Aiming at the complexity of ceramic firing production process, a control method of ceramic firing temperature prediction function is proposed. Firstly, the control quantity structure of the ceramic firing temperature prediction function control method tracking the set temperature is analyzed, and the prediction function control scheme is given; then the closed-loop system performance is analyzed; and then the model is simulated.
1. Definition of the concept of high temperature color glaze painting
Nowadays, with the continuous development of science and technology, the pursuit and innovation of art is also advancing with its unique artistic language. Ceramic decorative art is one of them, and among them, the appearance of high temperature color glaze brings another new progress in the history of ceramic decorative art.
High temperature color glaze porcelain refers to the colorants of different metal oxides mixed in the glaze, and then applied to the green body of the porcelain, and then the green body is fired in a high temperature kiln above 1300 degrees Celsius. A variety of colorful glazed porcelain. High-temperature color glaze has become a shining pearl in arts and crafts creations with its rich and colorful glaze performance, exquisite and charming utensils, unique style, and bright and dazzling color. It is praised by the artist and the vast number of ceramic lovers as “green like the first birthday of spring water, red like the dawn of dawn.”
High-temperature color glaze belongs to underglaze decoration, which is characterized by using high-temperature color glaze as pigment, and creating on the green body with the expression technique of painting, which is similar to the use of blue and white materials. It is a new technique of modern ceramic painting. The difference between the high-temperature color glaze painting decoration and the previous color glaze decoration is that it controls a variety of high-temperature color glazes with different firing requirements under the same firing conditions, and depicts porcelain paintings with different images such as figures, landscapes, flowers and birds. theme.
2. The expressive performance of high temperature color glaze figure painting
Traditional Chinese painting pays attention to the priority of the brush, which is often said to “have a well-thought-out plan”. Artists often create works based on subjective impressions, so they don’t care about the authenticity of the image and appearance, and strive to be similar. In terms of the relationship between character activities and environmental scenes, lyrical works often use the creation of mood and atmosphere to set off the character’s mood. Narrative works are particularly good at dividing the space with environmental scenes or interior furnishings, and repeating the main characters in the composition of banners or long scrolls. The method of emergence breaks through the limitations of unified time and space by narrating the events that happened in the process of time one by one.
The “freehand brushwork” in the aesthetic concept is a kind of concept, a state of mind, and is the basic state of Chinese culture, while the freehand brushwork in form is the state of the painting form expressed by the painter with brush and ink on rice paper. In the creation of ceramic art, artists often pursue the artistic works of ceramic painting with charm, so as to express the images in their hearts and express their feelings and feelings. The ceramic art works created can often impress the viewers, making the works more artistically appealing. The original meaning of “freehand brushwork” refers to a kind of emotion germinated from the heart after the painter’s observation and experience of life, social times, nation, nature, and even the entire universe, and then expresses it with the help of the pen. The “freehand spirit” possessed by the art of ceramic painting is not formed in a short period of time, it is the result of the gradual accumulation of Chinese culture and ceramic painting in the process of long-term development. Various Chinese art forms have the characteristic of “freehand spirit”, which is also the standard of Chinese philosophy and aesthetic culture. “Freehand brushwork” seems to be inadvertently grasping the main characteristics of objective things, not deliberately or contrived, so as to achieve the state of “expressiveness”. This kind of “god” seems to be based on the familiarity with and transcendence of the objects. It is required to have both form and spirit, and you must first familiarize yourself with the form and then obtain the spirit.
