20.500.12556/DKUM-99365 Preplet površine in forme keramičnega izdelka v alternativnih tehnikah žganja magistrsko delo Entwinement of Surface and Form of a Ceramic Product in Alternative Firing Techniques V magistrski nalogi obravnavam medsebojni odnos med površino in formo keramičnega izdelka ter njuno vlogo pri estetskih izidih alternativnih tehnik žganja. Magistrska naloga je razdeljena na teoretični in praktični del. V teoretičnem delu obravnavam in pojasnjujem pojme keramične tehnologije in keramičnega izdelka ter področje alternativnih tehnik žganja. Estetika keramičnega izdelka namreč temelji na njegovi izrazni površini in formi, medtem ko tehnološko zasnovo določajo avtonomne lastnosti materiala. Glina je idealen material za modeliranje, ki se pri visokih temperaturah žganja pretvori v trajno, trdo in porozno keramiko. Zgodovinski razvoj človekove keramične dejavnosti se je začel že v neolitiku s preprostimi metodami žganja, ki so primarno služile praktičnim življenjskim potrebam po shranjevanju živil. Z uporabo glinenih premazov za odpravljanje poroznosti keramike in stabilizacijo bivanja se je poudarek preusmeril k okraševanju keramičnih površin in oblikovanju zahtevnejših keramičnih form. V sodobni umetnosti so se kot odziv na tehnološki razvoj in prenasičenost komercialne produkcije ponovno začeli uveljavljati takšni starodavni in tradicionalni pristopi, saj sodobni keramiki z alternativnimi tehnikami žganja iščejo izvirne in estetsko vznemirljivejše načine izražanja. Alternativne metode, kot so žganje raku ter žganje v jami, sodu in saggarju, namreč ustvarjajo unikatne, neponovljive in nepredvidljive estetske učinke. Končni estetski rezultati so podvrženi naključnim dejavnikom, saj saje, dim in karbonizacija materiala na keramični površini puščajo dinamične barvne sledi, linijske vzorce in površinske teksture. Ob tem se izrazne možnosti gline združijo še s spontanim delovanjem ognja. V praktičnem delu tako izhajam iz dosedanjih dognanj in raziskujem vlogo površine in forme keramičnega izdelka pri učinkih, ki nastanejo pri žganju v jami in folijskem saggarju, izbranih medijih za izvedbo praktične raziskave. Izvedem pet testnih žganj in končno žganje, pri katerem na podlagi sinteze vseh pridobljenih ugotovitev ustvarim serijo končnih izdelkov. In my master’s thesis, I examine the interrelationship and role of the surface and form of a ceramic product in relation to aesthetic outcomes achieved through alternative firing techniques. It is divided into theoretical and practical parts. In the theoretical part, I discuss and explain the concepts of ceramic technology and the ceramic object, as well as the field of alternative firing techniques. The aesthetics of a ceramic object are based on its expressive surface and form, while its technological design is determined by the inherent properties of its material. Clay is an ideal modeling material that, when fired at high temperatures, transforms into a durable, hard, and porous ceramic. The historical development of human ceramic activity began as early as the Neolithic period with primitive firing methods, which primarily served practical needs for food storage. With the use of clay coatings to eliminate the porosity of ceramics and the stabilization of living conditions, however, the focus shifted toward decorating ceramic surfaces and creating more complex ceramic forms. In contemporary art, as a response to technological advances and the oversaturation of commercial production, such ancient and traditional approaches have begun to regain prominence, as contemporary ceramic artists seek original and aesthetically more exciting modes of expression through alternative firing techniques. Alternative methods, such as raku firing, pit firing, barrel firing, and saggar firing, create unique, unrepeatable, and unpredictable aesthetic effects. The final aesthetic results are subject to random factors, as soot, smoke, and the carbonization of the material on the ceramic surface leave dynamic color traces, linear patterns, and surface textures. At the same time, the expressive possibilities of clay are combined with the spontaneous action of fire. In the practical part of my work, I build upon current findings and explore the role of the surface and form of the ceramic piece in the effects that arise in the pit firing and foil saggar techniques, which are the chosen media for conducting this practical research. I conduct five test firings and a final firing, during which, based on a synthesis of all the findings obtained, I create a series of final products. keramika keramična površina in forma alternativne tehnike žganja žganje v jami žganje v folijskem saggarju Ceramics Ceramic Surface and Form Alternative Firing Techniques Pit Firing Aluminum Foil Saggar true true false K. Justinek Slovenski jezik Angleški jezik Magistrsko delo/naloga 2026-08-13 18:48:05 2026-09-16 09:02:25 2026-09-17 03:10:55 0000-00-00 00:00:00 2026 0 Maribor 0 Maribor 1 spletni vir (1 datoteka PDF (X, 79 str., [7] str. pril.)) 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 738.02(043.2) 291224835 MAG_Justinek_Katarina_2026.pdf MAG_Justinek_Katarina_2026.pdf 1 D8AA2610BCE0683DF20F97BE4992C8E7 11e4b5f2ec6b43842287af28af251d4a556c3e34beafe63dec421dd215c4e76c 700e13c9-973d-11f1-9cbc-00155d0001be https://dk.um.si/Dokument.php?lang=slv&id=209443 Pedagoška fakulteta 0 0 0