Ceramic mug color glazed decoration

Aiming at the complexity of ceramic firing process, a method of ceramic firing temperature prediction function control was proposed. Firstly, the control quantity structure of the ceramic firing temperature predictive function control method is analyzed, and the predictive function control scheme is given. Then the performance of the closed-loop system is analyzed. Finally, the model is simulated.

1. Definition of the concept of high temperature color glaze painting

Nowadays, with the continuous development of science and technology, human beings' pursuit and innovation of art are also moving forward with their unique artistic language. Ceramic decorative art is one of them. Among them, the appearance of high temperature color glaze brings a new progress to the art history of ceramic decoration.

High temperature color glazed porcelain refers to the glaze mixed with different metal oxide colorants, and then applied to the porcelain tile, and then the tile was fired in a high temperature furnace above 1300 degrees Celsius. After firing, a variety of colorful glazed porcelain will be presented. High temperature glaze with its rich and colorful glaze performance, exquisite charm of the objects, style specific modeling, bright and shining color has become a shining pearl in the arts and crafts creation works. By the artist and the majority of ceramic lovers as "green as the first birthday of spring water, red as the dawn of the first time."

High temperature color glaze belongs to the underglaze decoration, which is characterized by the use of high temperature color glaze as pigment, and the painting technique of expression on the blank body, which is similar to the use of blue and white material, and is a new technique of modern ceramic painting. The difference between high temperature color glaze painting decoration and previous color glaze decoration is that it controls a variety of high temperature color glazes with different firing requirements under the same firing conditions, depicting porcelain painting themes with different images of people, landscapes, flowers and birds.

2, high temperature color glaze figure painting vivid performance

Traditional Chinese painting pays attention to the intention of the pen first, which is often said to be "confident". The painter's creation is often based on subjective impression, so he does not care too much about the real appearance of the image, and strives for the likeness. The character's activities and environment landscape, lyrical works tend to borrow to create artistic atmosphere foil modal characters, narrative works in take a banner or a long composition, especially good at by environmental scenery or indoor display space, adopt the method of main body character is repeated, elaborate the events in the process of time, break through the unified the limits of time and space.

In the aesthetic concept, "freehand brushwork" is an idea, a mental state, and the basic state of Chinese culture, while the formal freehand brushwork is the state of painting form that the painter uses pen and ink to express on rice paper. In the creation of ceramic art, artists often pursue ceramic painting works with verve, in order to express the image in their hearts, express their feelings and feelings. The creation of ceramic art works can often move the viewer, making the work more artistic appeal. The original meaning of "freehand brushwork" refers to a kind of emotion emerging from the painter's heart after his observation and experience of life, social era, nation, nature and even the whole universe, and then expressed with the help of the brush end. The "freehand spirit" of ceramic painting art is not formed in a short period of time, it is the result of the accumulation of Chinese culture and ceramic painting in the process of long-term development. All kinds of Chinese art forms are characterized by "freehand spirit", which is also the standard of Chinese philosophy and aesthetic culture. "Freehand" seems to catch the main features of objective things inadvertently, not deliberately, not artificial, so as to achieve the "vivid" state. This kind of "god" seems to be based on the familiarity with and transcendence of the picture. It requires both form and spirit. It is necessary to master the form first before you can acquire the spirit.

3, the use of color in high temperature glaze

In the creation of high temperature color glaze figure painting on Glazed ceramic tea cup, artists can have multiple forms of expression, including traditional Chinese painting and elegant western painting, which are available for the creation of color glaze. Color glaze figure painting jumps out of the traditional mode and increases the divergent thinking of the creator. The mastery and flexible use of color in high temperature glaze is an important means for the author to express his true emotion and creative intention.

The color in ceramic creation is not the same as the objective image, nor is it simply the restoration of the natural image color. In the creation of high temperature color glaze figure painting, color is not an important means of figure modeling, but to create the picture artistic conception and emotional needs, is to serve the effect of ceramic picture. Therefore, in the color glaze figure painting, the color is not affected by the inherent color, and she can change the hue of the original object image according to the needs of the picture.

4. Decoration characteristics and innovation of porcelain color and glaze figure painting

The subject of the figure painting in the ceramic color glaze is human, and the first thing is to face the human itself. All the thoughts and emotions of the human are based on the human form. The so-called "God depends on the form and transmission". In order to make one's thoughts and the spirit of the depicted objects achieve the "wonderful" and the "wonderful", the first thing is to refine and choose based on the appearance characteristics of the images. The real purpose of "writing form" is not to serve for "form", which is to "conceptualize" and "specimen" description of form. Instead, it should be refined and selected on the basis of "form" and strengthen its internal characteristics to make the image more vivid and intense. Secondly, as the creator of ceramic painting, he should use his own thoughts and hearts to comprehend and get close to the inner spirit of the object. That is, he should realize "writing God in form" by "moving his mind to get better", so as to achieve the fundamental expression of the figure. In terms of the cognition of the character, the human form is constructed by the anatomy of the skeleton and muscle, but the verve of man does not reside in the anatomy of the skeleton and muscle, but in the activity of thought and emotion. The middle line of ceramic color glaze figure painting is a way of expressing the painter's feelings, which has freehand and lyricism. First of all, line can be reflected in the modeling of characters. As an important expression language of modeling, line is used to express the external and internal aesthetic spirit of things. In ceramic painting, if the pen is properly used, the image will be vividly shaped, and the "form" will be "God". The use of bad "form" does not exist, "form" does not exist, "God" has no attachment. Another function of thread is lyric and expressive, which is the main means for ceramic painters to express their inner world. Different painters have different pursuits in art, so their ways of expressing objects will be different. If they are asked to depict the same thing or figure, the result will be different, because the line is ideographic, there is something subjective in it.

There are many factors affecting the creation of ceramic color glaze figure painting, such as the extension of traditional spirit, the renewal of contemporary ideas, the exploration of picture modeling language, and the grasp of ceramic color glaze technology. These factors will become the factors affecting the creation of contemporary ceramic color glaze figure painting. Ceramic color glaze painting, strengthen the color is very important, can increase the visual impact and appeal for the picture. Because color is an international language, it is also easy for the public to accept. The color rendering of ceramic color glaze figure painting requires the unity of subjectivity and objectivity, that is, the unity of differentiation between random color and random color. Household contemporary ceramic art of painting color glaze, especially attaches great importance to the subjectivity, the main theory of in colour respect is FuCai "class", this is the result of our history and culture, and philosophy, and is not to say that the contemporary ceramic artist disregard the true nature of things, but more deeply grasp the essence of the objective things, objective image is a basis, The process of painting cannot be a mechanical copying process. Modern ceramic color glaze painting is above the reality of art, and strive to harmony, unity, generalization, full of rhythmic artistic beauty. The detail typical can make the picture full and vivid, the detail typical is indispensable in the ceramic color glaze figure painting. In addition, the creation of ceramic color glaze figure painting should be matched by dynamic and static, the movement in the picture is the main, static is relative. People and animals are static, water moving mountains static, trees moving stone static, birds moving flowers static. The creation of ceramic color glaze figure painting should achieve shape moving meaning, shape static meaning moving, inside and outside, to get its god.

The Times are changing and society is developing. The creation of ceramic color glaze figure painting should also conform to the development of The Times. The content should be based on the current life as the creation background and the humanistic care as the subject.