陶瓷釉料
陶瓷釉料的相关文献在1989年到2023年内共计580篇,主要集中在化学工业、工艺美术、轻工业、手工业
等领域,其中期刊论文101篇、会议论文12篇、专利文献140688篇;相关期刊41种,包括技术与市场、佛山陶瓷、景德镇陶瓷等;
相关会议9种,包括国际陶艺ISCAEE2015年会、第七届中国建筑卫生陶瓷工业发展高层论坛暨中国建筑卫生陶瓷行业大会、中国陶瓷工业协会装饰材料专业委员会第五届第二次全体会议暨中国硅酸盐学会陶瓷分会色釉料暨原辅材料专业委员会第二届第二次全体会议等;陶瓷釉料的相关文献由811位作者贡献,包括侯定、李玲玲、柯善军等。
陶瓷釉料—发文量
专利文献>
论文:140688篇
占比:99.92%
总计:140801篇
陶瓷釉料
-研究学者
- 侯定
- 李玲玲
- 柯善军
- 吴斌
- 田维
- 马超
- 张缇
- 李慧芝
- 杨云山
- 卢佩玉
- 王礼
- 丁浩
- 刘权辉
- 叶建明
- 吴锡银
- 敖卫华
- 汪加武
- 符绩承
- 许崇娟
- 麦文英
- 倪成林
- 刘一军
- 吴伟平
- 周存华
- 姚永祥
- 孔新刚
- 张立早
- 戴家伟
- 曹丽云
- 曾学富
- 朱志超
- 李嘉胤
- 王占峰
- 郭志山
- 黄丽君
- 黄剑锋
- 不公告发明人
- 刘小飞
- 刘金龙
- 吴洋
- 周明林
- 孙思佳
- 宗伟
- 张丽
- 张杰
- 方卫明
- 方薛斐
- 李世国
- 李冬梅
- 李安洋
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林新超
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摘要:
本文以钾长石、石英、红丹等为主要原料,由推板窑1180°C左右氧化焰进行烧成,烧制周期为13 h,制备出黄铜色泽金属质感的釉料,并用正交试验法L_(9)(3^(4))调整测试配方中的氧化锰、红丹、氧化锡等原料的含量,对仿黄铜釉的釉面与金属光泽的影响加以分析总结。
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曾力
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摘要:
陶瓷釉料是现代陶艺作品生产中至关重要的一种原材料.而且在近些年里,陶瓷釉料也开启了不断的创新路程,其中的可选择性也正在随之慢慢地在增加,从而也给原创的设计师们带来了更多的、新颖的设计思路.而且不难发现的是,在当下,人们在精神方面的追求也正在逐渐的升高,然而这也是间接的刺激了釉料市场的生产,在这其中的陶瓷制品也慢慢的从传统的以使用作为目的 转变成为现代的以欣赏作为其用处,另外其实不难发现的是,目前我国的陶瓷釉料仍然还存在着很大的进步空间.
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范凤艳;
黄艳;
徐瑞;
胡洋
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摘要:
积极推广和使用新型的陶瓷釉料技术工艺,有助于陶瓷产业生产力水平的发展.基于此,文章详细阐述了高辐射远红外烧结工艺、环保型防污瓷釉工艺、永久性自洁纳米陶釉工艺、高吸水全抛釉工艺、抗微生物瓷釉涂层工艺这几种陶瓷釉料新技术工艺,旨在为陶瓷产业的发展提供助力.
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刘晓英;
余静赣
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摘要:
文章结合我国传统文化-陶瓷设计专业开展的教学实践活动,对水彩陶设计类人才实践能力的培养内容、方法、过程和构架进行了研究,并形成了符合设计类院校人才培养定位的培养模式.实践证明,在以水彩陶设计类专业为特色的院校培养应用型人才的教学过程中采用此模式可以取得良好的效果.
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张颁潮1;
李白毅1
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摘要:
陶瓷釉料是陶瓷作品生产当中不可或缺的材料,近年来,随着陶瓷釉料的不断创新,可选择性逐渐增加,带给设计师们更多的设计灵感。而随着经济发展,人们的精神追求水平也越来越高,这对市场生产形成了刺激,陶瓷制品逐渐从以使用为目的,转变为艺术欣赏的用途。展望未来,中国陶瓷釉料还有继续提高的空间。本文在釉料发展现状的基础上进行分析,结合人们对陶瓷制品需求的变化,探讨了陶瓷釉料的发展趋势。
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刘晓英1;
余静赣2
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摘要:
文章结合我国传统文化-陶瓷设计专业开展的教学实践活动,对水彩陶设计类人才实践能力的培养内容、方法、过程和构架进行了研究,并形成了符合设计类院校人才培养定位的培养模式。实践证明,在以水彩陶设计类专业为特色的院校培养应用型人才的教学过程中采用此模式可以取得良好的效果。
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摘要:
本发明涉及一种耐酸碱陶瓷釉料及其制备方法,具体公开了一种耐酸碱陶瓷釉料,由以下原料制成:二氧化硅25~45份、氧化镍10~20份、氧化铬9~16份、氧化钼4~14份、氧化铜3~10份、三氧化钨1~5份、二氧化锆1~6份、氧化钛10~23份、氧化硼5~10份、煅烧高岭土9~18份和白云石10~25份。本发明提供的耐酸碱陶瓷釉料色泽鲜艳光亮,操作过程简单方便,助磨剂的加入提高了研磨的效率,起效快;各组份配比科学合理,具有优良的耐酸碱性能,生产成本低,操作过程简单可控,具有广阔的应用前景。
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李奠础;
王娟丽;
马建杰;
陈岗庆;
李瑞丰;
王志忠
- 《2006全国化工应用技术开发热点研讨会》
| 2006年
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摘要:
研究了六偏磷酸钠对纳米ZnO在水中和陶瓷釉料中的分散性以及纳米ZnO对陶瓷成品性能的影响.采用沉降实验、粒度分析、釉料流变性、陶瓷成品光泽度、烧成温度测试手段,对含纳米ZnO的水溶液、釉料和陶瓷成品进行表征.结果表明,在实验条件下,纳米ZnO在水中最佳分散条件为:0.5%六偏磷酸钠,3.0%纳米ZnO,pH为9.在陶瓷釉料中最佳分散条件为:0.5%六偏磷酸钠、4.0%纳米ZnO、pH为9、陶瓷基釉200 mL.以此釉料烧成的陶瓷制品,使光泽度提高7.14%,烧成温度降低约15°C.
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李家铎;
罗振峰;
邱再林;
张磊
- 《第八届中国建筑卫生陶瓷工业发展高层论坛暨2015中国建筑卫生陶瓷行业大会》
| 2015年
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摘要:
笔者以当前陶瓷行业常用的釉料添加剂——解凝剂STPP和悬浮剂CMC为研究对象,通过实验,提出这2种釉料添加剂的使用量和控制方法.通过实验可以看出,尽管CMC和STPP在釉料中的使用比例很低,但对釉浆性能的影响却是非常大,这就要求在选择和使用添加剂时要特别慎重,既要选对又要严格控制其使用量。由于釉料自身特性的不同和施釉工艺要求不同等差异,对添加剂的使用范围要求也会有所差异,为此在使用之前必须经过多次实验才可投入生产。同样使用在釉料中时添加剂的影响方向是大体一致的,所以使用时可保持选择方向不变的前提下,在用量方面进行实验修正,最终确定理想比例。
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Allen Rhys Richards;
艾伦·莱斯·理查德;
Emily Waugh;
艾米丽·王
- 《国际陶艺ISCAEE2015年会》
| 2015年
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摘要:
An artist is stereotypically seen as an independent worker, someone who creates amazing things by themselves in a solitary occupation. So what happens when people go against the stereotype and create in collaboration? How can this work, and what are the benefits and disadvantages. We have now collaborated in our work for more than 3 years; something that has been a most rewarding experience. It began with our research into the field of glazes but quickly overtook that and entered into our making. We each bring our own unique styles and methods to the work but they each have developed to suit and co exists with the other's fluidity. Emily's exploration in the thrown form is juxtaposed in the ordered and exacting clean cut, controlled turning of Allen's finishing. When Allen began this it was with a thought to making quick test bowls for our glazes. Emily is the better thrower and Allen the better turner but we were both quite taken aback at what could be gained though this sort of method of work. Originally I thought it would be full of compromise but now I find it brings out some of the best in us both and although I still make larger art pieces on my own I would find it very hard to separate our practices. Because of this collaboration we are both able to utilise our strengths and together feel we can achieve more. There is that fantastic opportunity for an inter-play of creativity.
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Allen Rhys Richards;
艾伦·莱斯·理查德;
Emily Waugh;
艾米丽·王
- 《国际陶艺ISCAEE2015年会》
| 2015年
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摘要:
An artist is stereotypically seen as an independent worker, someone who creates amazing things by themselves in a solitary occupation. So what happens when people go against the stereotype and create in collaboration? How can this work, and what are the benefits and disadvantages. We have now collaborated in our work for more than 3 years; something that has been a most rewarding experience. It began with our research into the field of glazes but quickly overtook that and entered into our making. We each bring our own unique styles and methods to the work but they each have developed to suit and co exists with the other's fluidity. Emily's exploration in the thrown form is juxtaposed in the ordered and exacting clean cut, controlled turning of Allen's finishing. When Allen began this it was with a thought to making quick test bowls for our glazes. Emily is the better thrower and Allen the better turner but we were both quite taken aback at what could be gained though this sort of method of work. Originally I thought it would be full of compromise but now I find it brings out some of the best in us both and although I still make larger art pieces on my own I would find it very hard to separate our practices. Because of this collaboration we are both able to utilise our strengths and together feel we can achieve more. There is that fantastic opportunity for an inter-play of creativity.
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Allen Rhys Richards;
艾伦·莱斯·理查德;
Emily Waugh;
艾米丽·王
- 《国际陶艺ISCAEE2015年会》
| 2015年
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摘要:
An artist is stereotypically seen as an independent worker, someone who creates amazing things by themselves in a solitary occupation. So what happens when people go against the stereotype and create in collaboration? How can this work, and what are the benefits and disadvantages. We have now collaborated in our work for more than 3 years; something that has been a most rewarding experience. It began with our research into the field of glazes but quickly overtook that and entered into our making. We each bring our own unique styles and methods to the work but they each have developed to suit and co exists with the other's fluidity. Emily's exploration in the thrown form is juxtaposed in the ordered and exacting clean cut, controlled turning of Allen's finishing. When Allen began this it was with a thought to making quick test bowls for our glazes. Emily is the better thrower and Allen the better turner but we were both quite taken aback at what could be gained though this sort of method of work. Originally I thought it would be full of compromise but now I find it brings out some of the best in us both and although I still make larger art pieces on my own I would find it very hard to separate our practices. Because of this collaboration we are both able to utilise our strengths and together feel we can achieve more. There is that fantastic opportunity for an inter-play of creativity.
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