• 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.

• Conservation Science in Museum
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• v.1
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• pp.37-42
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• 1999

Conservation treatment was done for the pottery-stand of Kaya period which was to be exhibited in celebration of the opening of Kimhae National Museum and for the jar of Chinese celadon which was to be exhibited in Korea National Museum's special exhibition "Formation of Ancient States". Through the examinations by naked eyes and under the microscope, condition before treatment, patterns and manufacturing techniques of the objects were observed. According to these examinations, conservation treatments, suitable for each object was finished. As the pottery-stand was damaged severely, the epoxy resin was pasted directly on the broken surface of the pottery to restore the original shape and pattern, color and feeling similar to original state were given to the restored area. Although same restoration material was applied on the celadon, it was not pasted directly on the broken surface of the celadon so that the restored area could be dismantled, and color and feeling were also treated somewhat differently.

• 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.

• 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.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.70-100
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• 2023

The celadon made in the Goryeo era, a time when Buddhism was flourishing in Korea, naturally contains many elements of Buddhist culture. Among them, inlaid celadon with Sanskrit inscriptions bears a close relationship with esoteric Buddhism. However, the research on deciphering the Sanskrit inscriptions has made little progress due to the small number of extant examples. However, the four recent excavations at the No. 23 kiln site in Sadang-ri, Gangjin have yielded new materials that allow the existing materials to be categorized into several types. The results obtained through the reading and interpretation of the inscriptions are as follows: First, the Sanskrit characters inlaid on the celadon were parts of mantras. Inscriptions where only one character is apparent cannot be deciphered, but scholars have revealed that others are written in the manner of a wheel mantra represent the "Mantra for Purifying the Dharma-Realm," "Six-Syllable Mantra of the Vidyaraja," "Sweet Dew Mantra," "Jewel Pavilion Mantra," "Mantra of the Savior Bodhisattva," "Dharani of the Mind of the Budha of Infinite Life," and "Mantra for Extinguishing Evil Rebirth." Each mantra was written in Siddham script. Second, they are believed to have been produced during the thirteenth and fourteenth centuries based on the arrangement of the inscriptions and the way the "Sweet Dew Mantra" is included in the "40 Hands Mantra." In particular, the celadon pieces with a mantra inlaid in a concentric manner are dated to the late thirteenth and early fourteenth centuries based on their production characteristics. Third, the interpretation of the inlaid mantras suggests that they all refer to the "Shattering Hell" and "Rebirth in the Pure Land." Based on this, it can be concluded that some of these inlaid celadon wares with mantras may have been used in Buddhist rituals for the dead, such as the ritual for feeding hungry ghosts (施餓鬼會). Also, because the Sadang-ri No. 23 kiln site and the "ga" area of the site are believed to have produced royal celadon, it is likely that these rituals were performed at the royal court or a temple under its influence. Fourth, this inlaid Goryeo celadon with Sanskrit mantras was not a direct influence of the ceramics of Yuan China. It emerged by adopting Yuan Chinese Buddhist culture, which was influenced by Tibetan Buddhism, into Goryeo Korea's existing esoteric practices. Fifth, the celadon wares inlaid with a Sanskrit mantra reveal a facet of the personal esoteric rituals that prevailed in late Goryeo society. Changes in esotericism triggered by the desire for relief from anxieties can be exemplified in epitaph tablets and coffins that express a shared desire for escaping hell and being born again in paradise. Sixth, the inlaid celadon with Sanskrit mantras shares some common features with other crafts. The similarities include the use of Siddham Sanskrit, the focus on Six-Syllable Mantra of the Vidyaraja, the correspondence with the contents of the mantras found on Buddhist bells, wooden coffins, and memorial tablets, and their arraignment in a similar manner with rooftiles. The major difference between them is that the Mantra for Extinguishing Evil Rebirth and the Sweet Dew Manta have not yet been found on other craftworks. I believe that the inscriptions of Sanskrit mantras are found mainly on inlaid celadon vessels due to their relatively low production cost and efficiency.

• 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.

• 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.

• SUVANNABHUMI
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• v.2 no.1
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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.

• Journal of the Korean Society of Food Culture
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• v.30 no.6
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• pp.736-749
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• 2015

The present study addresses the tea utensils and tea drinking methods seen in tomb mural paintings of Song, Liao, Jin, and Yuan, which were Koryo's foreign exchange countries. The paintings illustrate the pointing tea method, which was popular during dynasty times. Tea utensils observed in the paintings include a tea mill, mill stone, and tea pestle necessary for making cake tea into powder. The tea stove and boiling bottle are depicted as being required to boil water. Some mural works vividly depict how a tea drinker pours hot water from a boiling bottle into a cup with a stand, mixes it with a tea spoon, and whisks tea powder for foaming with a tea whisk. The tea drinking method of the Southern race Han is also similarly described in the tomb mural paintings of Liao, Jin, and Yuan from Northern nomads. The distribution of tea culture had an enormous influence on the development of tea utensil manufacturing methods. The significance of this study is that these findings can be used as basic data to provide food culture insights into Koryo celadon tea utensils.

• Journal of Conservation Science
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• v.27 no.4
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• pp.403-414
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• 2011

This study is re-creational experiment of Goryeo gold-painted decoration based on the research of the gold remaining and gold painting technique on the two pieces of Goryeo gold-painted celadon and the three pieces of Chinese gold-painted porcelain on North Song period which ones have been owned by National Museum of Korea since 2007. For the observation of glue state and color developing ability, four kinds of agglutinative agent and gold powder were mixed over the porcelain sherds, then gradually fired from $100^{\circ}C$ to $1200^{\circ}C$. Visual effect and ideal temperature were measured. Among of them, oil and glue showed the best results in glue state and color developing ability. Through those results, the entire Goryeo engraved celadon were reproduced in modern facilities. Oil and glue were gold-painted over the glaze then it was fired at the ideal temperature 700 to $800^{\circ}C$. For observation the binding condition, the gold-painting cross section was looked by the scanning electron microscope (SEM). As the result, oil and glue did not make much difference in Agglutinative agent, but gold was good, the color developing ability, however, in the case of oil, the edge of gold is curled because of its interfacial tension, and it is not dried well at room temperature so the working property is not as good as the glue. Glue more effective in terms of work efficiency, but color developing ability to fall slightly in this experiment were able to see through.