Glazes add value to ceramic, improve its appearance (colour and shine) and make it waterproof. Through the choice of colours and designs, glazes made ceramics fashionable, even luxurious, and therefore, an object of trade. Each region and ruling dynasty developed its own style or trademark which makes them particularly suitable for dating purposes. Therefore, the study and analysis of glazes offers direct information about the acquisition of technical skills (technology), trade of specific materials (inter-regional links), migrations and the introduction/adoption of new trends. A ceramic glaze is a thin glassy layer fused to the surface of a ceramic body through firing. The interaction between the glaze and the ceramic body results in the interdiffusion of elements between both. A glaze consists mainly of an amorphous phase, but also includes bubbles, cracks and crystalline phases (undissolved compounds and crystals formed during the firing). Finally, the glazes were also decorated, and a large variety of materials and methods of applying the decorations were used. In this chapter, we present a summary of the technical characteristics of glazes (composition, microstructures and technical requirements), their discovery and use throughout history and decorative techniques. The methodology and analytical techniques to obtain the information are also discussed.

Ceramic technology. How to characterise ceramic glazes

This ASU review focuses on developments in applications of atomic spectrometry to the characterisation of metals, chemicals and materials. It is difficult to identify research trends solely from an annual review of the literature, but a certain perspective can be obtained from examining the developments described in recent years in this ASU review series. It is, for example, evident that there has been a decline in truly novel applications for the analysis of chemicals, perhaps indicative of the fact that, for most sample types, there is now an abundance of methods available in the literature. Those papers that have appeared in the year under review have either focused on specific problems not yet fully addressed (e.g. determination of Si in gasoline) or on incremental development of well-established approaches to sample preparation or measurement. Nevertheless, there has been a very noticeable increase in activity in relation to publication of methods for the characterisation of pharmaceuticals. This is directly linked to changes in the US Pharmacopeia requirements for registration of pharmaceuticals for human use that require assessments to be made for trace element content. Laser-induced breakdown spectrometry is becoming widely employed for applications involving the characterisation of a wide variety of metals, materials and other solid sample types. Efforts are being made to overcome the perceived weaknesses of the technique, such as lack of sensitivity, elemental fractionation, accuracy and/or precision. Advances have been made, for example, using dual-pulse lasers to improve sensitivity, or by employing chemometrics methods with full spectrum data to improve the robustness of calibration. Many of these reported LIBS developments draw from, and have relevance for, applications involving LA-ICP-MS, which continues to be a popular means of generating highly sensitive lateral and depth profiling and bulk compositional information for a wide range of materials and solids. The use of field portable instrumentation for in situ analysis continues grow, with LIBS and XRF techniques amongst those most frequently cited. The development of such instrumentation has had a substantial impact in the examination of cultural heritage artefacts, especially in relation to paintings, wall murals and other objects of unique historical value. The latter area of application has also seen continued use of combinations of surface (SIMS, XPS, SEM-EDS, PIXE, GD and laser ablation methods) and bulk (ICP-OES, ICP-MS, AAS, XRF) analysis techniques to reveal details of objects that would not otherwise be identified (for example preparatory sketches hidden under original works of art or materials provenance). This trend towards using a multi-technique based approach has also been apparent in the characterisation of multi-layer or heterogeneous organic and inorganic materials and metals. Finally, methods for the analysis of nanoparticles and nanostructures have been reported, based primarily on single particle (SP)-ICP-MS and flow field flow fractionation (A4F). The investigation of methods of drift correction, the use of flow injection and isotope dilution methodologies in combination with SP-ICP-MS are indicative of the further development of this field.

/pdf/atomic-spectrometry-update-review-of-advances-in-the-5dt9znhga2.pdf

Atomic spectrometry update. Review of advances in the analysis of metals, chemicals and materials

A new classification method of ancient Chinese ceramics based on machine learning and component analysis

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market. In this beautifully illustrated study, Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.

The City of Blue and White: Chinese Porcelain and the Early Modern World

Through a combination of analysis and synthesis of Laohudong Guan ware shards from Hangzhou City in southern China, some new hypotheses concerning Guan ware manufacture can be proposed. These suggest that the complex microstructures seen in Guan ware glazes, and which contribute significantly to their jade-like qualities, may owe much to layers of fine bubbles trapped during the glazing process. It is also proposed that the multi-layer glazing methods used at the Guan ware kilns at Hangzhou may have helped initially to disguise the relatively coarse and ferruginous clays used for Guan ware manufacture. Once established, the layered glazing technique was used for its own sake—eventually yielding wares that could comprise more glaze than clay. Raw materials and firing temperatures were also explored for this study, and these suggest the use of porcelain-stone/wood ash mixtures for glaze-making, with 20–30% calcareous wood ash being the usual amounts. The average heat-work for the glaze firing seems to have been equivalent to Orton Cone 7, giving a typical finishing temperature of ∼1215°C. A single biscuit firing and a single glaze firing seem likely for most Laohudong Guan wares. Studies of the losses that occur in the preparation of calcareous wood ashes suggest that very large quantities of botanic material must have been burned to provide ash for glaze-making at the Laohudong kiln. From the environmental perspective, a combination of thick glazes and heavy wood-ash usage would have placed great demands on local fuel supplies.

A Study of the Techniques Used to Make Laohudong Guan Ware in China in the Southern Song Dynasty

Fifty-eight porcelain samples in Guan ware style from the collections of the Palace Museum in Beijing were analysed using non-destructive ED-XRF. These included 40 vessels that were traditionally ascribed as Guan wares of the Song Dynasty, and 18 vessels traditionally ascribed as imitation Guan wares, made during the Ming and Qing Dynasties. The purposes of this study were: (1) to cross-check the traditional identification of these wares with the new classification based on their chemical compositions; and (2) to carry out a provenance study of the authentic Song Guan wares—that is, to compare the chemical compositions of the authentic Song Guan wares with those of the shards unearthed from the known Guan ware kilns of the Song Dynasty. This study shows that: (1) the chemical compositions of the glaze are significantly different between the Song Guan wares and the imitation wares—among the 58 wares tested, seven are likely to have been misidentified by the traditional method; and (2) the glaze compositions of the authentic Song Guan wares themselves are not homogeneous, and they can be divided into three groups. The provenance of these groups was briefly investigated.

Non-destructive analysis of ‘original’ song dynasty guan wares and later imitations from the palace museum collections, beijing

The origins of imperial yellow glazed porcelain in the Ming Dynasty (1,368 to 1,644) China: Technical comparison to low-fired tile with yellow glaze

Non-destructive EDXRF analysis has been carried out to measure the body compositions of 32 pieces of ‘original’ Song Guan ware and 14 pieces of Guan-type ware of Ming and Qing imitation from the Palace Museum collection. The purpose of this study is to test the conclusions of our previous provenance study based on EDXRF analysis of glaze composition of the same samples. In agreement with the grouping derived from the glaze composition, our new data show the following. (1) Samples G1, G3, G29 and G39 are also reclassified into Ming and Qing imitations, and samples M41 and Q54 are reclassified into authentic Song Guan wares. (2) A set of seven dishes of ‘original’ Guan ware is reconfirmed as being made in the north of China by comparison with Ru shards from the Qingliangsi and Zhanggongxiang kilns in Ruzhou city. (3) In addition, this study suggests that three wares of ‘Original’ Song Guan wares (G26, G27 and G30) should be attributed to Longquan black-body celadon. (4) The compositions of the Palace Museum Guan wares are compared with those of the shards from two Hangzhou Guan ware kiln sites. However, more work has to be done to trace the provenance of the ‘authentic’ Song Guan wares from the Palace Museum collection.

A Supplement to the Non‐Destructive Analysis of Guan Wares From the Palace Museum (Beijing) Collection, Based on Their Body Compositions

Colour and composition characteristics of beige-glazed porcelain from Jingdezhen Imperial Kiln, early and middle Qing Dynasty (18th century)

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