• The Journal of the Korean dental association
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• v.27 no.8 s.243
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• pp.747-762
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• 1989

Enamal은 인간의 몸중에서 가장 단단한 조직이다. 이것은 치관을 덮고 있으며 Dentin을 보호한다. 치아의 색깔은 Dentin을 덮고있는 enamel의 두께에 의해 결정된다. 절단면은 Dentin이 없기 때문에 gray-white이며 치경부는 Dentin을 덮고 있는 enamel의 두께가 얇기 때문에 Yellow-white이다. 이러한 면에서 볼때 치관의 색깔은 Dentin이 투과성이 있는 enamel을 통과해서 나오는 색깔과 enamel자체의 색깔이 혼합되어서 만들어 진다고 할 수 있다. 현재 미형적(esthetic)으로 사용되고 있는 PFM은 이러한점을 완전히 만족시킬 수 없다. 잘 선택된 경우에 이러한 측면에서 SHADE를 완전히 만족시킬 수 있는 보철물이 있다. 바로 Porleain laminate veneer이다.

• 한국문화재보존과학회:학술대회논문집
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• 2007.10a
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• pp.87-89
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• 2007

• Conservation Science in Museum
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• v.5
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• pp.5-15
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• 2004

The Fine Art Department has sent a list of ceramic ware to the Conservation Science Laboratory of the National Museum of Korea for conservation treatment. The listed ceramic ware will be newly displayed in the ceramic ware gallery of Yongsan Museum after it is opened. Based on the list, Conservation Science Laboratory has been taking special measures to conservation the ceramic ware since 2002. This paper attempts to introduce the process of restoring the Blue-and-white porcelain Jar with phoenix Design (Jubsoo 631) and Celadon peahen-shaped water dropper (Duksoo 5202).

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.663-674
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• 2019

The background of the study is to experiment with the color glass plaster technique and the resist printing technique which are newly developed with the motif of natural leaves, and to make an interior vase added with new and unique decoration by fusing with ceramic vases. First research and development method is to describe the color glass plaster technique. Second is to explain the resist printing technique and study the decoration method. Third is to examine the history and kinds of vase. And lastly, it is to design 16 vases contemporarily, and use the leaves to experiment with oxidation and reduction of white porcelain and celadon. This experiment acquired the unique color expression by yaobian, and the soft, warm brown resist printing gradation was formed around the leaves. It will get good effects and results by expanding and applying the unique experiment effects to living interior porcelain, molding porcelain, and industrial porcelain.

• Archives of design research
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• v.21
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• pp.99-106
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• 1997

There were the changes of shapes and color tones when the soil materials e.g. Blue-Porcelain, White-Porcelain, Bunchong, mixed A and B, mullite, Sanchong and Ongki - used by most domestic ceramic artists - were glazed at $ 950^{\circ}C,; 1200^{\circ}C,; 1250^{\circ}C,; 1280^{\circ}C,;1300^{\circ}C$ After the materials were dried out at 120t: in an electric oven, they were mixed with water, keeping the percentage of moisture content 25% and kneaded specimens which are hexahedron by $$ 250{\times}30{\times}8mm$$were produced and dried after calibrated at 200mm interval with a vernier caliper. After the materials were dried and glazed, they showed few shape-changes at $950^{\circ}C$ but began to changed at $1200^{\circ}C$,especially Bunchong and Ongki made rapid changes. In the case of color-change, White-Porcelain changed very little. The color of Blue-Porcelain, mixed A and B, Sanchong, Mullite changed to ]aune brilliant as temperature went up but Bunchong and Ongki changed to dark brown or dark chocolate under the same conditions. This study aims at suggestion of the basic data which minimize failure rates by recognizing the property of the materials on the basis of this study and regulating shape-change phenomena and sensitive changes of color when ceramic artists work.

• 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.

• Culinary science and hospitality research
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• v.15 no.3
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• pp.29-41
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• 2009

This study analyzed the differences of tableware and garnish decoration in color and material by conducting a content analysis of 1,357 pictures from food-styling magazines and a survey of 84 restaurants in Seoul. The data used for the study were collected from Cookand and Best Home Magazine and the survey results of the restaurants. Results of the study were as follows: First, both food coordinators and upscale restaurants preferred porcelain while low-priced restaurants tended to use plastic as materials. Second, the preferred color of tableware was white as it is believed to represent the image of neatness and purity. Therefore, food coordinators prepared food in magazines for food-styling and upscale restaurants using white porcelain tableware, and low-priced restaurants also did using white plastic tableware. Finally, the preferred color of garnish decoration was green. Most professional food coordinators tended to use red and green colors to emphasize the combination of complement colors, and some expensive restaurants used five garnish decoration colors.

• 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.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.20-37
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• 2017

It is called the "Painted lead glaze pottery" that is painted green, brown, yellow over white or light yellow glazed base among glazed pottery in the Northern Qi Dynasty. Even though the white glazed pot painted green with three ears and the yellow glazed jar painted green with long neck is found in the Fan-cui Tomb in Honghetun Village, Anyang City, Henan Province in 1971, these potteries were not focused in academic circles. While the white glazed pottery found with them was thought as the earliest evidence of the white porcelain that the date is clear, it has constantly been discussed so far. In this paper, focused on the painted lead glaze pottery, the materials from tombs and kiln sites are organized, and based on them, the decoration feature and production technique is analyzed. The emergence time of this pottery is checked by the date of tombs and the social value of this pottery is considered by the position of the buried person. The painted lead glaze pottery of the Northern Qi Dynasty has independent character such as porcelain clay, twice firing burning and painting technique over glazed base. This character emerged from several glazed potteries in the Northern Wei Dynasty and it continued to the Northern Qi Dynasty. At last, the white painted lead glazed pottery appeared. The painted lead glaze pottery was formed by the combination of a shape of the ceramic in Southern China and painting technique after the Northern Wei Dynasty in Northern China.

• Bulletin of the Korean Chemical Society
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• v.23 no.11
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• pp.1531-1540
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• 2002

With the invention of the inlaying technique for celadon in the latter half of the 12th century, the Koryo potters reached a new height of artistic and scientific achievement in ceramics chemical technology. Inlaid celadon shards, collected in 1991 during the surface investigation of Kangjin kilns found on the southwestern shore of South Korea, were imbedded in epoxy resin and polished for cross-section examination. Backscattered electron images were taken with an electron microprobe equipped with an energy dispersive spectrometer. The spectrometer was also used to determine the composition of micro-areas. Porcelain stone, weathered rock of quartz, mica, and feldspar composition were found to be the raw material for the body and important components in the glaze and white inlay. The close similarity between glaze and black inlay in the microstructure suggests that the glaze material was modified by adding clay with high iron content, such as biotite, for use as black inlay. The deep soft translucent quality of celadon glaze is brought about by its microstructure of bubbles, remnant and devitrified minerals, and the schlieren effect.