• 한국문화재보존과학회:학술대회논문집
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• 2007.10a
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• pp.61-64
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• 2007

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.30 no.1
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• pp.27-32
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• 2020

The main cystal phases of traditional ceramics made of clay, quartz, and feldspar are mullite and cristobalite. Although mullite can provide strength to the ceramic body, it cannot be used for the heat resistant ceramics because the thermal expansion coefficient of it is relatively high as 5.3 × 10^-6/℃. In this study, development of lightweight heat resistant ceramics was tried by producing cordierite phase, of which the thermal expansion coefficient is 2.6 × 10^-6/℃, instead of forming mullite phase in the ceramic body by using Sanchung Kaolin and Jangsu gobdol sludge. It was concluded that ceramics having good heat resistant, bending strength, and refractoriness under load could be fabricated when 80 wt% of Sanchung Kaolin and 20 wt% of Jangsu gobdol sludge were used as raw materials. Also, the bulk specific gravity is 1.78, which is lighter than the existing Buncheong ware.

• Fashion & Textile Research Journal
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• v.8 no.5
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• pp.505-512
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• 2006

Today a new culture called fusion has been forming. And it is spreading at an alarming rate in our society. When people talk about the character of Korean beauty and Korean culture, they speak taking pottery as an example. We can speak that the pottery is a core of culture which represent our people. And I think its pattern can be a good material for fusion. Also, among many Western artists, Mondrian is an unique painter who is to do with our culture. So, in this study, I chose the patterns described in Buncheong pottery and the Mondrian's works for the development of fusion textile design. Patterns expressed on Buncheong pottery are, for the most part, abstract patterns simplified the shape of object. And the Mondrian's works is the geometrical abstract painting be made by vertical and horizon. Using those I intend to develop the fusion textile designs which mixed Oriental culture and Western culture. Also, I intended to simulate them on ties and clothes and present the possibility of culture merchandise development. The reasons for doing so to let other peoples of the world, know about our excellent culture.

• Journal of the Korean Ceramic Society
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• v.47 no.4
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• pp.312-318
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• 2010

Chulwha pieces collected from Hakbong-ri site in Keryong mountain were studied whether there is reactions or not in each layer to investigate firing condition of glaze, body, Chulwha, engobe of Buncheong ware in the early Chosun Dynasty, 15th~16th Century. As a result of XRD analysis of a Chulwha piece, a main crystal phase was $\alpha$-Quartz and a second was Mullite. It was assumed the firing temperature would be around $1200^{\circ}C$ because a little amount of Mullite was formed in the body and there was no phase transition $\alpha$-Quartz to cristobalite. As a result of ICRM analysis, Chulwha and glaze didn't react and the melted glazes were sunk into the Chunwha particles. The thin layer of glaze was found on the Chulwha layer. As a result, the color of Chulwha layer always came to vivid black. Moreover, Chulwha painting didn't spread over the Buncheong ware, because Chulwha and engobe didn't react. The boundary interface of engobe and body was not clear because they had similar compositions. This shows engobe was composed of more $Al_2O_3$ than body.

• Korean Journal of Materials Research
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• v.23 no.6
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• pp.344-352
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• 2013

First, a purified sludge was calcined at various temperatures viz. 800, 900, 1000, 1100 and $1200^{\circ}C$ per hour. Subsequently 100 wt% of ware from Geryong mountain was mixed with 5~25 wt% of a purified sludge. Then the ware was treated at $1250^{\circ}C$ in an electric kiln to test a bending strength. The physicochemical property of the prepared ware was characterized by XRD, Raman and SEM analysis. Among the different percentage, 25 wt% of a ware in a purified sludge calcined at $1000^{\circ}C$ showed 689 $kg/cm^2$ strength. Also the purified sludge calcined at $1000^{\circ}C$ was adequate physical properties than the other composites. Further to enhance the physical strength, 3 wt% $TiO_2$ (a mineralizer) was added into the ware and the strength was increased up to 731 $kg/cm^2$. The composites exhibit absorption and porosity rates of 0.17% and 0.39% respectively.

• Conservation Science in Museum
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• v.17
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• pp.101-116
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• 2016

Ceramic cultural artifacts restored with gypsum-based materials are prone to decay over time due to gypsum's natural absorption and release of atmospheric moisture, often leading to distortion and peeling of painted layers. This study proposes a new restoration material which utilizes extra hard stone, significantly superior in strength to regular gypsum. In order to enhance its physical properties and make it suitable for restoration of ceramics, extra hard stone is mixed with metakaolin. This mixture far surpasses regular gypsum in compressive strength(119MPa vs. 26MPa) while also maintaining a much lower wear rate(0.88% vs. 2.53%). Furthermore, the water absorption rate(2.9%) of the mixed material is over five times lower than that of regular gypsum(17.2%). When examined using a SEM(Scanning Electron Microscope), this mixture also proved superior to extra hard stone in terms of hardened density. The addition of metakaolin increases the mixture's strength and water resistance over that of extra hard stone and also improves its surface density, making it ideal for the restoration of ceramics. It has already been used to repair ceramic objects in the Museum's collection: Clay basin(sinan 18892), Buncheong ware bottle with incised peony design(jubsu 2034), Buncheong ware bowl with chrysanthemum(jubsu 1730). Results thus far have shown the mixture to be easy to inject and layer as well as harden into an even surface, which allows for smooth application of paint for color matching.

• Journal of Conservation Science
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• v.27 no.1
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• pp.75-90
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• 2011

At the beginning of the Chos$\breve{o}$n dynasty, punch'$\breve{o}$ng began as a simplified form of inlaid celadon, and in the two following centuries it developed into a popular folk craft in various styles and expressive decorations; overtime, it was increasingly made to resemble whiteware, and its production stopped after the Japanese invasion of Korea. In the present study, the body and glaze compositions of punch'$\breve{o}$ng were examined and compared with those of celadon and whiteware, whose compositions have previously been compared with those of Chinese ceramics. Here, the analyzed shards were organized into 28 groups based on their production sites and archaeological characteristics. For each group, the body and glaze compositions of several shards(usually three to five) were obtained, averaged, and compared with those of the other groups. These comparisons showed that the majority of the punch'$\breve{o}$ng bodies were formed, like those of celadon and whiteware, with mica-quartz porcelain stone, which was commonly used in Yuezhou, Jingdezhen, and other southern Chinese kilns. The glazes consisted of clay materials and flux components made from various proportions of wood ash, burnt limestone (glaze ash) and crushed limestone. Overall, the punch'$\breve{o}$ng glazes resembled the Kory$\breve{o}$ celadon and Kory$\breve{o}$ whiteware glazes more closely than the Chos$\breve{o}$n white wareglazes. However, the $TiO_2$ levels found in the tested punch'$\breve{o}$ng were low, similar to those of Chos$\breve{o}$n whiteware; this indicated that glaze stone was used as the clay component of the punch'$\breve{o}$ng glazes, as was the case for Chos$\breve{o}$n whiteware. This study of the material characteristics of punch'$\breve{o}$ng may be used as a comparative framework for analyzing ceramic shards discovered at current and future excavations within Korea.

• 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.

• Journal of Adhesion and Interface
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• v.13 no.4
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• pp.171-181
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• 2012

The demand characteristics of the conventional 12 kinds of epoxy resins which have been used for restoration of the ceramic relics were investigated to provide standards of the effective materials in this study. The result of durability analysis showed that a liquid type is more effective in ceramic relics (low damage, high strength), and a paste type is more effective in earthenware relics (high damage, low strength). The result of workability analysis appears that the liquid type is higher than the paste type, and a slow curing type is higher than a fast curing type in surface hardness. Therefore, in the case of the liquid type which is hard to reprocess due to high surface hardness, it is necessary to conduct a study on improving physical properties by adding filler. The result of the gloss analysis on epoxy resins showed that the liquid type (colorless) has higher gloss than the paste type, and the slow curing type has higher gloss than the fast curing type in liquid types. CDK-520A/520B and Araldite SV 427-2/HV 427-1 showed the most similar gloss to $700^{\circ}C$ earthenware, Devcon 5 minute, EPO-TEK 301-2, and Quik Wood showed the most similar gloss to celadon and whiteware, Quik Wood, EPO-TEK 301-2, and Devcon 5 minute showed the most similar gloss to buncheongware. It is necessary for conservator to decide the range of the restoration surface by predicting the increase and decrease of the restoration surface because most of the epoxy resins caused the volume change in curing process.

• Journal of Conservation Science
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• v.35 no.6
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• pp.573-587
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• 2019

In this study, reproducing specimens were made from mixing domestically produced magnetite, clay and non-plastic raw materials to reproduce the pigments used in the manufacture of traditional cheolhwa buncheong stoneware. In order to reveal the color fomation of glaze, 30 specimens with good color development were analyzed scientifically. Magnetite, which is the main raw material of the pigment, is a pigment capable of creating a dark black color in a reducing environment at 1,200℃. However, it reacts with the additionally added lime component and discolors to greenish yellow color in oxidizing environment at 1,230℃. Hematite is not significantly affected by the firing temperature and environment, but develops a dark black color when mixed with clay with iron content of more than 10%. The fluidity of the pigment is determined by R₂O₃/RO₂ value, which also affects the color development. In the microtexture observation, the color formation of the glaze layer and the iron oxide crystals identified some differences depending on the particle size of the pigment and the firing environment. Reproduced specimens made of magnetite are present in the form of aggregates of iron oxide in the interface between glaze layer and slip layer in the oxidizing environment at 1,200℃. However, in the reducing environment, aggregates of iron oxides do not exist in the reproduced specimens, and they are homogeneously distributed in the glaze layer and formed a dark black color. In contrast, hematite-based specimens form dendritic structures in the glaze layer in an oxidizing environment and develop black.