• Journal of Conservation Science
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• v.28 no.1
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• pp.7-20
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• 2012

This study was to identify the material characteristics and provenance of the Joseon (the 15th to 17th century) potteries from Ssangyongdong Yongam site in Cheonan. The pottery samples of the kilns and the workshops (habitation) from the study area have grey or red color with similar matrix but various shapes and different hardness, according to firing temperature. All of the pottery and the workshop soils were very similar patterns with characteristics of occurrences, mineralogy and geochemical evolution trend. But soils from around the site does not correspond with them. So the workshop soil that the fine clay is raw clay for making pottery in Yongam site. Firing temperature of soft-type potteries were presumed to be formed around $900^{\circ}C$ based on phase transition of clay minerals and mica. Hard-type pottery, mullite was detected and plagioclase was not detected by X-ray diffraction analysis, which means that potteries had experienced firing between 1,000 to $1,100^{\circ}C$.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• Journal of Conservation Science
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• v.38 no.4
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• pp.301-313
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• 2022

We made a Korean white porcelain or Joseon Baekja jar and based on the raw materials used and reproductions of each stage, we aimed to compare and analyze the physicochemical changes of the raw materials such as clay at each manufacturing stage, as well as identify the characteristics and correlations. Although the basic main components of clay and glaze material are similar, their texture becomes denser in the process of bisque firing pottery (Chobeol-pyeon) and glaze firing pottery (Jaebeol-pyeon), and we confirmed that in addition to the tendency of increasing vitrification, low-temperature minerals such as mica and illite gradually disappeared, while high-temperature minerals such as cristobalite were newly created. This phenomenon has also been verified by the rapid decrease in absorption rate while the change in specific gravity was small. In addition, the color was greatly affected by the firing atmosphere, and the yellow-red chromaticity of the raw materials was higher during bisque firing but showed a rapidly decreasing characteristic during glaze firing. The value of magnetic susceptibility, which is related to iron (Fe) component, showed a tendency to decrease in glaze firing pottery. CT images were confirmed as a method that can indirectly estimate the change in the material properties of the object step-by-step for the entire object. In conclusion, the study of manufacturing stages of reproduction can provide basic data for scientific research on the estimation of porcelain and pottery making technology and changes in raw materials.

• Journal of Conservation Science
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• v.28 no.3
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• pp.193-204
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• 2012

This research aims to examination the material characteristics changes of the ancient clay depending to firing temperature and to verify the firing temperature of the Joseon potteries from the Yongam site in Ssangyongdong of Cheonan, Korea. To this study, we conducted a firing experiments using the ancient clay that was verified raw material of the Joseon potteries from the study area in the temperature range from 500 to $1,200^{\circ}C$. The yellowish tint, the reddish tint and the specific gravity of firing samples increase according to firing temperature rise. But the absorption ratio and the porosity decreased under same firing temperature range. The soft potteries from the Yongam site has similar material characteristics with the fired samples at 800 to $950^{\circ}C$. And the hard potteries from the Yongam site bears the same relation to the fired samples at about $1,100^{\circ}C$. This result is considerably signification for the interpretation of firing temperature. The geochemical characteristics of the original clay according to the firing experiments, on the other hand, is not affected of temperature in this study.

• 보존과학연구
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• s.33
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• pp.109-124
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• 2012

Jangan-eup, located in Busan, South Korea,is a famous pottery-producing area in the Joseon Dynasty period. The aim of this paper was to determine the correlation of the pottery from each kiln site of Jangan-eup by analyzing the ingredients of clay as well as its production technique and firing condition. The materials that were used for the study were fragments of inlaid celadon, white porcelain, and white porcelain painted with underglazed iron excavated from six kiln sites of Jangan-eup:Sil-li, Daeryong-li, Hajangan-li, Sangjangan-li, Yongso-li, and Dumyeong-li. In each of the samples from the six kilns, cristobalite, mullite, and quats were found. The firing temperature distinguished from the crystal structure was higher in the following order: Dumyeongli>Sangjangan-li>Daeryong-li>Hajangan-li>Yongso-li>Sil-li. The samples were divided into four groups based on the ingredients of the clayfound therein: the Sil-li andDaeryong-li group, the Hajangan-li and Sangjangan-li group, the Yongso-li group, and the Dumyeong-li group. It was also found that the sample of Dumyeong-li was made using the most homogeneous clay compared with the other samples. The pottery of Jangan-eup had $40-400{\mu}m$ glaze, had bubbles in their bodies, and had $10-150{\mu}m$ sizes.

• Journal of Conservation Science
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• v.32 no.2
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• pp.273-291
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• 2016

Some ceramic artifacts representing time-wise from comb pattern pottery in the Neolithic Age to white porcelain in Joseon Dynasty were selected from 7 sites in the north and south area of Charyeong Mountain Range in order to making techniques interpretation and development process of ancient ceramics through physicochemical and mineralogical quantitative analysis. Studied pottery samples in the Prehistoric times showed trace of ring piling in soft-type, and pottery in the Three Kingdoms Period had both soft and hard-type but kettle-ware and storage-ware were made with ring piling, but table-ware was made by wheel spinning. Different from pottery after the Three Kingdom Period when refinement of source clay was high, pottery in the Neolithic Age and in the Bronze Age exhibited highly mineral content in sandy source clay, which showed a lot of larger temper than source clay. Groundmass of celadon and white porcelain almost did not reveal primary minerals but had high content of minerals by high temperature firing. Ceramic samples showed some different in major and minor elements according to sites irrespective of times. Geochemical behaviors are very similar indicating similar basic characteristics of source clay. However, loss-on-ignition showed 0.01 to 12.59wt.% range with a large deviation but it rapidly decreased moving from the Prehistoric times to the Three Kingdom Period. They have correlation with the weight loss due to firings, according to burning degree of source clay and detection of high temperature minerals, estimated firing temperatures are classified into 5 groups. Pottery in the Neolithic Age and in the Bronze Age belongs from 750 to $850^{\circ}C$ group; pottery in the Three Kingdom Period are variously found in 750 to $1,100^{\circ}C$ range of firing temperature; and it is believed celadon and white porcelain were baked in high temperature of 1,150 to $1,250^{\circ}C$. It seems difference between refinement of source clay and firing temperature based on production times resulted from change in raw material supply and firing method pursuant to development of production skill. However, there was difference in production methods even at the same period and it is thought that they were utilized according to use purpose and needs instead of evolved development simply to one direction.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.199-206
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• 2021

The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.83-100
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• 2019

The purposes of this study are to identify the meaning of the geometrical patterns preferred by ancient Korean peoples and to classify them into some groups by their similarity. We investigated various patterns found on clothing and relics from GoJoseon to Goguryeo period, and utilized secondary sources such as history articles, Internet materials and photo and analyzed the associations of the varied patterns found in pottery, handicrafts, and clothing with the ancient cultures. We found the letters (ㅇ, ㅁ, and ㅅ of Korean alphabet, Hangul) preferred by ancestors who worshipped nature to identify the significations attached by them to particular patterns. The results confirm the following: first, the circle pattern indicated the sun, moon, stars in the sky, a bronze mirror, and a man's face. Circles and ovals were also observed to represent the individual souls of the clan or community. Second, square patterns symbolized the land and the patterns that signified the wellbeing of family and the country. Oblique rectangles were more frequently used as they represented a double use of the triangle, a shape that implied mystic power. Third, triangle symbolized regeneration, power, and humanity. While the Neolithic Age jade remnants of hair combs appear not to be irrelevant to the process of comb-shaped pottery production of the time, many fine comb-like lines may be found on bronze mirrors. Through its review of the glorious designs inherited from and established by ancient ancestors, the present research endeavor may help in identifying the spirits and traditions of Korean history.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.4-37
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• 2019

Buncheong Ware, which was produced for approximately 200 years from the end of the Goryeo Dynasty to the beginning of the Joseon Dynasty, was used for royal house and state affairs during the early Joseon Dynasty. Records of Buncheong Ware can be found with Jagiso and Dogiso, considered the place of production, in the 'Sejongsylrok jiliji'. This is notable, unlike celadon and white porcelain. However, compared to Gyeongsangnam-do and Gyeongsangbuk-do, the study of Jagiso and Dogiso in Jeollanam-do and Jeollabuk-do has been unsatisfactory. In this paper, we examined the locations of Jagiso and Dogiso in the Jeollanam-do prefecture. This study is focused on Najumok, located in the western part of Jeollanam-do. The following research results were obtained: First, the locations of Jagiso and Dogiso in nine areas were examined. These nine areas comprised Najumok and its immediate provinces of Haejingun, Yeongamgun, Yeonggwanggun, Hampyeonghyeon, Muanhyeon, Gochanghyeon, Heungdeokhyeon and Jangseonghyeon. Previous research results exist for some of the regions; however, only Buncheong Ware was used to estimate Jagiso and Dogiso. In this paper, we tried to discover a more accurate position of Jagiso and Dogiso through a comparison of the place names recorded in the 'Sejongsylrok jiliji' and the place names recorded in the 'Hoguchoungsu'. Also, pottery-related area names and Buncheong Ware obtained from the field survey were reviewed. Table 2 shows the specific positions of Jagiso and Dogiso in the areas examined. Second, it would appear that pottery was produced not only in Jagiso but also in Dogiso. This is because much of Buncheong Ware was unearthed in Najumok, Yeongamgun, and Muanhyeon Dogiso. However, it was only excavated from the Buncheong Kiln Site in Yucheon Village, Sangweol-ri, Yeongam-gun; there could be limitations regarding to the rest of the areas because only a field survey was conducted, not an excavation. A recent excavation at Donggok Village in Cheongdo-ri, Gimje also confirmed a Buncheong Kiln Site. There were two Buncheong Ware ('公', '上') artifacts excavated from the site, believed to be Gongnapjagi. In addition, Cheongdo-ri, where the Buncheong Kiln Site is located, was found to be an area in Wurimgokmyeon, a former Wurimgok at a Dogiso in Jeonjubu. Consequently, it would seem that Dogiso also produced porcelain (Buncheong Ware). If more data can be obtained from the excavations at sites considered to be Dogiso, the results of Dogiso-related research will be strengthened. Third, in previous surveys, field surveys and excavation surveys were based on estimates using artifacts, but the name of the location of the Jagiso and Dogiso may be confirmed more accurately by tracking the changes in the names of the administrative areas. Therefore, although it is important to conduct research using the results of surveys or excavations, changes in the place names or places related to porcelain must not be overlooked.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.192-211
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• 2021

In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.