• Journal of Digital Convergence
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• v.17 no.10
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• pp.405-410
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• 2019

This study is an primary analysis on convergence of porcelain lacquer painting art which is composed of porcelain art and raw lacquer technic. As a part of ceramic art, this study suggest 3 ways of porcelain lacquer decoration with understanding of its history and contemporary status. Lacquer technic gives stability for surface paintings and it also has various media to express its beauty. Porcelain lacquer decoration art contains artistic value and pragmatic purpose for daily life usage. These days, due to unavailability for mass production, it tends to be tried for art work purposes. However this artistic technic and value can be applied to porcelain goods, so that it will raise aesthetic pleasure and cultural diversity.

• Journal of Industrial Convergence
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• v.22 no.1
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• pp.41-54
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• 2024

Contemporary ceramic art as a new art form, how to convey the visual information of contemporary ceramic art works to the audience through the design and display of exhibition space is the primary problem of exhibition space design. Based on the current lack of research on contemporary ceramic art exhibition space design, this study focuses on the characteristics of contemporary ceramic art exhibition space design, in order to achieve the best exhibitions effect of contemporary ceramic art. Firstly, summarize the previous research and examine the "Spirit of Porcelain" -2021 Jingdezhen International Ceramic Art Biennial Exhibition held by the Art Museum of Jingdezhen Ceramic University. From the perspective of human factors engineering, combined with comparative analysis of the overall spatial layout and display space form, the scientific unity of the overall layout of the display space and the flexibility and sustainability of the exhibition space form design are obtained. The theoretical knowledge obtained in this study provides theoretical guidance and important practical significance for the design of contemporary ceramic art exhibition spaces; Simultaneously contributing to the development of contemporary ceramic art exhibition space design in China and even globally.

• Proceedings of the KACD Conference
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• 2001.11a
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• pp.593-593
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• 2001

Esthetic restoration techniques can be categorized into "Direct techniques" consist only of intraoral procedures and "Indirect techniques" include intraoral as well as extraoral laboratory steps. Those made extraorally exhibit generally enhanced esthetic potential and anatomy and better hardness and wear resistance, indirect esthetic restorations numerously applied in contemporary dentistry. Indirect restorative materials can be divided into two categories; composite resin-based materials and ceramic-based materials. These materials shows various were resistance, modulus of elasticity, repair postenital, chemical stability, and different laboratory procedures. In this session, benefit of indirect techinques, case selection of this kind of restorations, and material characteristics and fabrication produre of those materials will ber reviewed; Targis, Sculpture, Belleglass, and Post-curing of restorative composite resins in resin-based materials; Dicor, Empress, Cerec, Celay, and conventional firing porcelain in ceramic based materials.

• Journal of Conservation Science
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• v.34 no.1
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• pp.23-29
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• 2018

This study synthesized poly-urea and used it as a filler material for the restoration of porcelain. The synthesized poly-urea was manufactured as a resin and hardener mix that does not undergo contraction during curing, and is unfading. Given an adhesion strength of $180kg/cm^2$ and shearing strength of $200kg/cm^2$, the synthesized poly-urea exhibited the same efficacy as the epoxy putty currently sold in the market. Moreover, it also overcame the drawback of foaming encountered by urethane restoratives, which are a structurally similar type. The hardening time and pot life could also be controlled using additives. The poly-urea used for the restoration of modern artifacts presented a pot life of approximately one hour and took 12 h for complete hardening ($T_{90}$). When a $2{\times}2{\times}2cm$-sized test sample was added to xylene, poly-urea started to separate approximately two hours later and completed perfect pulverization within the solution 24 h later, demonstrating its reversibility. When directly applied to contemporary artifacts, it demonstrated the potential for restoration, as well as convenience and colorfulness.