陶瓷、陶瓷釉和玻璃同為矽酸鹽產物，陶瓷、陶瓷釉和玻璃在製造過程中，皆需用火來加熱，使它們由數種各具特質的物質變化成另外一種熔融的物質。日常生活中常見的陶瓷和玻璃，雖然各有其製造的方法、加工技術和個別產生的質感，而衍生出個別的風格。但是也常見陶瓷和玻璃結合的產品組合，有釉的陶瓷品就是一個例子，那是因為陶瓷釉，不管是在材料的化性和物性上，都可以將他視為是披覆在陶瓷坏胎上的玻璃。自有釉的陶瓷器產生以來，就有陶瓷與玻璃材質的結合了，只是長久以來，玻璃之於陶瓷造型上的地位皆屬附庸。

受到盛行的後現代主義的影響，本創作希望能夠透過一連串的陶瓷與玻璃結合的創作與實驗，解構過去陶瓷和玻璃的關係，也解構了陶瓷或玻璃各自的「主體性」，改變既有的比例關係；重新拼貼和湊置，創作出材質結合的新關係及新的造形空間，深入的探討陶瓷及玻璃結合的更多可行性；藉由玻璃與陶瓷材質之平面及組合的創作達到：
1.在陶坏上控制玻璃造形的新組合，產生結合兩者材質的新風格。
2.創作陶瓷與玻璃材質結合的造形新技法。
3.能夠表現陶瓷與玻璃結合產生多層次的視覺美感。
4.創作介於玻璃和陶瓷之間半透明獨特質感的作品。
本創作共計有五章，第一章是緒論，論述研究背景動機與研究目的，並且說明研究方法、研究流程和研究方法與限制。
第二章是文獻探討，藉著文獻資料探討陶瓷、玻璃、玻璃陶器的質感，藉由陶瓷與玻璃的各種加工方法，尋求陶瓷與玻璃材質結合的創作方法，並歸納前人的觀念與技術。
第三章敘述本系列創作所引用的實驗與裝飾方法之分析，包括：玻璃和陶瓷的量比實驗以及陶瓷和玻璃的裝飾方法之比較與應用。
第四章敘述本創作之過程與創作之衍生的發展，分別記述陶瓷與玻璃材質結合的平面、立體的創作以及結合的質感所產生的作品過程。
第五章為本創作之結論與後續研究，對本創作「陶瓷與玻璃材質的結合，在裝飾藝術上之創作」方向作一總結，並就此創作提出後續研究的可能性以及創作上的所遭遇的困難與限制。

複合媒材的創作與材質的多樣應用，是產品設計發展的趨向之一，本創作不管是站在陶瓷裝飾和加工的觀點，亦或是從玻璃的裝飾和加工的角度來看，都有別於傳統的陶瓷或玻璃單一材質的創作，未來將有助於陶瓷與玻璃產業或藝術創作的發展。

Abstract

Pottery, pottery glaze, and glass are all products related to silicates. It needs to heat them in the course of making to have them change from several kinds of materials with different characteristics into another kind of melting material. Although the pottery and glass seen in daily life are made by different methods, process technologies, and individually produced feel to derive specific style, it is not rare to see products made of combinations of the pottery and glass, such as the pottery glaze. The pottery glaze on both of chemical and physical properties of materials are regarded as the glass which cover in the pottery in initiative form of body makes it happen. Since the pottery glaze emerges, there are combinations of the pottery and the glass materials, just for a long time, the status of the glass for the modeling pottery all belongs to the modeling pottery’s dependency.
Influenced by post modernism in vogue, this creation hopes that it can combine the pottery with the glass through a succession of creations and experiments, to destruct the relation between the pottery and glass, to destruct entities of the pottery and glass, to change the proportionate relationship that has already had, to gather and compose pieces together again, to create out new relation and new space of model after the materials combine, to deeply discuss more feasibility as the pottery and glass combine, and to reach the followings with levels of the glass and pottery material and creations based on their associations:
1.Controlling new combinations of the glass model in body form of the pottery and producing new styles from the new combinations
2.Creating a new skill and technique of the pottery combining with the glass material
3.Displaying multi-level aesthetic vision produced by combination of the pottery and glass
4.Creating translucent and unique works with the feel between the glass and pottery
There are five chapters totally in this creation. Chapter One is an introduction expounding backgrounds, motives, and purposes of the research and stating approaches, procedures, and restrictions of the research. Chapter Two is a literature discussion to probe into feels of the pottery, glass, glass pottery and seeks creating methods combining the pottery with the glass materials by various kinds of processing methods of the pottery and glass and sums up pioneers’ concepts and technologies. Chapter Three narrating analyses of quoted experiments and ornamental methods in this series of the creation includes: experiments of quantity comparisons between the glass and pottery, in addition, comparisons between the pottery and ornamental methods of the glass and their applications. Chapter Four narrates course of this creation and derived developments of this creation separately records levels of the combined pottery with the glass materials, three-dimensional creations, and course of production of combined feels. Chapter Five is a conclusion of this creation and follow-up studies to sum up the direction of “Combinations of Pottery and Glass Materials and Creations on the Ornamental Arts” and to put forward the possibility of the follow-up studies and difficulties and restrictions met on the creation.

Creation of multiple media and applications on a variety of materials are trends of product designs and developments. No matter the view standing in the pottery decoration and processing of the creation or from the point of view of ornament and processing of the glass, this creation is different from the traditional pottery or creations of single material of glass. It will contribute to the developments of the pottery and industry of the glass or the developments of artistic creations in the future.

中文部份
宋龍飛，1989年，《陶藝千秋》，行政院文化建設委員會，臺北
程道腴，賴玉足譯，1987，《窯業配方總綱》，徐氏基金會出版，臺北
程道腴，1977，《陶瓷學》，徐氏基金會出版，臺北
汪建民主編，1999，《陶瓷技術手冊》，中華民國粉末冶金協會出版，新竹
程道腴 鄭武輝譯，1992，《玻璃學》，徐氏基金會出版，臺北
程道腴 鄭武輝譯，1984，《窯業專論文集》，徐氏基金會出版，臺北
劉振源，1999，《雅笛哥藝術》，藝術圖書公司，臺北
任閣，1974，《陶瓷基本教材》，徐氏基金會出版，臺北
陳昌蔚，1982，《中國陶瓷3 宋.元瓷器》，光復書局，臺北
那志良，1985，《光燦華麗的琺瑯》，行政院文化建設委員會，臺北
呂清夫，2000，《造形原理》，雄獅圖書公司，臺北
那志良，1988，《精緻溫潤的玉》，行政院文化建設委員會，臺北
韓韓，2000 ，《中國古玻璃》，藝術家出版社，臺北
高橋宣治，1993，《陶瓷美》，藝術圖書公司，臺北
宋光梁譯，1987，《陶瓷技術概論》，徐氏基金會出版，臺北
田自秉，《中國工藝美術史》，丹青圖書公司，臺北
楊裕富、林萬福，2004，《後現代設計藝術》，田園城市文化事業有限公司，臺北
李知晏，1993，《中國古代陶瓷》，臺灣商務印書館，臺北
佐藤雅彥著 ，陶青山編譯，1986，《陶藝燒繪入門》，武陵出版社，臺北
葉劉天增著，1997，《中國紋飾研究》，南天書局，臺北
林榮洲總編輯，2001，《2001國際玻璃藝術節北歐風情館展品專輯》，新竹市玻璃工藝博物館
林榮洲總編輯，2001，《2001國際玻璃藝術節鑲嵌館展品專輯》，新竹市玻璃工藝博物館
洪惠冠總編輯，1997，《`97竹塹國際玻璃藝術節成果專輯》，新竹市立文化中心

英文部份：
Keith Cummings，1998，《Techniques of Kiln-formed Glass》，A & C BlackLondon University of Pennsylvania Press Philadelphia
Norm and Ruth Dobbins，1998，《Etched Glass Techniques& Designs》，Hand books press

日文部分：
由水常雄，1992，《-..-技法》，東京工芸研究所刊，東京

網站部份：
楊裕富，2002，《楊裕富講義：設計，本土，設計史－設計運動的批判》，頁3www.yuntech.edu.tw/~yangyf/eeh/cf101.html （03 10 2005瀏覽）