• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.

• Journal of architectural history
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• v.23 no.1
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• pp.21-31
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• 2014

The paper analyzed the excavational data from Bupyeong-office in Ulsan county in Chosun Dynasty, examined the composition of the community estimated at station community, and studied the duration of the community by using the excavated relics. In addition, the paper compared the excavational data with documentary records, studied the location Bupyeong-office, and investigated the size of station community overall. Community compositions such as buildings, residential place, pits, stoves, hemp kilns, cremation tombs, and farming appliances were identified. When compared to excavated relics such as tiles, white porcelain jars, agrayish-blue-powdered celadons, and celadon porcelains from building, residance, and pits, the community existed during 14C~17C. The station location was on the west side to the quarters for Byongmajuldosa of the Left Gyeongsangdo at King's location according to the old maps and documentary records. It is widely expected that No, 201 foundation stone buildings at Pyungsan relic I was related to the station because there was a distinctions on the stone pillar waterway and high quality of location in the size(the front 9 sections ${\times}$ the side 1 section) and the community. According to the building's functions and duplication relations in the community, it is regarded that there were 33~40 ground buildings, 40~45 pitting buildings, storages or 15~30 other purpose buildings, and 5~7 public buildings around No, 210 building in Bupyeong-office town.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.

• KSBB Journal
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• v.15 no.2
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• pp.208-213
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• 2000

Using three types of porcelain clays such as White, Blue, and Yellow clays, which were used as raw materials for Bae씨a, C Chungja, and common porcelains, the biological refinement by an enrichment culture of iron reducing bacteria was studied. | In the biological clay refining, amounts of leached iron increased as increasing sucrose $\infty$ncentration, which was s supplemented as a carbon and electron donor source for cell growth and iron reduction. Total amounts of the leached iron a and specific rate of iron reduction were dependent on the types of the clay. Strength and chromaticity of refined clays which a are important properties required for porcelain clays were improved as increasing sucrose concentration. The degree of s shrinking, however, did not changed. the redness among the chromaticity of refined clays is favorably reduced through the r ripening by the iron reducing bacteria. Considering iron removal efficiency and the change of physical properties, the optimal c concentration of sucrose was 4%(w/w) in the clay.

• Archives of design research
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• v.19 no.5 s.67
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• pp.17-30
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• 2006

The early Joseon Dynasty is very important period of studying about Korean history of ceramics because various kinds of porcelain were produced like celadon, brown porcelain, white porcelain, inlaid white porcelain, blue porcelain etc, $\ulcorner$sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ was published and Saongwon established its branch. Moreover, there also had a sudden political change to Joseon Dynasty, so ceramic industry in Gangjin was closed and artisans in Gangjin scattered to find safer place. One of these place was Imiwueri and Chuhyunri, Joongmohyun in Sangju.(the name of the place in that times, now Modongmyun) Also, Sangju in Gyeongsangbuk-Do is one of the places where can get materials for producing white porcelain, so artisans in Gangjin could migrate to the place during change of regime to Joseon Dynasty which based on Sung Confucianism. In $\ulcorner$Tejongsilrok$\lrcorner$, it mentioned specific areas like Joongmo, Hwaryeong in Sangju, Gyeongsang-Do and we can find out about situations of ceramic production in the early 15 centuries with producing dishes for a Royal family. $\ulcorner$Sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ mentioned Imiwueri and Chuhyunri and Sangju produced the half of porcelains. In $\ulcorner$Gyeongsangdojiriji$\lrcorner$, Sangju takes charge of 8 spots which is one third of ceramic production. $\ulcorner$Gyeongsangdojiriji$\lrcorner$ and $\ulcorner$Sejongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$ were published with same goals at the same year. In $\ulcorner$Gyeongsangdosokchanjiriji$\lrcorner$, there was deleted nine spots which included high, middle, low level compared with $\ulcorner$Seiongsilrok$\lrcorner$ $\ulcorner$Jiriji$\lrcorner$, and in $\ulcorner$Donggukyeojiseungram$\lrcorner$ there was entirely deleted the locations of porcelain spots and potteries.