• Korean Journal of Materials Research
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• v.8 no.12
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• pp.1138-1145
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• 1998

The sliding wear behavior of Ni-base hardfacing alloy, Deloro 50, was investigated at the contact stresses of 15ksi and 30ksi under the various wear environments. In air at room temperature, Deloro 50 showed lower wear resistance than Stellite 6 even at 15ksi due to the occurrence of severe adhesive wear. This seems to be caused by the lower hardness and work- hardening rate of Deloro 50 than those of Stellite 6. In water at room temperature, Deloro 50 showed as good wear resistance as Stellite 6 at 15ksi. It was considered to be due to that water could effectively prevent metal to metal contact through contacting asperities. However, Deloro 50 showed severe adhesive wear at 30ksi in water at room temperature. It seems to be that the water could not suppress adhesion wear at 30ksi. At $300^{\circ}C$ in air, Deloro 50 exhibited higher wear resistance than Stellite 6 even at 30ksi. It was considered that the oxide glaze layers formed on wear surface during sliding, effectively prevented direct metal-to-metal contacts.

• Journal of the Korea Convergence Society
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• v.12 no.4
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• pp.151-159
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• 2021

The purpose of this study is to attempt a convergent study by analyzing modern funk ceramic artworks through 'Irony', which was mainly used in rhetoric and literature. The irony has come to modern times and has embraced the type of irony by Jung Keut-Byul, a literary critic who has discovered that the classifications and definitions are different from each other, and who has solved these problems and has newly classified the irony (the irony of oxymoron, the irony as a counterstatement, the irony of dramatic turn, the irony as a poetic truth) as a framework for analyzing the works of 20th century punk potters. As a result, the formative language found in funk ceramic art had many similarities with the irony of duality of surface and reality, and its humorous and comic character was more prominent than the heavy, melodramatic tone shown in literature. It was also found that the media characteristics and craft properties of ceramic art, such as clay and glaze, have become the drivers for ceramic sculptors to draw attention in funk art.

• Journal of Conservation Science
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• v.27 no.1
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• pp.31-40
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• 2011

Copper-red (Dongwha, Jinsa) is Korean traditional inorganic pigment used for red-coloring on the porcelain surface during Goryeo and Joseon Periods. Trace amounts of copper-red porcelains are handed down because of the technical difficulty of making and coloring of the pigment. It is known that copper ore sources were extensively distributed in Korea according to old literatures and some of them are still producing copper ore at this present. Main types of copper-bearing mineral in Korea are chalcopyrite ($CuFeS_2$) and malachite ($Cu_2CO_3(OH)_2$), and they are easily collected from the ground surface. This means Korea had geographical and economic geological advantages for supplying raw material of the pigment. These two minerals showed good red-coloring in color test for porcelain pigment. As a coloring element, copper showed micro size less than $5{\mu}m$ in diameter in glaze matrix. The dispersion of copper particle is the most decisive factor for red chromaticity of copper-red porcelain, as well as copper content of the pigment.

• KOREAN JOURNAL OF PACKAGING SCIENCE & TECHNOLOGY
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• v.13 no.2
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• pp.51-58
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• 2007

This research investigated the effect of different onggi containers (Korean earthenware) on the ripening of kochujang (Korean hot pepper paste). The physical characteristics of 'onggi', were evaluated as function of manufacturing variables such as raw material soils (onggi-specific soil, red brown soil, and fine powdered soil) and galzing treatments. The physical properties were then related to the compositional quality changes of the kochujang fermented at $30^{\circ}C$ for 4 months. The porosity of the onggi containers seems to be increased by the content of finer raw soil rather than the chemical component of soil (amount of CaO, MgO, $K_2O$ and $Na_2O$, acting as melting aid in the firing). Natural glaze was measured to contain higher contents of CaO, MgO, $K_2O$ and $Na_2O$ than the other soils, which is desirable property for the fired onggi. The glazed surface showed higher far-infrared radiation emissivity than the non-glazed part. The kochujang fermented in P0-BG (the glazed onggi from 100 % onggi soil) attained higher concentration of reducing sugar, amino nitrogen and nucleotides compared to those in the other onggis. All of these changes of kochujang in P0-BG resulted in significantly better sensory quality than the other treatments.

• Korean Journal of Materials Research
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• v.8 no.12
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• pp.1115-1120
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• 1998

The sliding wear behavior of Ni-base hardfacing alloy, Deloro 50, was investigated at the contact stresses of 15ksi and 30ksi under the various wear environments. In air at room temperature, Deloro 50 showed lower wear resistance than Stellite 6 even at 15ksi due to the occurrence of severe adhesive wear. This seems to be caused by the lower hardness and work- hardening rate of Deloro 50 than those of Stellite 6. In water at room temperature, Deloro 50 showed as good wear resistance as Stellite 6 at 15ksi. It was considered to be due to that water could effectively prevent metal to metal contact through contacting asperities. However, Deloro 50 showed severe adhesive wear at 30ksi in water at room temperature. It seems to be that the water could not suppress adhesion wear at 30ksi. At $300^{\circ}C$ in air, Deloro 50 exhibited higher wear resistance than Stellite 6 even at 30ksi. It was considered that the oxide glaze layers formed on wear surface during sliding, effectively prevented direct metal-to-metal contacts.

• 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.