• Conservation Science in Museum
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• v.22
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• pp.85-96
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• 2019

The restoration of ceramics excavated in fragments is limited by the difficulty of inferring the overall shape of the original object. However, recent innovations in digital technology can help to overcome the limits of conventional restoration using handwork. This study explored the potential of digital technology by digitally restoring a shard from a white porcelain water dropper excavated at a kiln site at Sindae-ri. In order to complete the digital restoration, 3D scanning was applied to obtain scan data, and 3D modeling and texture mapping were performed. In this way, three-dimensional data with patterns and color information was acquired and the original form of the water dropper could be ascertained based on the shard. The study found that the data acquired from digital restoration can be used for various purposes, including for obtaining data on cross-sections or missing portions of a relic.

• Conservation Science in Museum
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• v.14
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• pp.29-35
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• 2013

In cases, such as white porcelain with openwork lotus scroll design, where the ceramics has intricate form and decorations, we normally use casts to restore the work, in that current restoration materials have short molding time which causes difficulties in delicate work. However, since using a cast for restoration requires longer work-time and uses more materials, we decided to restore in direct. Since the molding time in the restoration material is closely related to the workability, restoration material which secures longer work hours is necessary when directly restoring a complex form of body. Therefore we experimented on the work-time, color variation and workability as time passes by making mixtures of Epoxy putty and Baked clay in different ratios. As a result of the experiment, the mixture ratio of OS8:RQ2 turned out to be the most effective ratio.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.29 no.6
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• pp.317-328
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• 2019

In this work, we investigated clay and raw materials from China (black clay, red clay, white clay) and Korea (Cheonan clay, Obu clay) used for the manufacture of porcelain products. According to chemical analysis results, feldspar components containing CaO, K₂O, Na₂O and quartz are found in clay materials besides primary clay such as kaollinte, for the clay materials from Korea, which is found more in clay materials from Korea than from China. For the Fe₂O₃ content, governing whiteness of porcelain products, more iron oxide (> 5 %) is found in Korean clays (Cheonan clay, obu clay, red clay) compared to those form China (black, white clay). Through X-ray diffraction analysis, kaolinite and Halloysite are found to be main phases for all the raw materials and second phases such as quartz and pyrophyllite are found. Using these clay materials, raw materials for porcelain products were produced, and the physicochemical properties were investigated for sintered samples. Absorption rate is in order of Baekja-A < Baekja-B < Yeonbuncheong < Jinbuncheong < Cheongja, and the sample, sintered at 1250℃ in reductive atmosphere, exhibits the lowest absorption rate. Comparing the color of the sintered samples, the samples sintered in oxidative atmosphere (L^* value: 86~95 %) show higher whiteness value than those sintered in reductive atmosphere (L^* value: 81~93 %). For the Cheongja and Buncheong, the samples sintered in reductive atmosphre shows higher whiteness, L^* values, and low a^*/b^* value, which is due to reduction of iron oxide (Fe₂O₃).

• The Journal of Korean Academy of Prosthodontics
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• v.22 no.1
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• pp.51-68
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• 1984

The purpose of this study is primarily to test the use value of tooth ash as an alternative material of the synthetic hydroxyapatite. For this purpose the author performed the experimental study to investigate the phsyical properties of sintered tooth ash and its histocompatibility in vitro. The tooth ash was made by incinerating procedure at $650^{\circ}C,\;750^{\circ}C,\;850^{\circ}C,\;950^{\circ}C\;and\;1050^{\circ}C$ respectively. The composition of tooth ash was analyzed and X-ray diffraction was done. The experimental specimens were molded to the cylinderical form 1 cm high, 1 cm in diameter under the pressure of $1000kg/cm^2$, which were divided into two groups; the one is sintered tooth ash at $1100^{\circ}C$ and the other is fired mixture of tooth ash and dental porcelain mixed to the weight ratio of 4:6, 5:5, 6:4 and 7:3. The physical propoerties of the sintered specimens were examined and their microstructure was observed under the Scanning Electron Microscope. The results obtained were as followings: 1. The difference of the tooth ash composition depending on incinerating temperature was of no significance, but the $CO_2$ disappeared from $950^{\circ}C$. 2. X-ray diffraction showed the tooth ash was mainly composed of hydroxyapatite and a small amount of - white lockite. But phase transformation was not disclosed. 3. The microstructure of the sintered specimens of the ashed tooth powder was of no difference in the structure and grain size accompanying the ashed temperature, but sintering ability seemed to be the best in the specimen incinerated at $950^{\circ}C$. 4. There was good wettability in the mixed sintered specimens of the ashed tooth powder and the porcelain powder. 5. The compressive strength of the sintered specimens of the tooth ash incinerated at $950^{\circ}C$ was the highest with $589.75kg/cm^2$ and the porosity and the absorption were the lowest as well. 6. The mixed sintered specimens of the tooth ash and porcelain powder was good in the physical properties in the case of mixed weight ratio of 6:4. 7. The animal fibroblast cultures with porcelain showed increase in the cell number, whereas the tooth ash showed a small degree of growth inhibition. But the difference of cell multiplication efficiency between control cultures and test cultures with tooth ash was not observed.

• 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 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.

• Journal of Conservation Science
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• v.32 no.2
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• pp.273-291
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• 2016

Some ceramic artifacts representing time-wise from comb pattern pottery in the Neolithic Age to white porcelain in Joseon Dynasty were selected from 7 sites in the north and south area of Charyeong Mountain Range in order to making techniques interpretation and development process of ancient ceramics through physicochemical and mineralogical quantitative analysis. Studied pottery samples in the Prehistoric times showed trace of ring piling in soft-type, and pottery in the Three Kingdoms Period had both soft and hard-type but kettle-ware and storage-ware were made with ring piling, but table-ware was made by wheel spinning. Different from pottery after the Three Kingdom Period when refinement of source clay was high, pottery in the Neolithic Age and in the Bronze Age exhibited highly mineral content in sandy source clay, which showed a lot of larger temper than source clay. Groundmass of celadon and white porcelain almost did not reveal primary minerals but had high content of minerals by high temperature firing. Ceramic samples showed some different in major and minor elements according to sites irrespective of times. Geochemical behaviors are very similar indicating similar basic characteristics of source clay. However, loss-on-ignition showed 0.01 to 12.59wt.% range with a large deviation but it rapidly decreased moving from the Prehistoric times to the Three Kingdom Period. They have correlation with the weight loss due to firings, according to burning degree of source clay and detection of high temperature minerals, estimated firing temperatures are classified into 5 groups. Pottery in the Neolithic Age and in the Bronze Age belongs from 750 to $850^{\circ}C$ group; pottery in the Three Kingdom Period are variously found in 750 to $1,100^{\circ}C$ range of firing temperature; and it is believed celadon and white porcelain were baked in high temperature of 1,150 to $1,250^{\circ}C$. It seems difference between refinement of source clay and firing temperature based on production times resulted from change in raw material supply and firing method pursuant to development of production skill. However, there was difference in production methods even at the same period and it is thought that they were utilized according to use purpose and needs instead of evolved development simply to one direction.

• KOMUNHWA
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• no.61
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• pp.165-191
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• 2003

White Porcelain kiln sites confirmed in Wonju are a total of 12: Chijeong-Myon, Pandea-ri, Guyre-lri etc. in the early period of Chosun Dynasty, and Guyre-2ri and Songok-ri etc. There were several reasons why Wonju was the major kiln site during the early

• Conservation Science in Museum
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• v.16
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• pp.122-137
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• 2015

White porcelain pitcher with an openwork dragon and cloud design across its surface in the collection of the National Museum of Korea (Deoksu 5531) was acquired in 1915. The restoration has been so far completed only for the mouth of the pitcher. This study discusses a new method based on 3D scanning and printing for the restoration of missing parts in the openwork dragon and cloud design. A strength test was performed on six output materials that have been already commercialized for comparison with the strength of materials used for traditional restoration such as epoxy putty (Quick Wood^®) and epoxy (Araldite AY103+HY956^®). This process confirmed that the digital technology-aided making of a restoration model requires less time and efforts than handmade work, all the while producing a more precise model. More importantly, this method being a non-contact method, it reduces risks associated with handmade work. Another advantage of this method is that digital pre-restoration images can be saved and used for future references. Notwithstanding, future research is needed on how to effectively apply digital technology for restoration of ancient objects and how to evaluate and use 3D output as well as on the method of shaping, joining and coloring the 3D output.

• 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.