unglazed

简明释义

英[ʌnˈɡleɪzd]美[ʌnˈɡleɪzd]

adj. [陶瓷] 未上釉的；[纸] 无光的；没有装玻璃的

英英释义

单词用法

同义词

反义词

例句

1.Sift the anthers onto unglazed, permeable paper, such as newspaper or paper toweling, for drying.

将花药筛到无光的、具渗透性的纸上，如报纸或卫生纸，以便花药干燥。

2.The painting on the unglazed pot has been applied without using a template, with fast brush movements which seem almost modern.

关于无釉壶画已应用不使用模板，靠快速旋转运动，似乎几乎是现代的作品。

3.Foot unglazed, pan flint red.

足底无釉，泛火石红色。

4.It was at this time that potters in Yixing in what is now Jiangsu Province in eastern China first created an unglazed teapot made of brown or red stoneware for seeping tea leaves.

当时在宜兴，现在中国东部的江苏省内，陶艺工人发明了一种用褐色或者红色瓷器制作的无釉茶壶来泡茶。

5.All pots are made by hand on a potter's wheel and left unglazed so that the pot can absorb the flavor of the tea.

所有的茶壸都是在陶工拉坏转轮上面，以手工制成的。而且因为没有上釉，茶壸本身便可吸收茶叶的味道。

6.There also exist the difference between pottery and porcelain, glazed and unglazed.

有陶质与瓷质、釉饰和非釉饰之别等。

7.It was at this time that potters in Yixing in what is now Jiangsu Province in eastern China first created an unglazed teapot made of brown or red stoneware for seeping tea leaves.

当时在宜兴，现在中国东部的江苏省内，陶艺工人发明了一种用褐色或者红色瓷器制作的无釉茶壶来泡茶。

8.Prime three-color glazed porcelain name on unglazed prime tire, to impose green, yellow, eggplant purple tricolor and firing.

素三彩，瓷器釉彩名，在未上釉的素胎上，施以绿、黄、茄紫三色而烧成。

9.It came from an unglazed window-opening in a shabby little hut.

声音是从一间简陋的小屋里开着的一扇没有玻璃的窗户里传出来的。

10.The pottery was left unglazed to give it a rustic look.

陶器保持了未上釉的状态，以展现出乡村风格。

11.We decided to use unglazed tiles for the bathroom to prevent slipping.

我们决定在浴室使用未上釉的瓷砖以防滑。

12.The artist preferred to work with unglazed clay to maintain its natural texture.

艺术家更喜欢使用未上釉的黏土，以保持其自然质感。

13.The unglazed surface of the vase allowed for better paint adhesion.

花瓶的未上釉表面使得油漆更容易附着。

14.She chose an unglazed finish for her ceramic pieces to highlight the craftsmanship.

她为自己的陶瓷作品选择了未上釉的饰面，以突出工艺。

作文

In the world of ceramics, the term unglazed refers to pottery that has not been coated with a layer of glaze. This absence of glaze can significantly affect both the appearance and functionality of the ceramic piece. While many people may prefer the shiny finish of glazed pottery, unglazed ceramics offer a unique aesthetic that appeals to different tastes. The raw texture of unglazed pottery can evoke a sense of authenticity and connection to traditional crafting methods. One of the most notable characteristics of unglazed ceramics is their porous nature. Unlike glazed pottery, which is typically waterproof and non-porous, unglazed items can absorb liquids and moisture. This property makes them particularly suitable for certain applications, such as in cooking or gardening. For instance, unglazed terracotta pots are favored by many gardeners because they allow air and moisture to reach the roots of plants more effectively. This can promote healthier growth compared to glazed pots, which may trap heat and moisture inside. Moreover, unglazed pottery can be easier to work with for artists and potters. The lack of glaze means that the artist can focus on the clay’s natural colors and textures, allowing for more creativity in the design process. Many artisans appreciate the challenge of working with unglazed materials, as it requires a deeper understanding of the clay and its properties. This can lead to innovative techniques and styles that celebrate the beauty of the unrefined material. In terms of cultural significance, unglazed ceramics have a rich history in various cultures around the world. For example, ancient civilizations often produced unglazed pottery for practical use in everyday life. These pieces were functional, serving as storage containers or cooking vessels, and their designs reflected the cultural values and artistic practices of the time. Today, there is a resurgence of interest in unglazed pottery as people seek to reconnect with traditional crafts and sustainable practices. However, it is essential to consider the limitations of unglazed ceramics. Due to their porous nature, these pieces are more susceptible to staining and damage from liquids. They require special care to maintain their integrity and appearance. Additionally, some consumers may find unglazed pottery less appealing due to its matte finish and lack of vibrant colors that glazes can provide. In conclusion, while unglazed ceramics may not be for everyone, they hold a unique place in the world of pottery. Their natural beauty, functionality, and cultural significance make them worthwhile for those who appreciate the artistry of handmade goods. Whether used in the garden, kitchen, or as decorative pieces, unglazed pottery offers a distinct charm that celebrates the essence of clay itself. As we continue to explore the diverse world of ceramics, it is essential to recognize the value of unglazed items and the stories they tell through their unrefined simplicity.

在陶瓷的世界中，术语未上釉指的是没有涂上一层釉料的陶器。这种缺少釉料的特性会显著影响陶瓷作品的外观和功能。虽然许多人可能更喜欢光滑的上釉陶器，但未上釉的陶瓷提供了一种独特的美感，吸引着不同的品味。未上釉陶器的原始质感能够唤起一种真实感和与传统手工艺方法的联系。未上釉陶瓷最显著的特征之一是它们的多孔性质。与通常是防水和非多孔的上釉陶器不同，未上釉的物品可以吸收液体和湿气。这一特性使它们特别适合某些应用，例如烹饪或园艺。例如，许多园丁青睐未上釉的陶土花盆，因为它们能更有效地让空气和水分到达植物的根部。这相比于上釉花盆，后者可能会将热量和水分困在内部，从而促进更健康的生长。此外，艺术家和陶艺家在使用未上釉陶器时可能会更容易操作。缺少釉料意味着艺术家可以专注于粘土的自然颜色和质感，从而在设计过程中释放更多的创造力。许多工匠欣赏使用未上釉材料的挑战，因为这需要对粘土及其特性有更深刻的理解。这可以导致创新的技术和风格，庆祝未加工材料的美丽。在文化意义上，未上釉陶瓷在世界各地的各种文化中都有着丰富的历史。例如，古代文明常常生产未上釉陶器，以用于日常生活中的实用用途。这些作品具有功能性，作为储存容器或烹饪器具，其设计反映了当时的文化价值观和艺术实践。如今，人们对未上釉陶器的兴趣回升，因为人们寻求重新连接传统工艺和可持续实践。然而，考虑到未上釉陶瓷的局限性也是至关重要的。由于其多孔性质，这些作品更容易受到液体的污渍和损坏。它们需要特别的护理以保持其完整性和外观。此外，一些消费者可能会因为缺乏上釉陶器所能提供的色彩鲜艳而觉得未上釉陶器不那么吸引人。总之，尽管未上釉陶瓷可能并不适合每个人，但它们在陶器的世界中占有独特的位置。它们的自然美、功能性和文化意义使其对那些欣赏手工艺品的人来说非常值得。无论是在花园、厨房还是作为装饰品，未上釉陶器都提供了一种独特的魅力，庆祝了粘土本身的本质。随着我们继续探索多样化的陶瓷世界，认识到未上釉物品的价值以及它们通过未加工的简单性所讲述的故事是至关重要的。