• Journal of the Korean Crystal Growth and Crystal Technology
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• v.24 no.6
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• pp.256-260
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• 2014

This study was carried on the phenomena in reactivity with the clay surface according to the thickness of the cobalt component coating. In the coated specimen, it was observed that the cobalt component was spreaded to diffuse with a constant thickness from the surface of it and the diffusion layer at the white porcelain soil was more increased with the increase of the amount of cobalt sulfate than at the celadon porcelain one. It was evaluated that the color of the surface on the coated specimen at the white porcelain soil was changed from grayish blue to blue and the $L^*$ value was decreased from 51.78 to 37.61 and also in the case of the coated specimen in celadon porcelain soil, $L^*$ value was from 53.91 to 38.93 and the color was from dark olive gray to dark gray. The physical properties of the specimen were characterized by X-ray diffraction, Scanning electron microscope, Dilatometer, TG-DTA, UV-vis spectrophotometer and HRDPM.

• Journal of the Korean Society of Food Culture
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• v.18 no.6
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• pp.536-543
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• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• Journal of the Korean Ceramic Society
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• v.51 no.1
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• pp.11-18
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• 2014

Onggi, which is described as a breathing pottery, has strongly influenced the traditional food culture in Korea. In this study Onggi is compared to porcelains including celadon and white porcelain to analyze the sources of pore formation. The differences in starting materials are examined for chemical and mineralogical compositions, particle size and distribution. The gas permeability of the fired samples is correlated to the matrix microstructure. The broad particle size distribution and high iron oxide content of Onggi are revealed as the major cause for the pore formation. Open pores are formed with large particles in the Onggi body while closed pores have a high iron oxide concentration. The Onggi body with increased open pores leads to the high gas permeability.

• Science of Emotion and Sensibility
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• v.19 no.2
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• pp.101-112
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• 2016

Selecting appropriate materials can be significantly important to make different image in the product and also give distinguished express to the users. A material for the ceramic product surface consists of the combination between a glaze and a body, and each attribution of materials and the way of the combination creates different texture and color. This study analyzes the difference between visually and tactually sensibility of ceramic surface to through the simulating both visual and tactual stimulation by verbal evaluation method. Totally 13 adjectives are selected from homepage of local and global ceramic product brand. And totally 12 ceramic samples are created with the consideration of color, glossiness and roughness. These 12 samples are the combination between four ceramic bodies (White porcelain, Celadon_c, Sancheong and Black soil) and three glazes (Transparent, Celadon_g, Black glaze). The respondents of first survey were asked to rub, touch and hold before evaluating the sensibility of ceramic surface and other respondents of second survey were asked to evaluate visual images of 9 samples which showed meaningfully difference from first survey. The surface which scored the highest sensibility with the first survey was 'pure' on a surface of White porcelain body with Transparent glaze, and the lowest was also 'pure' on a surface of Black soil body with Transparent glaze. The highest score in the second survey was the same result as the first survey, but the lowest scored 'casual' and the surface was Black soil body with Celadon glaze. By the comparison with two survey results, not every sensibility is same result shown as the first survey and the second survey, but the tactile sensibilities such as 'artistic', 'luxurious', 'sensuous', 'romantic' and 'mysterious' can be experienced by via visual materials of ceramic surfaces.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.61-78
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• 2008

Celadons painted in underglaze iron brown 'Sung(成)' inscription are characteristic celadons excavated only at the No. 7 kiln site located at Sadang-ri(沙堂里), Daegu-myeon(大口面), Gangjin-gun(康津郡), Jeollanamdo(全羅南道), Korea and has inscription in the inner center of the foot by brush. The inscription was marked where it is not easily seen. it can be assumed that since it showed a variety of hand writings, many people were involved in manufacturing these celadons and the 'Sung' inscription was marked after workshop rather than manufacturer. It was also found that quality of glaze, paste, shape, pattern and firing method were same and these were manufactured with the same techniques in the same period. Kinds of these celadons were mainly sets of tablewares including bowl with handle, bowl, plate, cup, bowl with cover and bottle. Raised relief designs using extrusion technic were especially preferred rather than incised designs and inlaid designs. Cases of using inlaid designs were not frequently found compared to incised designs, thus it can be assumed that in this period, inlaid designs were not generally used. Special designs having the meaning of authority or dignity such as chrysanthemum, peony, parrot and lotus plate designs were not found. Foot was molded with 'U' type except some bowls with cover and plates and firing was done after glazing the whole surface of the ceramic with the support of quartzite at 3 to 4 places of inner bottom of foot. Production period of these celadons with 'Sung' inscription can not be confirmed from other excavation sites outside of No. 7 kiln site at Sadang-ri since there are no other excavation sites whose relics bear 'Sung' inscription. Through comparison research with other relics bear the characteristics of these celadons from tombs, temple sites, shipwrecks, production period of these celadons with 'Sung' inscription can be assumed as second quarter of 13th century. And since the quality of these celadons are generally inferior to the top-quality celadons which were supplied to royal familes and high-ranking aristocrats, it can be deducted that these celadons with 'Sung' inscription were supplied to classes lower than royal familes and high-ranking aristocrats. So it is considered that Celadons with 'Sung' inscription have a great significance as a chronological material to complement the blank of the first half of the 13th century because most of celadons with raised relief designs and engraved relief designs were attributed to 12th century, the period of prosperity.

• Journal of the Korean Ceramic Society
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• v.41 no.2
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• pp.158-164
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• 2004

This study is to analyze the characteristics of typical Korean wood ashes from twelve trees, oak tree needles and pine bark, which are common in the area, and to suggest their applications in ash glaze making. The chemical analysis of the ashes shows that the main component of wood ash is CaO while wood bark ash consists of $SiO_2$, and leaf ash consists of CaO and $SiO_2$. The results of the study are as follows: Ashes made from the wood of Acasia, Popular and Jujube contained relatively high amounts of Fe$_2$ $O_3$ and MgO compared to other tree ashes. The ashes had yellowish green color glaze. From the result of W analysis they presented the highest chroma. Therefore these ashes are good for making transparent glaze. From the result of W analysis Grapevine, pear and oak wood ashes containing the highest amounts of Fe$_2$ $O_3$, MgO, P$_2$O$\_$5/ and MnO presented yellowish green color glaze compared to other ashes are suitable for making opaque glazes because of their showing stable and opacity phenomena. Pine tree, Platanus and Zelkova wood ashes consist of high amounts of CaO and P$_2$O$\_$5/ compared to other tree ashes. So they showed the most vivid and bluish green color glaze among 12 ashes. Therefore, they would make a good celadon glaze. Birch, oak and chestnut tree ashes have high content or MnO which affects on glaze color with small amount. These ashes presented yellowish green color not as much strong as Acacia ash, Poplar ash, Jujube tree ash. These are good for Irabo glaze.

• Journal of Conservation Science
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• v.27 no.4
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• pp.403-414
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• 2011

This study is re-creational experiment of Goryeo gold-painted decoration based on the research of the gold remaining and gold painting technique on the two pieces of Goryeo gold-painted celadon and the three pieces of Chinese gold-painted porcelain on North Song period which ones have been owned by National Museum of Korea since 2007. For the observation of glue state and color developing ability, four kinds of agglutinative agent and gold powder were mixed over the porcelain sherds, then gradually fired from $100^{\circ}C$ to $1200^{\circ}C$. Visual effect and ideal temperature were measured. Among of them, oil and glue showed the best results in glue state and color developing ability. Through those results, the entire Goryeo engraved celadon were reproduced in modern facilities. Oil and glue were gold-painted over the glaze then it was fired at the ideal temperature 700 to $800^{\circ}C$. For observation the binding condition, the gold-painting cross section was looked by the scanning electron microscope (SEM). As the result, oil and glue did not make much difference in Agglutinative agent, but gold was good, the color developing ability, however, in the case of oil, the edge of gold is curled because of its interfacial tension, and it is not dried well at room temperature so the working property is not as good as the glue. Glue more effective in terms of work efficiency, but color developing ability to fall slightly in this experiment were able to see through.

• Journal of Conservation Science
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• v.36 no.5
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• pp.306-314
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• 2020

The use of synthetic resins in ceramic restoration poses several challenges, including aging and potential damage to artifacts, which has raised the need to investigate new materials and restoration methods. This study set out to incorporate full color 3D printing into the 3D digital technology-based restoration method, an emerging approach currently being researched, and to print out missing parts with color information. After examining material physical properties with an experiment, the investigator printed out missing parts from a white porcelain vessel and grayish-blue-powdered celadon plate and compared them in chromaticity and brilliance. The experimental results show that the outputs had comparable tensile strength to the original restoration materials, whereas the recorded compressive strength was approximately 1.4~2 times higher than that of the original restoration materials. According to the NIST table of color difference values, the white porcelain vessel was visible at ΔE^*ab 1.55, and the grayish-blue-powdered celadon plate was perceivable at 3.34. Even though it was impossible to express the colors accurately owing to printer limitations, this non-contact approach reduced the possibility of damage to the minimum. In conclusion, it can be applied to objects with a high chance of damage or generate display effects through purposeful color differentiation in missing parts.

• Journal of Conservation Science
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• v.6 no.1 s.7
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• pp.15-30
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• 1997

The chamical and physical properties of the fragments of an ancient pottery such as earthenware, gliazed pottery and celadon excavated in Chonnam province has been investigated by X-ray diffraction inductively coupled plasma spectroscopy(ICP), thermal mechanical analysis(TMA). Glazed pottery fragments of Chonnam province are cotaining Fe2O3 $4\~7\%$ by the analyis of ICP, firing temperature range was presumed to $1100-1150^{\circ}C$ by TMA. Celadon fragments of Chonnam province are containing Fe2O3 $2\~3\%$ by the analyis of ICP, firing temperature range was presumed to $1140\~1200^{\circ}C$ by TMA. The charateristics in the trace element composition of an ancient pottery of Chonnam provinceis are similar, it is an reflection of similar geological charateristics. The charateristic elements of Chonnam provincical ancient pottery were Rb, Sr, V, Zr, Y, Nd, Sc, La, Ce, Nb, Sm, Eu, Dy and Yb of the analyzed 21 trace elements. By Fe2O3-Zn ditribution diagram, potteries excavated in Yong-am, celadons excavated in Haenam, Kangjin, Buan and glazed pottery excavated in Hae-nam are grouped into the same class.

• Journal of the Korea Convergence Society
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• v.10 no.2
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• pp.133-139
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• 2019

A Convergence Research Study of Southern Fujian Region in China during the Song Dynasty analyzing the Export of Ceramics During the Song Dynasty in China ceramics made in the Southern Fujian (also known as Minnan) region were exported to different countries in Southeast Asia including the Philippines, Thailand and more. They were even exported to Korea, Japan and through trade they traveled as far as Africa. Ceramics was one of the three main sea route export item of China at the time and there were active commercial trading between Korea as well as other countries, enabling ceramics to develop rapidly. The harmonious reciprocal relationship between the geographical, political, cultural, economical characteristics of Southern Fujian enabled a unique type of celadon ware widely recognized to develop. Ceramics of this region is one of a kind in terms of history when we relate it to research on integrating different elements. It suggests a unique convergence of culture when we study its forms and its industrial characteristics. The study attempts to analyze the influence of geography, politics, economy and culture on the different phenomena found in ceramics. Different paradigms associated with changes of environment reflect on continued development in the field of ceramics.