• 수완나부미
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• 제2권1호
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• pp.1-16
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• 2010

Vietnamese Blue and White Porcelain is famous for its unique form and colour of cobalt. It is said to be producted from the late of 14th Century to now. Vietnamese Blue and White Porcelain of 14th Century has a Mum design similar to that of Blue and White Porcelain of 14th Century in China. The Vietnamese Blue and White Porcelain of 15th, 16th Century was trade Ceramics which were shipped overseas. A base, having a dated inscription corresponding to 1450 and kept in the Topkapi Saray Museum is the best example of Vietnamese trade ceramics. The Vietnamese Blue and White Porcelain of 15th, 16th Century was a substitute for Chinese trade ceramics in these times when China had a police of the closure of China borderers to sea trade to protect China and was exported to the western Asia and the Southeast Asia. In recent, Fustat relics of Egypt was excavated the Vietnamese Blue and White Porcelain. It means that Vietnamese Ceramics of 15th, 16th Century was substitute for Chinese trade ceramics. In addition, Thai Blue celadon of 15th Century was exported to the western Asia as like Vietnamese Blue and White Porcelain. But when a police of the closure of China borderers to sea trade in China was stopped in the late of 16th Century and Chinese Ceramics were reborn in the same time, the Vietnamese Blue and White Porcelain was declined as trade items.

• 헤리티지:역사와 과학
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• 제55권2호
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• pp.214-230
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• 2022

이 글은 조선 16~17세기 관요(官窯)에서 제작된 '별(別)'명 백자의 성격과 제작 배경을 규명하는 데 목적이 있다. '별'명 백자는 1560년대 이후 '좌(左)·우(右)'명 백자와 함께 관요 백자의 이원적(二元的)인 명문 체계를 구성하였다. 그러나 지금까지 '별'명 백자에 관한 연구는 부족하였다. 이에 따라 15~17세기 관요 백자에 새겨지는 명문의 흐름을 종합적으로 이해하기 어려웠다. '별'명 백자는 1560년대부터 1640년대까지 관요에서 생산되었다. 관요는 연례진상자기(年例進上磁器) 이외에 왕실이나 조선 조정의 요구에 대응하여 별기(別器)를 제작·공급하였다. '별'명 백자는 별번(別燔)을 통해 생산한 별기이다. 별기는 사용 목적에 따라 크게 국용(國用)과 내용(內用)으로 구분된다. 다만, 그릇에 '별(別)'만 표기되어 있는 경우에는 기명의 성격을 정확히 언급하기 어렵다. 연례진상자기가 별기로, 별기가 또 다른 목적으로 전용(轉用)되면서 소비와 관련된 명문이 백자에 점각(點刻)되었다. 16세기 왕실은 신유공안(辛酉貢案)을 바탕으로 백자 소비를 확대하였다. 왕실은 1560년대 관요의 운영 상황이 악화된 상황에서 최상품(最上品) 별기를 안정적으로 공급받기 위해 '별'이라는 명문을 활용하였다. 관요 백자는 생산단계에서부터 연례진상자기인 '좌·우'명 백자와 별기인 '별'명 백자로 구분·관리되었다. '별'명 백자는 1640년대까지 제작되었다. 1640년대 중·후반은 관요에서 별번이 일시적으로 정지되었다. 1659년경부터는 연례진상자기를 만드는 백토(白土)와 별기 소용 백토를 다른 지역에서 공급받았다. 당시 연례진상자기는 원주토(原州土)·서산토(瑞山土), 별기는 경주토(慶州土)·선천토(宣川土)를 원료로 사용하였다. 문헌(文獻)에 의하면 경주토·선천토가 원주토·서산토에 비해 훨씬 정결(精潔)하였다. 별번은 백토부터 별도로 채굴·관리하는 체계로 전환되었다. 따라서 특정한 명문을 통해 별기를 별도로 관리할 필요성이 감소되었고, 결국 '별'명 백자는 소멸된 것으로 판단된다.

• 한국재료학회지
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• 제32권8호
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• pp.354-360
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• 2022

In this study, an Co/Fe coated porcelain using a cobalt and ferrous sulfate was sintered at 1,250 ℃. The specimens were investigated by HR-XRD, FE-SEM (EDS), Dilatometer, and UV-vis spectrophotometer. The surface of the porcelain was uniformly fused with the pigment, and white ware and celadon body specimens were densely fused to a certain thickness from the surface. Other new compounds were produced by the chemical reaction of cobalt/ferrous sulfate with the porcelain body during the sintering process. These compounds were identified as cobalt ferrite spinel phases for white ware and white mixed ware, and an andradite phase for the celadon body, and the amorphous phase, respectively. As for the color of the specimens coated with cobalt and ferrous mixed pigments, it was found that the L^* value was greatly affected by the white ware, and the a^* and b^* values were significantly changed in the celadon body. The L^* values of the specimens fired with pure white ware, celadon body, and white mix ware were 72.1, 60.92, 82.34, respectively. The C7F3 pigment coated porcelain fired at 1,250 ℃ had L^* values of 39.91, 50.17, and 40.53 for the white ware, celadon body, and white mixed ware, respectively; with a^* values of -1.07, -2.04, and -0.19, and at b^* values of 0.46 and 6.01, it was found to be 4.03. As a new cobalt ferrite spinel phase was formed, it seemed to have had a great influence on the color change of the ceramic surface.

• 한국의류산업학회지
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• 제24권4호
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• pp.372-385
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• 2022

In this study, the patterns expressed on nineteenth-century blue and white porcelain among Joseon white porcelain were selected as the material for the development of the car seat fabric design. It was intended to be applied to car seat design by incorporating Korea's own traditional patterns to fit modern sensibility. First, seven pieces of nineteenth-century blue and white porcelain were selected through the literature, and motifs were produced using adobe illustrator, a computer graphic program. Seven car seat fabric designs were developed according to the construction method and development method of the produced motif. Work 1 was designed to elicit a soft and feminine atmosphere using the peony pattern shown in Table 1-1. Work 2 aimed to express a luxurious atmosphere using the image of the mountain expressed in Table 1-2 as a design material. Works 3 was designed by freely arranging the letters of luck expressed in Table 1-3 to form a free and dynamic image. Work 4 was intended to express a stable and rhythmic atmosphere by horizontally arranging the images of the gently curved wings, tail, and rhythmical tail feathers of the phoenix expressed in Table 1-4. Work 5 was designed in a vertical arrangement using the patterns and silhouettes of the tiger's back expressed in Table 1-5. Work 6 was designed using the wave pattern expressed in Table 1-6 to replicate the rhythmic atmosphere. Work 7 was designed using the images of rocks, waves, and the sun in Table 1-7 to express a calm and antique atmosphere.

• 복식
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• 제56권7호
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• pp.54-68
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• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.

• 한국의류산업학회지
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• 제11권2호
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• pp.242-251
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• 2009

Traditional patterns of Korea vary greatly and have excellent value in terms of artistic merit. Nevertheless because there are not enough the research and development of them, traditional patterns of Korea are not yet recognized in internationally aesthetic value. Therefore the development of designs modernizing traditional patterns of Korea is urgently needed. In this study, I chose Four gracious plants as the subject materials of textile design development. Before everything I examined data of Four gracious plants expressed on Blue and white porcelain. And I chose data that are suitable to express modern image among them. I set my face to develop the textile design of Korean images by adding modern scenes with them. Also, I were trying to make fashion products like muffler and tie by using techniques such as burn out, crayon dying and spray dyeing.

• 박물관보존과학
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• 제8권
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• pp.31-40
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• 2007

국립중앙박물관 보존과학팀에서는 국립지방박물관 지원사업의 일환으로 국립전주박물관에서 의뢰한 소장품 도자기 12점을 보존처리하였다. 이 논문은 처리완료 된 12점의 도자기 중에서 백자장군(전주97)과 분청사기조화어문큰항아리(전주5630)에 대한 것으로 백자장군의 처리과정에서 수집된 정보을 분석하여 제작기법 및 용도를 조사하였으며, 파손범위가 넓은 분청사기조화어문큰항아리의 효과적인 처리과정에 대하여 소개한다.

• 박물관보존과학
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• 제9권
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• pp.1-15
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• 2008

국립중앙박물관에 소장되어 있는 신안 해저 출토 유물인 경덕진 백자 중'복소법(覆燒法)'으로 제작되어 구연부에 유약이 시유되지 않은 부분에 금속 테두리(金屬釦)를 덧씌운 '청백자인각화훼문은구완' 4점과 '백자은구대접' 1점에 대해 구연에 주사전자현미경(SEM)으로 단면과 미세 구조를 관찰하였고, 성분 분석은 에너지분산형분석기(EDS)의 반사전자상(BEI)으로 측정한 결과, 금속 테두리는 은(銀)이 아닌 주석 재질임을 알 수 있었다. 또한 구연부에 금속 테두리를 접합 방법을 알아 보기 위해 퓨리어변환 적외선 분석기(FT-IR)로 조사해 본 결과, 접합 재료는 옻 성분을 사용하여 고정하였음을 알 수 있었다.

• 한국의류학회지
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• 제48권3호
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• pp.576-595
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• 2024

Bracelets have enjoyed extensive use among the Chinese since antiquity as decorative pieces credited with warding off evil forces and inviting auspicious fortune. This study aims to integrate traditional cultural elements, such as Yuan blue and white porcelain flower patterns, into modern design using 3D printing technology to create culturally inspired bracelets. To this end, bracelet designs from the top four museums on Taobao were examined. In addition, we analyzed online reviews of culturally themed bracelets using text mining and applying FEA criteria and found that Chinese consumers are easy to wear and sizable, enhance cultural pride, and drive the demand for artistically sophisticated bracelets. The research culminates in the development of a modular bracelet design inspired by flower motifs from blue and white ware of the Yuan dynasty, with an emphasis on iterative improvements based on reviewer feedback. The final design meets consumers' expressive and aesthetic needs while also maintaining cultural integrity and functionality. The aim of the study is to inspire pride in traditional culture, provide insights for fashion accessory industries, and promote the national image through the development of culturally inspired products.

• 한국재료학회지
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• 제31권11호
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• pp.608-613
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• 2021

This study investigated the reaction between clay and Mn. Mn was coated using a manganese sulfate on porcelain plate and sintered from 1,100 ℃ to 1,250 ℃. The body begin to shrink around 950 ℃ with the increase in temperature and rapidly progressed after 1,100 ℃. Shrinkage of celadon body was performed at a lower temperature than for other substrates. Quartz, kaolin, and feldspar were the main crystalline phases of the starting materials, but they became mullite and crystobalite during the firing process, and some formed amorphous glass. When manganese sulfate was applied and fired, manganese oxide was fused, and some manganese oxide reacted with the substrate to show a dense microstructure different from that of the substrate; the substrate had pores. The manganese coated porcelain fired at 1,200 ℃ had L^* values of 55.25, 36.87, and 37.13 for the white ware, celadon body, and white mixed ware, respectively; with a^* values of 4.63, 3.07, and 2.15, and b^* values of 7.93 and 3.98, it was found to be 3.42. This result indicated that the color of the surface was affected during firing by the chemical reaction between the substrate and manganese.