瓷器演讲稿1500 关于瓷器的演讲稿
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陶瓷店五一活动启动会发言稿
首先感谢你们能如约而至地前来参加家长会，我代表小二班的全体老师对大家的到来表示热烈的欢迎！我们今天召开这个家长会，主要目的是：
1、让大家更多的了解幼儿园，了解老师以及小班幼儿这个学期的教育目标，和孩子在园的生活、学习情况。
2、希望家长进一步配合老师，加强老师与家长之间的联系。
会议流程：
一、介绍班级老师、幼儿的情况，以及卫生消毒工作。
我是邓老师，是小二班的主班老师，另两位老师是吴老师和陈老师，陈老师主要负责幼儿的保育工作和消毒工作，我们的消毒措施主要有紫外线灯消毒、84消毒、阳光曝晒、消毒柜，每周一、三、五进行室内紫外线灯的空气消毒，每日口杯、毛巾入消毒柜消毒，室内物品等（玩具）每日经84消毒液消毒。
目前我们班共有32名幼儿，其中男生18名，女生14名，08年出生的有23个，09年出生的有9个。
二、介绍本学期的教学目标和教育理念。
关于古代青花瓷文化的议论文1500字左右
中国陶瓷发展史上，宋代是百花争艳，元代是一个过渡，明代则形成了几乎是景德镇一花独放的局面。明代景德镇的瓷器，以青花为最主要的产品。它代表了釉下彩发展的最高阶段。
明代青花瓷
洪武官窑青花是承前启后的一代产品，继承了元青花传统，但工整有余，变化不多。图案题材以程式化的花卉纹为主，布局趋于简单，扁菊纹、缠枝纹或折枝莲叶纹较为多见，龙纹出现五爪，五爪尖连成一个圆形，一般以三爪、四爪为多。造型以盘、碗、罐为主。除玉壶巷瓶、玉壶春执壶及口径在20厘米左右的大碗为釉底外，其余均为糙底。糙底的盘、碗之类底部有红色护胎釉，且多数有明显刷纹。洪武青花瓷的图案以花卉纹为主，基本上和釉里红的花卉纹相同，特别多见扁菊纹，有的器物以缠枝扁菊为主题纹饰。从传世品及景德镇窑址发现的标本看，洪武年间以碗类为主的民窑背花粗瓷底部无釉，且有尖钉状凸起，仍保留了元代斜削足的特点。
洪武官窑青花主要使用含铁量较低且淘炼欠精的国产青料，呈色多为灰蓝色。铁结晶斑点不明显。洪武青花不同于典型的至正青花的背翠艳丽，世不同于典型永乐、宣德青花的浓艳色译而有自己的特点。明代永乐、宣德青花多采用进口苏麻离青料烧制，色彩浓艳的背花纹饰泛出点点银黑色结晶斑。这种青料比国产青料铁的含量丰富，锰含量低。事实证明，青花料右不罩在釉下，烧出后则为黑色，近似唐代时耀州窑白地黑色的作品；如果罩在釉下烧制，成品则为灰蓝色。有人曾用其窑址材料做过模似试验，将青花料罩上青白釉复烧，得到的是洪武青花蓝色。
谁知道关于中国瓷器的英语介绍
CHina's china
Second only to tea, perhaps the most important contribution China made to European life was "china" itself ?the hard translucent glazed pottery the Chinese had invented under the Tang dynasty and which we also know as porcelain. China had long since exported porcelain over the Silk Route to Persia and Turkey and fine examples of pre-1500 china are still in everyday use there. (An English diplomat collected almost five tons (!) of Ming pieces while serving in Iran in 1875.) In Europe before the dawn of the China trade, the highest achievement of the potter's art was a kind of earthenware which was fired, then coated with an opaque glaze and fired again, fixing the colors with which it had been painted. This was generally named for its supposed place of origin and was known as majolica in Italy, faience in France, Delft in the Low Countries, and so forth. No earthenware could stand up to boiling water without dissolving and nowhere in Europe was it understood how to heat a kiln to the fourteen hundred degrees or so required to vitrify clay and make it impervious to liquids, boiling or not. Even so wise a man as Sir Francis Bacon could only view porcelain as a kind of plaster which, after a long lapse of time buried in the earth, "congealed and glazed itself into that fine substance." Other writers speculated it was made from lobster shell or eggs pounded into dust.
Porcelain in time became the only Chinese import to rival tea in popularity. The wealthy collected it on a grand scale and even middle class people became so carried away that Daniel Defoe could complain of china "on every chimney-piece, to the tops of ceilings, tit it became a grievance." Such abundance half the world away from its place of manufacture was due to its use as ships' ballast. The China trade came to rest on two water-sensitive, high-value commodities: silk and tea. These had to be carried in the middle of the ship to prevent water damage, but to trim the ship and make her sail properly, about half the cargo's weight (not volume) was needed below the waterline in the bilges. Very roughly, a quarter of all tea imported had to be matched by ballast and from the ships' records available, it appears that about a quarter of all ballast was porcelain. Over the course of the 1700s England probably imported twenty-four thousand tons of porcelain while a roughly equal amount would have been imported into Europe and the American colonies.
To keep up with this demand, Jingdezhen, China's main porcelain-making center since the Song dynasty, as early as 1712 needed to keep three thousand kilns fired day and night. The prices fell to ridiculously low levels-seven pounds seven shillings in 1730 for a tea service for 200 people, each piece ornamented with the crest of the ambassador who ordered it; teapots, five thousand of them in 1732, imported at under twopence each. Even if we multiply these prices by one hundred to approximate today's, it is incredibly cheap cost for porcelain of this quality. Before European-made wares came into general use around 1800, the English and European middle classes enjoyed their tea and meals from the finest quality chinaware ever used by any but very wealthy people, a quality of life for which the tea trade was directly responsible.
For years before the advent of tea it had been the dream of all European potters to produce china themselves. Britain's Elers brothers mastered stoneware, but their efforts to reproduce china proved unavailing, and so did the efforts of all the other first-rate potters in Europe. The potters of St. Cloud in France developed a substitute now known as soft-paste porcelain, but nobody came near approximating the real thing until an apothecary's apprentice named Johann - Friederich Bottger bumbled onto the scene.
When he was nineteen, Bottger met the mysterious alchemist Lascaris in Berlin and received a present of some two ounces of transmutation powder from him. If you refuse to believe in alchemists and transmutation, you may as well assume that Mr. Lascaris stepped out of a UFO for the stories of his-and Bottger's-careers are entirely too well documented to dismiss. As Lascarls no doubt intended, Bottger's couldn't resist showing off the powder's powers. Unfortunately, he also claimed to have made it himself with the predictable result that he soon had all the crowned heads of Germany in his pursuit. He finally reached safety, so he thought, in Dresden, under the protection of August 11, "the Strong," Elector of Saxony and King of Poland. But with extravagant gifts and riotous living, his stock of powder was exhausted rather sooner than later and his "protector" proved not to be the disinterested well-wisher he had seemed. Poor Bottger found himself confined in the castle of Konigstein where he was given a laboratory for his researches and a clear understanding of the fate reserved for him should he fall.
He finally convinced his jailer, a certain Count Tschirnhaus, that he was not an Adept in the spagyric arts but merely a demonstrator. The count proposed that in that case he should put the laboratory to use in quest of the secret of making china, since next to gold and power, collecting Japanese and Chinese porcelains was Augustus's ruling passion. (He had filled a palace with his collection-some twenty thousand pieces and still growing-by the time of his death.) Fortunately for the prisoner-researcher, Saxony abounds with the two main ingredients for the manufacture of porcelain-china clay or kaolin and the so-called china stone, a type of rock made up mostly of silica and alumina that serves as a flux and gives the ware Its translucency. Bottger first produced stoneware and then, after numerous false starts, finally obtained a hard-paste red porcelain in 1703. The kiln had been kept burning for five days and five nights and in anticipation of success his royal patron had been invited to see it opened. It Is reported that the first product Bottger took out and presented to Augustus was a fine red teapot. The long-sought secret had been discovered at last and after a few more years Bottger managed to come up with genuine hard-paste white porcelain.
Completely restored to favor, the young man admitted he had never possessed the secret of transmutation; he was formally forgiven and promptly appointed director of Europe's first china factory. It was established near Dresden in a little village called Meissen and proved to be worth almost as much to Augustus as the Philosopher's Stone would have been. Soon after full production got underway in 1713, the export market for Meissen figurines alone ran into the millions. In a letter of 1746, Horace Walpole grumbled about the new fashion in table decoration at the banquets of the English nobility: "Jellies, biscuits, sugar, plums, and cream have long since given way to harlequins, gondoliers, Turks, Chinese, and shepherdesses of Saxon China." Teapots and teacups were also produced in ever increasing quantities.
The English porcelain firms of the eighteenth century kept experimenting with the formulae filched from the Continent and it would be interesting indeed to know how Mr. J. Spode first hit upon the idea of using the ingredient that distinguishes English from all other porcelains-the ashes of burned bones. Yes, Virginia, bone china is rightly so-called. And from the beginning, the mainstay of the production at Worchester, Chelsea, Spode, Limoges, and all the other centers of china making in Europe was the tea equipage.
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