• 한국세라믹학회지
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• 제43권10호
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• pp.626-634
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• 2006

Ceramics manufacturers in the nation produced more than 5000 tons of ceramics wastes a year increasing industrial waste quantity: However, almost no researches were made to reduce environmental pollution and to recycle waste ware. In this study, white ware scraps that were produced at Icheon, Gyeonggi-do were recycled to make use of them as raw materials of ceramics body and to develop new ceramics body that had economic advantages and good quality. The findings showed that the addition of waste ware had limit of 20 wt% considering molding. The addition of waste ware of 20 wt% to white ware lowered baking temperature of the white ware that was added by waste ware of 20 wt% by 30$^{\circ}C$ than existing white ware, and property values were good, for instance, porosity of 3% in average and water absorptivity of 2% in average, and the bending strength recorded more than 800 kgf/$cm^2$ to be high than that of existing white ware being sold in market. The waste ware could be used to produce new ware body and to recycle resources and to solve environmental problems caused by burial and to improve property of ceramics and to save transportation costs as well as baking costs.

• 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.

• 한국결정성장학회지
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• 제33권5호
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• pp.174-180
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• 2023

본 연구는 백자와 청자 소지에 철/코발트 황하물의 안료를 시유하여 1250℃에서 소성한 도자기 표면의 상형성을 연구하였다. 시편의 특성은 X-선 회절분석기, 전계방사형 주사전자현미경, 에너지 분산형 엑스선분석기 및 UV-vis 분광계를 이용하였다. X-선 리트벨트 정밀화 분석으로 백자소지는 석영과 뮬라이트가, 청자소지는 뮬라이트와 plagioclase가 주 결정상이다. 백자와 청자소지에 철/코발트 황하물의 안료를 시유한 경우 백자는 스피넬상이 청자는 andradite 상의 이차상이 형성되었다. 시편 소지의 색상은 밝기인 L^* 값은 백자와 청자소지가 72.01, 60.92이고 백자가 청자소지 보다는 백색도가 높다. 철/코발트 황하물의 안료를 도포한 시편에서 백자와 청자 시편의 경우, L^* 값은 44.89, 52.27, a^* 값은 2.12, 1.40, b^* 값은 1.4 5, 13.79를 각각 보이고 있다. L^* 값은 백자소지에 안료를 도포한 시편에서 큰 변화가 있으며, b^* 값은 소지에 따라 크게 차이가 나는 것을 알 수가 있다. 이는 표면층에 생성되는 Fe₂O₃ 상과 andradite 결정상 생성과 밀접한 관련이 있다.

• 박물관보존과학
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• 제5권
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• pp.5-15
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• 2004

국립중앙박물관 보존과학실은 미술관리부에서 용산 새 박물관에 개관 전시할 소장품 중 도자기실에 새로이 전시할 도자기 보존처리 목록을 보내온 바 있다. 이에 의거하여 보존과학실에서는 그 목록을 토대로 2002년부터 연차적으로 보존처리를 해오고 있는 상태이다. 이번 글은 그중 청화백자운봉문대호(접수631)와 청자공작수주(덕수5202)를 복원하는 과정을 소개하고자 한다.

• 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.

• 한국재료학회지
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• 제24권7호
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• pp.363-369
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• 2014

This is the study on diffusion of ceramic body oxide compounds to glaze. For ceramic bodies, no ferrous oxides contain white ware, celadon, and 3 wt% iron oxides contained white ware was used in this experiment. These ceramic bodies were glazed by transparency glaze, iron oxides contained glaze, and glaze made by pine tree ash that treated in 1240 degree, under reduction condition for an hour. An electron probe microanalyzer(EPMA) was used to study diffusion of oxides and to calculate distance of ceramics bodies. As a result, only iron oxide and magnesium oxide from the body diffused to glaze, and also made a band which shown very thin layer of iron oxide and magnesium oxide between the body and glaze. The densest band of iron oxide formed 100 to $150{\mu}m$ in the glaze, and the densest band of magnesium oxide was found 50 to $100{\mu}m$ in the glaze. Therefore, it could be concluded that iron oxide in the body is diffused to the glaze and it affects the color of glaze, even though iron oxide exists in the glaze. Furthermore, the thickness of the glaze has an effect on the color of celadon.

• 한국세라믹학회:학술대회논문집
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• 한국세라믹학회 2002년도 추계총회 및 연구발표회 초록집
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• pp.137.1-137
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• 2002

• International Journal of Contents
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• 제9권2호
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• pp.70-76
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• 2013

Bunjang is one of the oldest and the best known traditional pottery technique in the Korean ceramic history, which still remains popular today. This research designed for understanding origin and changing history of Bunjang, Birth of Buncheong ware, Definition of Buncheong ware, process of Bunjang, Texture of clay, Glaze, and firing, form, decorative pattern, technique of Bunjang, CIngredients and Raw material: Proportion of raw materials. Bujang technique that can be called beginning of modern ceramic art in Korea, in this research, we can recognize the aesthetic value of Bujang and how modern ceramic artists are going to take advantage of Bunjang technique for their own use.

• 품질경영학회지
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• 제28권1호
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• pp.13-26
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• 2000

It is really hard for the material factors to basically improve quality of life, since it is the only partial means of the survival and activity of life. Development of Eigen Shin-Tou-Jil(Proper Body·Earth materials), therefore, must be concentrated on providing man with essential meaning of life, not with simply economic advantage. Eigen Shin-Tou-Jil(Proper Body·Earth materials) which is formed through long passage of time in the original environments that include the climate and nature features of a special region, the representative examples are like Korea Bong-sam(a kind of genseng) of Yellow Earth etc. Unfolding the Eigen Shin-Tou-Jil(Proper Body·Earth materials) by the Algorithm of Human-ware means the development for manifesting individual eigen motives and traits as subject of behavior(Gene-ware). It is because all plants, animals, inanimate objects, including Human, have evolved with their own values in the ecosystem. It was reported that a Baeksong(white pine tree), grown well up in TongEeDong, Seoul, Korea had rarely grown up during the period suppressed by Japan. By the developments of Bio-Engineering, we also found that 40% of gene base sequence of C. Elegance(a kind of worm) is identical to that of characteristic Human. In this reason, through considering common characteristics between Human and Nature, the developments of Eigen Shin-Tou-Jil(Proper Body·Earth materials) must begin with epoch for manifesting and understanding individual's Eigen motives and traits as subject of behavior(Gene-ware)

• 한국가구학회지
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• 제27권3호
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.