• Journal of Digital Convergence
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• v.17 no.3
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• pp.427-432
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• 2019

In the 12th century to the 13th century, was the heyday of celadon, Koryo celadon after experienced celadon firing technology of imitation to the peak period of the development of Chinese celadon, especially on decoration technology pioneered the self unique style, the way of engraving, $xi{\grave{a}}ngqi{\grave{a}}n$. During this period, the southern Song dynasty celadon in China also innovated in the mature celadon firing technology and became more distinctive. The decorative style also promoted the aesthetic interest of the Song dynasty. Celadon decoration is not only a decorative art of ceramic art, but also a representation of national cultural phenomenon with the traditional culture in the development of contemporary art, play a more important role and value.

• KOMUNHWA
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• no.63
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• pp.83-108
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• 2004

Gaegyeong(開經), the capital of the Goryeo Dynasty (918-1392), acted as the hub for producing various potteries for the royal family, governmental offices, temples, and markets in the Gyeonggi and Hwanghae Provineces where consumptions were highly concentra

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.62-78
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• 2023

The act of burning incense originated from Buddhist rituals and customs, and gradually formed its own culture. In the Goryeo Dynasty, in addition to religious and national rituals, incense came to be enjoyed more generally and widely. In particular, Goryeo literati enjoyed the elegant lifestyle of staying home and burning incense. This was part of a regional culture shared across East Asia. Such incense burning applied the same methods as were used during the same period in China. In collections of writings from the Goryeo Dynasty, it can be seen that incense methods such as gyeok-hwa-hoon-hyang (隔火熏香) and jeon-hyang (篆香) were used. A particular method of incense influenced the size and shape of the incense burner utilized. Small incense burners suitable for simple everyday incense were used, such as the hyangwan (香垸), a cup (wine glass)-shaped burner. White porcelain incense burners from Song were discovered in Gaegyeong, and celadon incense burners from Goryeo were made in the same shape. This phenomenon shows that there was great demand for ceramic incense burners in Goryeo in the 12th and 13th centuries. During this period, incense burners that imitated metalware were produced, and some applied the techniques and patterns of Goryeo celadon. The Goryeo Dynasty-era incense burner was basically a necessity for use in various rituals, but gradually came to be widely used also by individuals.

• Journal of Conservation Science
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• v.27 no.1
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• pp.61-74
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• 2011

The material characteristics of Chos$\breve{o}$n whiteware were investigated by analyzing and comparing the body and glaze compositions of whiteware shards excavated at the Kwangju royal kilns, Ch'unghyodong, and four other local-level kilns. In Korea, the rise of whiteware technology began in the early years of the Chos$\breve{o}$n dynasty, when the indigenous tradition of Kory$\breve{o}$ celadon was strongly influenced by the whiteware aesthetics of the Chinese Ming dynasty. The Kwangju royal kilns eventually made hard-textured whiteware of a quality equivalent to that of the Chinese by using type of porcelain stone that contained slightly less $Fe_2O_3$ and $TiO_2$ and slightly more $K_2O$ than that used for celadon. In contrast, the potters of Ch'unghyodong achieved the same level of quality by finding and using a totally different material: kaolinitic clay. The porcelain stone used at the Kwangju kiln was commonly found in Korea and south China, whereas kaolinitic clay (which has a high aluminum content) was typically found in north China, and was only rarely used in Korea. The flux component of the glaze compositions was mostly limestone, first in burnt form and later in crushed form, and the clay component was often glaze stone, which was a finer-grained porcelain stone with a higher proportion of feldspar. In the future, this comparative analytical study of Korean whiteware components should be extended to the $18^{th}$- and $19^{th}$-century kilns that are currently being excavated at a rapid pace.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.86-111
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• 2011

Wan is a tableware in which boiled rice or soup, side dish are put, and it is a representative model which shows the development of personal tableware. From the establishing period of Hanseong Baekje, the form of wan which is Jung-do Style(中島式) Plain Pottery of previous period Proto-Three Kingdoms Period was succeeded to, but wan is produced and used as a wan baked in the kiln, which is far development of the producing technique including hardness and clay. By and large, the size of $0.3{\sim}0.4{\ell}$ was the majority and the production technique of wan which used carefully selected soft quality clay are largely confirmed to be two methods which are, first, basic method by which on a clay tablet on the rotating table, clay band is accumulated and moulding is finished, and second, the new method which had the same basic moulding as that of basic method but in the last stage takes wan off the rotating table and reverse it to trim the bottom and remove the angle of flat bottom. The former, basic production method is the classical production method since wan of Jung-do Style Plain Pottery and wan was produced and used for all periods of Hanseong Baekje. On the other hand, the latter is the production method obtained through form imitation of China made porcelain flowed into through interchange between Baekje and China, and through comparison with Chinese chronogram material it is estimated to have been produced and used after middle of 4th century. Therefore it can be known that the Baekje people's demand for China made articles was big and imitation pottery was produced and used with Baekje pottery. In addition, bowl with outward mouth are confirmed in multiple number in Lakrang(樂浪) pottery wan and it is assumed that wan was the form produced under the influence.

• Journal of Conservation Science
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• v.26 no.3
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• pp.213-228
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• 2010

The composition of Chinese ceramic shards has been the subject of analysis in Europe, beginning in the 18th century, and in China from the 1950s. Scientific studies of traditional Korean shards commenced in the United States and Germany in the 1980s, and studies within Korea began in the 1990s. From analysis of a large systematically collected dataset, the composition of porcelain produced during the Kory. dynasty, including 21 celadon and 10 whiteware groups, was characterized and compared with that of Chinese ceramics. The average composition of the body and glaze of several shards (usually three to five) from each group was determined, enabling comparisons between groups. The results show that the majority of groups were derived from mica-quartz porcelain stone, which was commonly used in Yuezhou, Jingdezhen, and other southern Chinese kilns. The composition of glazes includes clay and flux components; the latter were typically wood ash and limestone, initially as burnt but later as crushed forms. The earliest of the Kangjin glazes contained substantially less titanium oxide than did the Yuezhou glazes, which were typically formulated from body material and wood ash. The present study provides a comparative framework for the growing number of analytical investigations associated with excavations occurring in Korea.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.154-169
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• 2019

This study attempts to shed light on the nature and purpose of the small melon-shaped celadon ewer that was found in the Sinan shipwreck, focusing on the fact that it has the shape of a ewer, yet could not really have served as a tea or liquor utensil given its small size and unusual shape. We analyzed the shape-related characteristics of other melon-shaped celadon ewers as well as this one; checked the use of similar items unearthed in China and Japan; examined the relevant literature, materials, and paintings; and arrived at the following conclusion. First, it was found that the small melon-shaped celadon ewer was one of a type that was first made in the Southern Song Period in China and continued to be made until the Yuan Period. The artifact displays some differences from many similar relics found in the same shipwreck, particularly its spout, lid, and handle. Second, research on the tea ceremonies and types of liquors prevalent during the Song and Yuan Periods of China, as well as the appearance of this ewer, suggest that it was unsuitable for use as a liquor utensil. Third, we looked at the relevant literature records, paintings, and relics unearthed in China and Japan in an attempt to determine its actual purpose. It is well known that the literati had a deep affection for stationery items, particularly water droppers, which were made in a variety of shapes during the Song Period of China and thereafter. According to literature dating from the Song and Ming Periods, it appears that melon- or ewer-shaped water droppers were used. Certain paintings from the Ming Period depict a small ewer, along with a water dropper, as a stationery item. Looking at paintings dating from medieval Japan, small ewer-shaped objects do not figure among the tea and liquor utensils depicted, whereas kettles with handles and hot water bottles do. Objects known as yeonjeok (a water dropper) were included among the items said to have been made in pottery kilns during medieval Japan. However, a book on flower arrangement of Japan dating from the fifteenth century shows a small ewer, with flowers in it, among the stationery items placed on a desk. Based on this detail, it is concluded that the small melon-shaped celadon ewer from the Sinan shipwreck might have been used as a flower bottle as well as a stationery item.

• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of the Korea Convergence Society
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• v.10 no.2
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• pp.133-139
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• 2019

A Convergence Research Study of Southern Fujian Region in China during the Song Dynasty analyzing the Export of Ceramics During the Song Dynasty in China ceramics made in the Southern Fujian (also known as Minnan) region were exported to different countries in Southeast Asia including the Philippines, Thailand and more. They were even exported to Korea, Japan and through trade they traveled as far as Africa. Ceramics was one of the three main sea route export item of China at the time and there were active commercial trading between Korea as well as other countries, enabling ceramics to develop rapidly. The harmonious reciprocal relationship between the geographical, political, cultural, economical characteristics of Southern Fujian enabled a unique type of celadon ware widely recognized to develop. Ceramics of this region is one of a kind in terms of history when we relate it to research on integrating different elements. It suggests a unique convergence of culture when we study its forms and its industrial characteristics. The study attempts to analyze the influence of geography, politics, economy and culture on the different phenomena found in ceramics. Different paradigms associated with changes of environment reflect on continued development in the field of ceramics.

• Journal of Wetlands Research
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• v.25 no.3
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• pp.213-219
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• 2023

The wetland ecosystem has a key role in climate change and can capture and store carbon long-term as blue carbon. Currently, the Republic of Korea and People's Republic of China are preparing for the UNESCO World Natural Heritage Phase II inscription, and cross-border cooperation among the two Koreas and the People's Republic of China is expected in term of the coastal wetland in the Yellow Sea region. However, there is a lack of research on the importance of coastal wetland in the Yellow Sea region for migratory bird habitats, roosting sites, feeding grounds, and stop-over sites. Thus, this study focused on the coastal wetland of the Yellow Sea region, including the southwestern coastal wetlands in the Republic of Korea, the Yancheng National Nature Reserve in the People's Republic of China designated as UNESCO World Natural Heritage, and the Mundok Migratory Bird Reserve in the Democratic People's Republic of Korea, which is listed on the Tentative List. The cooperation for ecosystem conservation between the two Koreas and China was analyzed. The importance of coastal wetlands in the Yellow Sea region as habitats for migratory birds, roosting sites, feeding grounds, and stop-over sites, significant characteristics of Yellow Sea coastal wetlands, and conditions for cooperation among three countries, were analyzed. The direction of ecosystem conservation cooperation for coastal wetlands in the Yellow Sea region in this study will be developed into Pan-Yellow Sea conservation.