• 보존과학연구
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• s.33
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• pp.109-124
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• 2012

Jangan-eup, located in Busan, South Korea,is a famous pottery-producing area in the Joseon Dynasty period. The aim of this paper was to determine the correlation of the pottery from each kiln site of Jangan-eup by analyzing the ingredients of clay as well as its production technique and firing condition. The materials that were used for the study were fragments of inlaid celadon, white porcelain, and white porcelain painted with underglazed iron excavated from six kiln sites of Jangan-eup:Sil-li, Daeryong-li, Hajangan-li, Sangjangan-li, Yongso-li, and Dumyeong-li. In each of the samples from the six kilns, cristobalite, mullite, and quats were found. The firing temperature distinguished from the crystal structure was higher in the following order: Dumyeongli>Sangjangan-li>Daeryong-li>Hajangan-li>Yongso-li>Sil-li. The samples were divided into four groups based on the ingredients of the clayfound therein: the Sil-li andDaeryong-li group, the Hajangan-li and Sangjangan-li group, the Yongso-li group, and the Dumyeong-li group. It was also found that the sample of Dumyeong-li was made using the most homogeneous clay compared with the other samples. The pottery of Jangan-eup had $40-400{\mu}m$ glaze, had bubbles in their bodies, and had $10-150{\mu}m$ sizes.

• Conservation Science in Museum
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• v.25
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• pp.1-8
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• 2021

This study investigated White Porcelain Water Dropper with Openwork Lotus Scroll Design and Eight Trigram Design in Cobalt-blue Underglaze (hereinafter, the "water dropper") in the collection of the National Museum of Korea using computed tomography (CT). A replica was produced to examine both the structure and its original production method. The CT scanning identified no joint lines or pores in the clay, which suggests that the body (the lower part of the water dropper) was shaped in a single piece using a mold and was then matched with a mold-formed lid (the upper part of the water dropper). The inner container of the body portion was roughly trimmed with a bamboo knife so that its upper surface could be securely attached to the bottom of the lid and prevent any leakage in the joined surface. It appears that the inner container for storing water was made first in a cylindrical shape that met the unit of quantity used at the time and could be easily formed by molding. It was transformed into a trapezoid shape during the process of combining it with the lid. A cylindrical inner container was reproduced using silicon 3D printing to compare its capacity with that of the original inner container. The comparison revealed that the reproduced container had a capacity of 152.5㎖, whereas the original container holds approximately 168.6㎖, a figure similar to three hop (around 174㎖) in Joseon-period units of quantity. Since the capacity of the cylindrical inner container corresponds to a known measure from the late Joseon dynasty, it is likely that the water dropper was originally produced to contain a cylindrical inner container.

• Journal of the Korean Society of Food Culture
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• v.22 no.6
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• pp.653-664
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• 2007

This study intends to consider about the food culture during the latterly Chosun Dynasty through the genre paintings which are depicted realistically about the total food life figures for example not only the foods, but also that people who eat and drink the food and eating implements, eating methods. There are 9 pieces of works Kim hong-do's which are the best appraisal on the incorporated Korean emotion and on the real life of general public. Those are selected for this study's characteristics through the literature consideration. The characteristics of the tableware pottery and food culture are following things. The first is a white porcelain's development and popularization. In the latterly Chosun Dynasty period, the development of the agriculture and commerce made been connected to the affluent food cultures, these made increase the porcelain's use of upper classes and these made been connected to the development of the porcelain's cultures. The second is the development of various pottery with a dark brown glaze manufactures. The development of agriculture and economy power made bring the development of the kinds of sauces and Kimchi culture with an inflow of foreign crops and these made making the large an earthenware pot or jar which could store something during the long time. The third is the development of the small dining table on the eating the bread of idleness. In the Chosun dynasty period, the food style was been unified to he eating the bread of idleness and been lowered. These made developed of various small dining table through the underfloor heating system's generalization. The fourth is the development of the spoon with the soup culture. It is the East Asia called that the spoon culture boundary, this show the characteristic that we use the spoon mainly compare with another countries. Finally, it is universal use of the fixed quantitative implements. They could live quantitative life with the scales which are jar of soy sauce, liquor jug, jar, scoop leading a set of tableware.

• The Journal of the Korean dental association
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• v.49 no.4
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• pp.203-210
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• 2011

The aims of this study were to evaluate the adequate thickness of opaque resins for situations such as an oral black cavity and discolored tooth structure, as well as the translucency of each opaque material at various thicknesses. Six opaque-shade composite resins (Z-350 OA3, Amelogen Universal A2O, Esthet-X A2O, Esthet-X A4O, Charmfil UO and Aelite Universal OA3) were prepared in metal molds with a hole of 8 mm in diameter and various thicknesses (0.5mm, 1.0mm, 1.5mm, 2.0mm, 2.5mm, 3.0 mm and 4.0mm). Four backgrounds (white tile, black tile, C4 shade porcelain and opaque resin itself) were used to determine the translucency parameter (between black and white backgrounds). and to mimic a black oral cavity (between black and opaque resin backgrounds) and a discolored tooth structure (between C4 and opaque resin backgrounds). Color measurements were made by a colorimeter to determine the CIELAB values of each specimen with each background and to calculate the translucency parameter and ${\Delta}E^*$ value difference among the specimens on the backgrounds. The translucency parameter and ${\Delta}E^*$ obtained between black and opaque resin backgrounds decreased in similar pattern as thickness increased. A C4 background was masked by resin thicknesses of 0.5-1.0mm, while a black background required thicknesses of 1.0-2.0mm. Adequate knowledge about differences in the optical character like translucency of the materials used is essential, together with the accumulated experience of the individual clinician.

• Journal of the Korean Ceramic Society
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• v.22 no.5
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• pp.47-53
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• 1985

In view of innovated utilization of Korean clay resources conventional techniques for pulverization are reviewed in comparison with fluid energy milling processes of fluidized-bed type. Throughout experiment indigenous halloysite ores (white grade) after usual pretreatment are employed as typical sample. It is evidenced that grinding by means of porcelain ball mills has limitation in reducing clay particles to less than 10${\mu}{\textrm}{m}$ in diameter regardless of whether it is processed in dry or wet. Upon use of tungsten carbide bull mill particulation to submicron sizes could be effected with relative ease but severe coloration in grey is attended indicating metallic contamination possibly from friction of the grinding apparatus itself. In contrast the modified fluid en ergy milling enables particulation to $\leq$10${\mu}{\textrm}{m}$ in diameter with simultaneous classification int olimited ranges of particle size distributions. Since this technique is in principle based on the interparticle collisions rather than on the frictions between particles and mill surfaces minimum impurity attendance would be an additional advantage. Evidence leads to the conclusion that the fluidized-bed type milling is regarded as highly effective in puverization as well as fractionation of the clay minerals under examination. This is especially so in contemplating high-value and/or high-purity clay products.

• The Journal of Advanced Prosthodontics
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• v.6 no.6
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• pp.555-558
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• 2014

Focal epithelial hyperplasia (FEH) is a human papillomavirus (HPV)-induced alteration of the oral mucosa that presents with a clinically distinct appearance. While other HPV-infected lesions such as squamous papilloma, verruca vulgaris, and condyloma acuminatum involve the skin, oral mucosa, and genital mucosa, FEH occurs only in the oral mucosa. The affected oral mucosa exhibits multiple papules and nodules with each papule/nodule being flat-topped or sessile. The affected region resembles the normal color of oral mucosa rather than appearing as a white color since the epithelial surface is not hyperkeratinized. Almost all cases present with multiple sites of occurrence. This rare, benign epithelial proliferation is related to low-risk HPV, especially HPV-13 and -32, and is not transformed into carcinoma. We report a case of FEH that arose on the attached gingiva of an East Asian male adult related to prosthesis without detection of any HPV subtype in HPV DNA chip and sequencing.

• Journal of the Korean Ceramic Society
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• v.43 no.10 s.293
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• pp.601-606
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• 2006

For the purpose of development of red color stain body, bone body which can be fired at 1180$^{\circ}C$ and has a higher degree of whiteness and transmission was developed and a property experiment depending on the content of $Fe_2O_3$ was performed. For manufacturing this body, 9% addition of bone ash to commercialized white body resulted in the best whiteness and proper physical characteristics. In an experiment of oxidized iron addition using this body as a basis, red color stain body fired up to 1150$^{\circ}C$ following the addition of 6% oxidized iron showed physical characteristics such as 5.4R color closer to theory color, 0.08% water absorption rate, 9.1% shrinkage, and 1861 kgf/$cm^2$ bending strength, which implies that this body is suitable for red color stain body.

• Journal of architectural history
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• v.23 no.1
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• pp.21-31
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• 2014

The paper analyzed the excavational data from Bupyeong-office in Ulsan county in Chosun Dynasty, examined the composition of the community estimated at station community, and studied the duration of the community by using the excavated relics. In addition, the paper compared the excavational data with documentary records, studied the location Bupyeong-office, and investigated the size of station community overall. Community compositions such as buildings, residential place, pits, stoves, hemp kilns, cremation tombs, and farming appliances were identified. When compared to excavated relics such as tiles, white porcelain jars, agrayish-blue-powdered celadons, and celadon porcelains from building, residance, and pits, the community existed during 14C~17C. The station location was on the west side to the quarters for Byongmajuldosa of the Left Gyeongsangdo at King's location according to the old maps and documentary records. It is widely expected that No, 201 foundation stone buildings at Pyungsan relic I was related to the station because there was a distinctions on the stone pillar waterway and high quality of location in the size(the front 9 sections ${\times}$ the side 1 section) and the community. According to the building's functions and duplication relations in the community, it is regarded that there were 33~40 ground buildings, 40~45 pitting buildings, storages or 15~30 other purpose buildings, and 5~7 public buildings around No, 210 building in Bupyeong-office town.

• Acta Via Serica
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• v.3 no.1
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• pp.119-138
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• 2018

The dragon of the East was an object of worship and an authority to make rain, unlike the West. The dragon image, one of the positively accepted Chinese motifs with the blue-and-white porcelain of the Ming dynasty by the Ottoman Empire in the 16th century, was combined with gigantic saw-edged leaves to create a genre in Saz style. By combining Eastern dragons with plant motifs instead of clouds, dragons were no longer accepted as authority and nobility but as symbols of life and longevity. Unlike Iran and other countries, the image of dragons in Turkish miniature paintings has evolved into a unique style using Turkish calligraphy. The stylistic feature is that a thick black line that gives the impression of calligraphy forms the dragon's back or a huge saz leaf stalk and forms the axis of the screen. Most of the work was black ink drawing, not painting, and partly lightly painted. In the development stage, the dragon appears as a protagonist on the screen of the early works, but the dragon retreats to the latter half and the saz leaves play a leading role on the screen. A common feature in all paintings, whether early or late, is that they have a militant character and create tension on the screen. From the viewpoint of comparative culture, Turkish dragon miniature drawings of the 16thcentury Ottoman period and the Joseon dynasty are somewhat similar in that they are based on calligraphic character and desire for longevity and loyalty, and are drawn according to certain iconic principles.

• The Journal of Korean Academy of Prosthodontics
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• v.46 no.4
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• pp.409-419
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• 2008

Statement of problem: At all times people have tried to fabricate tooth restorations using tooth colored materials. Recently, demands for esthetics, even in restorations requiring strength, has brought a revolution to dentistry and increased use of zirconia. The basic color of zirconia is white to ivory. The color can be partially adapted by veneering it with ceramic materials. However, it would be better if the substructure could already be adapted to the basic color shade of neighboring teeth. By adaptation to the basic shade, it can help to reduce the necessary layer thickness of the veneer ceramic to achieve the desired color. Purpose: The purpose of this study was to spectrophotometrically evaluate the influence of shading of zirconia core on the final shade of all-ceramic restorations using the CIE $L^{*}a^{*}b^{*}$ system. Material and methods: Core specimens (n = 20 per group) of Lava Frame Zirconia, KaVo Everest Zirconia, Digident CAD/CAM Zirconia were fabricated at 20 mm in diameter and 0.5 mm in thickness. Halves of each groups were shaded in A3 color. These core specimens were veneered with A3 porcelain of the recommended manufacturer at thickness of 0.5 mm. CIE $L^{*}a^{*}b^{*}$ coordinates were recorded for each specimen with a spectrophotometer (Model CM-2600d, Minolta, Japan) at 0.5 mm, 0.4 mm, 0.3 mm in thickness. Color differences were calculated using the equation ${\Delta}E^{*}=[({\Delta}L^{*})2+({\Delta}a^{*})2+({\Delta}b^{*})2]1/2$. Results: 1. In the case where porcelain layer has a thickness of 0.5 mm, Lava Frame Zirconia and KaVo Everest group did not show clinically perceived color difference, however Digident CAD/CAM Zirconia group showed clinically perceived color difference according to shade allowed on core. 2. When the thickness of porcelain layer decreased from 0.5 mm to 0.4 mm, Lava Frame Zirconia and KaVo Everest group did not show clinically perceived color difference, on the other hand Digident CAD/CAM Zirconia group showed clinically perceived color difference according to shade allowed on core. 3. When the thickness of porcelain layer decreased from 0.5 mm to 0.3 mm, clinically perceived color differences were observed from all three groups. Conclusions: Ziroconia system, which is possible to allow shade on core, are thought to be much more favorable to reproduce natural shade compared to systems that is impossible to give shade. Therefore, clinicians ought to choose adequate system for certain clinical situation by considering above specific character.