cm3 and 39.9 %, for membrane III - 1.68 g/cm3 and 38.3 %. Testing of modified membranes was carried out by water purification from Ca2 + and Fe3 + using the baromembrane method. The concentration of Ca2 + and Fe3 + in aqueous solutions of CaCl2 and FeCl3 was 100 mg/dm3. The period of time until the establishment of dynamic equilibrium in systems during water purification is (1–3 h). After reaching equilibrium the retention factor (R) of Ca2 + during water purification with membrane II is 30% at a pressure of 0.6 MPa, and at a pressure of 1.1 MPa – 18 %. The specific productivity increases with increasing pressure from 10 to 18 dm3/(m2×h). The R of Ca2 + in water purification with membrane III is 22 % at a pressure of 0.4 MPa, and the specific productivity is 47 dm3/(m2×h). The unmodified membrane does not inhibit Ca2 + at all, and its specific productivity at a working pressure of 0.7 MPa decreases from 755 to 500 dm3/(m2×h) in 2-3 hours. The coefficient of retention of Fe3 + by membrane III after 5 hours at a working pressure of 0.4 MPa is 98 % The specific productivity in this case is 8 dm3/(m2×h).

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12

Pradell, T., J. Molera, C. Bayés, and P. Roura. "Luster decoration of ceramics: mechanisms of metallic luster formation." Applied Physics A 83, no. 2 (February 15, 2006): 203–8. http://dx.doi.org/10.1007/s00339-006-3508-1.

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13

Galindo, R., C. Gargori, S. Cerro, J. Badenes, and G. Monrós. "Wear Resistance of Metal Oxide Sol-Gel Coatings Deposited over Ceramic Glazes." Key Engineering Materials 423 (December 2009): 47–53. http://dx.doi.org/10.4028/www.scientific.net/kem.423.47.

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This paper analyse the wear resistance of high reflective metal oxide films of TiO2 (anatase), Fe2O3 (hematite), ZrO2 (Zirconia) and SnO2 (Casiterite) deposited by screen printing over a conventional ceramic glaze (molar composition 0,2CaO.0,15ZnO.0,05K2O.0,1Al2O3 0,45SiO2.0,05ZrO2). All oxide coatings increase the gloss of the substrate producing a lustre effect. Anatase films stand out for their high gloss valour and low roughness Ra. Likewise, all lustres improve the wear resistance of the glaze substrate. Hematite and casiterite coatings stand out for their relatively high wear resistance maintaining relatively high reflectivity.

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14

Mason, Robert B. "Early mediaeval Iraqi Lustre-painted and associated wares: typology in a multidisciplinary study." Iraq 59 (1997): 15–61. http://dx.doi.org/10.1017/s0021088900003338.

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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.

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15

Climent-Font, Aurelio. "Commentary: Luster ceramics: a 9th century AD nanotechnology." Journal of Nanophotonics 6, no. 1 (October 19, 2012): 060303. http://dx.doi.org/10.1117/1.jnp.6.060303.

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16

Nikbakht, T., O. Kakuee, M. Montazerzohouri, M. Lamehi-Rachti, and M. Torkiha. "Ionoluminescence investigation of medieval Iranian luster glazed ceramics." Journal of Luminescence 215 (November 2019): 116592. http://dx.doi.org/10.1016/j.jlumin.2019.116592.

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17

SHOKOUHI, F., P. OLIAIY, J. RAHIGHI, M. LAMEHI-RACHTI, Z. ROOHFAR, and S. DURALI. "ELEMENTAL ANALYSIS OF ANCIENT IRANIAN LUSTER DECORATED POTTERY." International Journal of PIXE 12, no. 03n04 (January 2002): 253–58. http://dx.doi.org/10.1142/s012908350200038x.

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Luster is a special type of decoration, which gives ceramics a particular iridescent gold translucency and was applied to the medieval surface of glazed pottery. In this work the PIXE technique has been applied to luster pottery dated back from the 10th to the 13th centuries, excavated in Neishabur, Ray and Kashan, located in the northeast and in the central part of Iran. The principal elements of the glaze were detected, as well as the elements which characterize the luster, such as Cu and Ag . The elemental concentrations of Ti , Mn , Fe , Co , Cu , Zn , Ag , Sn and Pb were also obtained from the PIXE analysis. This study clearly demonstrates that in addition to firing conditions and the presence of impurities in glaze, the ratio of Cu 2 O/Ag 2 O determines the color effect of luster.

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18

Peck, Elsie Holmes. "Like the Light of the Sun: Islamic Luster-Painted Ceramics." Bulletin of the Detroit Institute of Arts 71, no. 1-2 (March 1997): 16–35. http://dx.doi.org/10.1086/dia41504933.

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19

Pradell, Trinitat, Judit Molera, Màrius Vendrell, Josefina Pérez-Arantegui, Emmanuel Pantos, Mark Roberts, and Marco DiMichiel. "Role of Cinnabar in Luster Production." Journal of the American Ceramic Society 87, no. 6 (June 2004): 1018–23. http://dx.doi.org/10.1111/j.1551-2916.2004.01018.x.

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20

Tateishi, Yuko, Hisahiro Einaga, and Yasutake Teraoka. "Preparation and Characterization of Golden-Colored Pigments Based on Silver Coated with Metal Oxides." Advanced Materials Research 47-50 (June 2008): 1462–65. http://dx.doi.org/10.4028/www.scientific.net/amr.47-50.1462.

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Анотація:

The present study aimed at the development of new artificial golden-colored pigments which are thermally stable up to 900 oC and can be used for coloring ceramics wares. Silver was used as a base material with bright metallic luster. Silver with the larger lamellar structure was indispensable to maintain the metallic luster, and it was successfully obtained by the heat-treatment of as-obtained silver powder at 200-400 oC in air and subsequently dry ball-milling at 300 rpm for 1 h. The surface of the lamellar-structured silver was coated with small particles of hydroxides, oxyhydroxides and oxides of Fe, Co, Ni, Ce and Pr. Appearance of golden color depended on the combination of metal species and heat-treatment temperature, and CeO2-coated silver gave golden color after calcination at 800 and 900 oC. The golden color of CeO2-coated silver could be controlled by the loading amount and particle size of CeO2 for color tone and relative area of naked surface of Ag for luster.

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21

Pfaff, Gerhard, Michael R. Bartelt, and Frank J. Maile. "Metal effect pigments." Physical Sciences Reviews 6, no. 6 (May 6, 2021): 179–97. http://dx.doi.org/10.1515/psr-2020-0182.

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Abstract Metal effect pigments are luster pigments consisting of platelet-like metallic particles, mostly of aluminum (so-called silver bronzes), copper, copper/zinc (so-called gold bronzes), and zinc flakes. After parallel orientation in their application medium, they show a metal-like luster by reflection of light at the surface of the flat metal particles in one direction. Thus, the pigment particles act similar to small mirrors and lead when orientated parallel in the application system to a reflecting metal luster (metallic effect). Metal effect pigments are used in all relevant application systems such as coatings, paints, plastics, artist paints, cosmetics, printing inks, leather, construction materials, paper, glass, and ceramics. Specific composition, particle size distribution and surface quality determine the coloristic and application technical properties of the individual pigments. Many pigments are coated with a specific surface treatment to improve the quality concerning the stability and the compatibility with the application system. Metal effect pigments are offered in form of powders, pastes, pellets, suspensions or color concentrates. They are manufactured starting from a metal granulate (grit), which is ground under formation of flakes.

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22

Nikbakht, T., and M. Montazerzohouri. "Characterization of historical minai and colorful luster glaze ceramics, using ionoluminescence technique." Journal of Luminescence 231 (March 2021): 117769. http://dx.doi.org/10.1016/j.jlumin.2020.117769.

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23

Malins, Julian P., and Kenneth H. Tonge. "Reduction processes in the formation of lustre glazed ceramics." Thermochimica Acta 340-341 (December 1999): 395–405. http://dx.doi.org/10.1016/s0040-6031(99)00284-1.

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24

Sciau, Philippe, Claude Mirguet, Christian Roucau, Delhia Chabanne, and Max Schvoerer. "Double Nanoparticle Layer in a 12^th Century Lustreware Decoration: Accident or Technological Mastery?" Journal of Nano Research 8 (September 2009): 133–39. http://dx.doi.org/10.4028/www.scientific.net/jnanor.8.133.

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Анотація:

Metallic lustre decorations of glazed ceramics, which appeared in Mesopotamia during the 9th century AD, can be considered nowadays as an historical example of controlled nanotechnology for optical devices. Their surprising optical properties are directly due to metallic nanoparticles that Islamic potters were able to bury in the first layers of glaze through empirical chemical means. Lustre technology is fascinating and many papers have been devoted to this subject. Many lustre samples have been investigated with the most modern equipment such as the synchrotron radiation, electron microscopy, micro-Raman spectroscopy and other spectroscopic methods. This decor made in the twelfth century during the Fatimid dynasty shows a quasi-perfect double layer of nanoparticles confirming the high technological mastery of this civilization. Moreover, up to now, no lustre has been found with an organization of nanoparticles as elaborate as the decor presented here.

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25

Gutierrez, P. Carolina, Trinitat Pradell, Judit Molera, Andrew D. Smith, Aurelio Climent-Font, and Michael S. Tite. "Color and Golden Shine of Silver Islamic Luster." Journal of the American Ceramic Society 93, no. 8 (August 2010): 2320–28. http://dx.doi.org/10.1111/j.1551-2916.2010.03741.x.

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26

Tennent, Norman H., Thomas Baird, Janette Kerr, and Mandy Slager. "The conservation and technical examination of some Spanish lustre ceramics." Studies in Conservation 37, no. 1 (January 1992): 158–64. http://dx.doi.org/10.1179/sic.1992.37.1.158.

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27

Tennent,, Norman H., Thomas Baird, Janette Kerr, and Mandy Slager. "THE CONSERVATION AND TECHNICAL EXAMINATION OF SOME SPANISH LUSTRE CERAMICS." Studies in Conservation 37, sup1 (September 1992): 158–64. http://dx.doi.org/10.1179/sic.1992.37.s1.034.

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28

Valiulina, Svetlana. "Iranian Glazed Ceramics of the 12th—Beginning of the 13th Centuries in the Volga Bulgaria." Heritage 4, no. 4 (October 20, 2021): 3712–30. http://dx.doi.org/10.3390/heritage4040204.

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Анотація:

This article is devoted to the analysis of Iranian art ceramics from the monuments of the Volga Bulgaria of the 12th to early 13th centuries. As a historical source, glazed ceramics have great opportunities in determining the directions of trade and cultural links, as well as priorities of intercultural interaction. It is especially important that the materials under consideration were obtained as a result of excavations, which means that they are stratified and provided with an archaeological context. Iranian ceramics are represented by fritware luster, mina’i, and pierced decoration. The study was carried out using morphological and stylistic methods and scanning electron microscopy method (SEM-EDS). Based on the results of the work, the technological characteristics of glazed ceramics, the stability of the craft tradition, and some changes in recipes within the same morphological group have been determined. The dynamics and chronology of the import flow from Iran to the Middle Volga are established, which revealed correspondence to the main stages of urban culture development of the Volga Bulgaria.

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29

Pradell, T., J. Molera, J. Roque, M. Vendrell-Saz, A. D. Smith, E. Pantos, and D. Crespo. "Ionic-Exchange Mechanism in the Formation of Medieval Luster Decorations." Journal of the American Ceramic Society 88, no. 5 (May 2005): 1281–89. http://dx.doi.org/10.1111/j.1551-2916.2005.00223.x.

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30

Helary, Doriane, Evelyne Darque-Ceretti, and Marc Aucouturier. "Contemporary Golden-Like Lusters on Ceramics: Morphological, Chemical, and Structural Properties." Journal of the American Ceramic Society 88, no. 11 (November 2005): 3218–21. http://dx.doi.org/10.1111/j.1551-2916.2005.00549.x.

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31

Molera, Judit, Cristina Bayés, Pere Roura, Daniel Crespo, and Trinitat Pradell. "Key Parameters in the Production of Medieval Luster Colors and Shines." Journal of the American Ceramic Society 90, no. 7 (July 2007): 2245–54. http://dx.doi.org/10.1111/j.1551-2916.2007.01563.x.

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32

Galli, A., M. Martini, L. Panzeri, and E. Sibilia. "Radioluminescence study of surface and ceramic body of lustred majolicas." Surface Engineering 24, no. 2 (March 2008): 118–20. http://dx.doi.org/10.1179/174329408x286088.

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33

POLVORINOS DEL RIO, A., and J. CASTAING. "LUSTRE-DECORATED CERAMICS FROM A 15TH TO 16TH CENTURY PRODUCTION IN SEVILLE*." Archaeometry 52, no. 1 (February 2010): 83–98. http://dx.doi.org/10.1111/j.1475-4754.2009.00467.x.

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34

Lohner, T., E. Agócs, P. Petrik, Z. Zolnai, E. Szilágyi, I. Kovács, Z. Szőkefalvi-Nagy, et al. "Spectroellipsometric and ion beam analytical studies on a glazed ceramic object with metallic lustre decoration." Thin Solid Films 571 (November 2014): 715–19. http://dx.doi.org/10.1016/j.tsf.2013.11.055.

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35

Gualtieri, Alessandro F., Lorenzo Canovi, Alberto Viani, Paolo Bertocchi, Cecilia Corradini, Magdalena Lassinantti Gualtieri, Gian Carlo Gazzadi, Mauro Zapparoli, and Serge Berthier. "Mechanism of lustre formation in scheelite-based glazes." Journal of the European Ceramic Society 33, no. 11 (October 2013): 2055–64. http://dx.doi.org/10.1016/j.jeurceramsoc.2013.03.018.

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36

Reillon, V., and S. Berthier. "Modelization of the optical and colorimetric properties of lustred ceramics." Applied Physics A 83, no. 2 (February 9, 2006): 257–65. http://dx.doi.org/10.1007/s00339-006-3492-5.

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37

Roqué, Josep, Judit Molera, Gemma Cepriá, Marius Vendrell-Saz, and Josefina Pérez-Arantegui. "Analytical study of the behaviour of some ingredients used in lustre ceramic decorations following different recipes." Phase Transitions 81, no. 2-3 (February 2008): 267–82. http://dx.doi.org/10.1080/01411590701514441.

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38

Holakooei, Parviz, Carlos A. Senna, Thiago L. Vasconcelos, Bráulio S. Archanjo, Carlos A. Achete, Abbas Abed-Esfahani, and Judit Molera. "Flashed copper and silver luster nano-structures: Characterization and technology." Ceramics International 42, no. 6 (May 2016): 7757–66. http://dx.doi.org/10.1016/j.ceramint.2016.01.191.

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39

POLVORINOS, A., M. AUCOUTURIER, A. BOUQUILLON, J. CASTAING, and J. CAMPS. "THE EVOLUTION OF LUSTRE CERAMICS FROM MANISES (VALENCIA, SPAIN) BETWEEN THE 14TH AND 18TH CENTURIES." Archaeometry 53, no. 3 (September 14, 2010): 490–509. http://dx.doi.org/10.1111/j.1475-4754.2010.00552.x.

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40

Reillon, V., S. Berthier, and C. Andraud. "Optical properties of lustred ceramics: complete modelling of the actual structure." Applied Physics A 100, no. 3 (July 31, 2010): 901–10. http://dx.doi.org/10.1007/s00339-010-5791-0.

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41

Chabanne, D., A. Bouquillon, M. Aucouturier, X. Dectot, and G. Padeletti. "Physico-chemical analyses of Hispano-Moresque lustred ceramic: a precursor for Italian majolica?" Applied Physics A 92, no. 1 (March 28, 2008): 11–18. http://dx.doi.org/10.1007/s00339-008-4458-6.

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42

Pradell, T., R. Fernandes, G. Molina, A. D. Smith, J. Molera, A. Climent-Font, and M. S. Tite. "Technology of production of Syrian lustre (11th to 13th century)." Journal of the European Ceramic Society 38, no. 7 (July 2018): 2716–27. http://dx.doi.org/10.1016/j.jeurceramsoc.2018.01.046.

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43

Safronova, E. M. ""LUSTRE IN CERAMICS". THE TECHNIQUE OF RESTORATIVE FIRING ON THE EXAMPLE OF PETER VAULIN ̉S WORKS." Вестник Санкт-Петербургского государственного университета технологии и дизайна. Серия 2: Искусствоведение. Филологические науки, no. 1 (2021): 79–83. http://dx.doi.org/10.46418/2079-8202_2021_1_10.

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44

Bobin, O., M. Schvoerer, J. L. Miane, and J. F. Fabre. "Coloured metallic shine associated to lustre decoration of glazed ceramics: a theoretical analysis of the optical properties." Journal of Non-Crystalline Solids 332, no. 1-3 (December 2003): 28–34. http://dx.doi.org/10.1016/j.jnoncrysol.2003.08.084.

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45

del Rio, A. Polvorinos, J. Castaing, and M. Aucouturier. "Metallic nano-particles in lustre glazed ceramics from the 15th century in Seville studied by PIXE and RBS." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 249, no. 1-2 (August 2006): 596–600. http://dx.doi.org/10.1016/j.nimb.2006.03.063.

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46

Chabanne, D., M. Aucouturier, A. Bouquillon, E. Darque-Ceretti, S. Makariou, X. Dectot, A. Faÿ-Hallé, and D. Miroudot. "Ceramics with metallic lustre decoration. A detailed study of Islamic productions from the 9th century until the Renaissance." Matériaux & Techniques 100, no. 1 (2012): 47–68. http://dx.doi.org/10.1051/mattech/2011142.

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47

Smith, A. D., T. Pradell, J. Roqué, J. Molera, M. Vendrell-Saz, A. J. Dent, and E. Pantos. "Color variations in 13th century hispanic lustre – An EXAFS study." Journal of Non-Crystalline Solids 352, no. 50-51 (December 2006): 5353–61. http://dx.doi.org/10.1016/j.jnoncrysol.2006.08.024.

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48

Politi, Giuseppe, Anne Bouquillon, Marc Aucouturier, Anna Gueli, Sebastiano Olindo Troja, Carmela Vella, Claire Pacheco, Laurent Pichon, Brice Moignard, and Quentin Lemasson. "Analysis of lustred ceramics of the Galleria Regionale di Palazzo Bellomo di Siracusa, Italy." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 331 (July 2014): 82–88. http://dx.doi.org/10.1016/j.nimb.2013.11.032.

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49

Teslenko, I. B. "GLAZED POTTERY MANUFACTURING IN CRIMEA AT THE TIMES OF ULUG ULUS." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 7–83. http://dx.doi.org/10.37445/adiu.2018.04.01.

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Анотація:

Different questions related to the manufacturing of glazed pottery in Taurica during the Jochid state and the Genoese colonization are in the sphere of scientists’ interests for more than a century. Significant increase of the archeological collections in the last decades of the 20th and beginning of the 21st century, together with the more progressive approaches to the analysis of large volumes of ceramics, and the using of archeometrical methods, allow to reach a new level of study in this field. Now on the territory of the Crimea are known at least 10 pottery workshops, which have appeared at different times in the period from the last quarter of the 13th (not earlier than the end of the 1260s) to the first quarter of the 15th century and 6 site with single evidence of such manufacturing. 9 workshops were located in five medieval town of the peninsula: 2 — in Kaffa (Theodosia), 2 — in Soldaya (Sudak), at least 2 — in Solhat (Staryi Krym), one in Lusta (Alushta) and in Chambalo (Balaklava). Two more workshops (the earliest ones among known) were found at the settlement of the potters Bokatash II in Solkhat vicinity. Visual, and in some cases archeometrical characteristics of their products were determined. So it became possible to estimate the volumes of the glazed pottery manufacturing of various regions of the peninsula (South-Eastern and South-Western Crimea), as well as the individual workshops, in particular in Alushta, Balaklava and Bokatash. In addition, it allowed to determine the geography, volume and dynamics of the trade by glazed pottery from Crimea. The last one began to form an appreciable part of the ceramic assemblages outside the peninsula from around the 1320s. At the beginning of the glazed ceramics production in Taurica the distinction in cultural traditions among the workshops were well visible. Some of them presumably may indicate the origin of the craftsmen from the territory of Anatolia, Transcaucasia, the Eastern Mediterranean, the Balkans, and possibly Central Asia, and may be even Italy. Subsequently, around the last third of the 14th century, this individuality is gradually replaced by standardization of production. The leader in this craft became the Genoese trading posts, headed by Caffa.

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50

Darque-Ceretti, E., D. Hélary, A. Bouquillon, and M. Aucouturier. "Gold like lustre: nanometric surface treatment for decoration of glazed ceramics in ancient Islam, Moresque Spain and Renaissance Italy." Surface Engineering 21, no. 5-6 (October 2005): 352–58. http://dx.doi.org/10.1179/174329305x64312.

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