• 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.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.242-251
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• 2009

Traditional patterns of Korea vary greatly and have excellent value in terms of artistic merit. Nevertheless because there are not enough the research and development of them, traditional patterns of Korea are not yet recognized in internationally aesthetic value. Therefore the development of designs modernizing traditional patterns of Korea is urgently needed. In this study, I chose Four gracious plants as the subject materials of textile design development. Before everything I examined data of Four gracious plants expressed on Blue and white porcelain. And I chose data that are suitable to express modern image among them. I set my face to develop the textile design of Korean images by adding modern scenes with them. Also, I were trying to make fashion products like muffler and tie by using techniques such as burn out, crayon dying and spray dyeing.

• Fashion & Textile Research Journal
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• v.24 no.4
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• pp.372-385
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• 2022

In this study, the patterns expressed on nineteenth-century blue and white porcelain among Joseon white porcelain were selected as the material for the development of the car seat fabric design. It was intended to be applied to car seat design by incorporating Korea's own traditional patterns to fit modern sensibility. First, seven pieces of nineteenth-century blue and white porcelain were selected through the literature, and motifs were produced using adobe illustrator, a computer graphic program. Seven car seat fabric designs were developed according to the construction method and development method of the produced motif. Work 1 was designed to elicit a soft and feminine atmosphere using the peony pattern shown in Table 1-1. Work 2 aimed to express a luxurious atmosphere using the image of the mountain expressed in Table 1-2 as a design material. Works 3 was designed by freely arranging the letters of luck expressed in Table 1-3 to form a free and dynamic image. Work 4 was intended to express a stable and rhythmic atmosphere by horizontally arranging the images of the gently curved wings, tail, and rhythmical tail feathers of the phoenix expressed in Table 1-4. Work 5 was designed in a vertical arrangement using the patterns and silhouettes of the tiger's back expressed in Table 1-5. Work 6 was designed using the wave pattern expressed in Table 1-6 to replicate the rhythmic atmosphere. Work 7 was designed using the images of rocks, waves, and the sun in Table 1-7 to express a calm and antique atmosphere.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.576-595
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• 2024

Bracelets have enjoyed extensive use among the Chinese since antiquity as decorative pieces credited with warding off evil forces and inviting auspicious fortune. This study aims to integrate traditional cultural elements, such as Yuan blue and white porcelain flower patterns, into modern design using 3D printing technology to create culturally inspired bracelets. To this end, bracelet designs from the top four museums on Taobao were examined. In addition, we analyzed online reviews of culturally themed bracelets using text mining and applying FEA criteria and found that Chinese consumers are easy to wear and sizable, enhance cultural pride, and drive the demand for artistically sophisticated bracelets. The research culminates in the development of a modular bracelet design inspired by flower motifs from blue and white ware of the Yuan dynasty, with an emphasis on iterative improvements based on reviewer feedback. The final design meets consumers' expressive and aesthetic needs while also maintaining cultural integrity and functionality. The aim of the study is to inspire pride in traditional culture, provide insights for fashion accessory industries, and promote the national image through the development of culturally inspired products.

• 보존과학연구
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• s.15
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• pp.128-136
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• 1994

To restore the Under glaze Blue -White porcelain kiln site of choson period, where is located at 114, SanBon 2 Dong GunPo city. it was used to the conservation method, particularly F.R.P.(Fiber glass Reinforced plastic) for moving the kiln site from the present area to historic site No. 342 after restoration.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.343-347
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• 2019

As an important branch of decoration of blue and white painting, folk blue and white painting not only has a very long history, but also has a very distinctive folklore and artistry. During the Ming and qing dynasties is an important period, in the development of the folk blue and white painting, the folk craftsmen through long-term study and practice, constantly familiar with drawing technique to master the method, combining folk life form, and folk painting decorative expression aesthetic demand, thus make the painting MinSuXing and artistic expression continuously into the blue and white porcelain painting in the process of development, become an important and indispensable component of ceramic decoration.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.24 no.6
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• pp.256-260
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• 2014

This study was carried on the phenomena in reactivity with the clay surface according to the thickness of the cobalt component coating. In the coated specimen, it was observed that the cobalt component was spreaded to diffuse with a constant thickness from the surface of it and the diffusion layer at the white porcelain soil was more increased with the increase of the amount of cobalt sulfate than at the celadon porcelain one. It was evaluated that the color of the surface on the coated specimen at the white porcelain soil was changed from grayish blue to blue and the $L^*$ value was decreased from 51.78 to 37.61 and also in the case of the coated specimen in celadon porcelain soil, $L^*$ value was from 53.91 to 38.93 and the color was from dark olive gray to dark gray. The physical properties of the specimen were characterized by X-ray diffraction, Scanning electron microscope, Dilatometer, TG-DTA, UV-vis spectrophotometer and HRDPM.

• Journal of the Korean Society of Food Culture
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• v.18 no.6
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• pp.536-543
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• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• Conservation Science in Museum
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• v.5
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• pp.5-15
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• 2004

The Fine Art Department has sent a list of ceramic ware to the Conservation Science Laboratory of the National Museum of Korea for conservation treatment. The listed ceramic ware will be newly displayed in the ceramic ware gallery of Yongsan Museum after it is opened. Based on the list, Conservation Science Laboratory has been taking special measures to conservation the ceramic ware since 2002. This paper attempts to introduce the process of restoring the Blue-and-white porcelain Jar with phoenix Design (Jubsoo 631) and Celadon peahen-shaped water dropper (Duksoo 5202).

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.