• Journal of the Korean Ceramic Society
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• v.43 no.10 s.293
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• pp.626-634
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• 2006

Ceramics manufacturers in the nation produced more than 5000 tons of ceramics wastes a year increasing industrial waste quantity: However, almost no researches were made to reduce environmental pollution and to recycle waste ware. In this study, white ware scraps that were produced at Icheon, Gyeonggi-do were recycled to make use of them as raw materials of ceramics body and to develop new ceramics body that had economic advantages and good quality. The findings showed that the addition of waste ware had limit of 20 wt% considering molding. The addition of waste ware of 20 wt% to white ware lowered baking temperature of the white ware that was added by waste ware of 20 wt% by 30$^{\circ}C$ than existing white ware, and property values were good, for instance, porosity of 3% in average and water absorptivity of 2% in average, and the bending strength recorded more than 800 kgf/$cm^2$ to be high than that of existing white ware being sold in market. The waste ware could be used to produce new ware body and to recycle resources and to solve environmental problems caused by burial and to improve property of ceramics and to save transportation costs as well as baking costs.

• Korean Journal of Materials Research
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• v.32 no.8
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• pp.354-360
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• 2022

In this study, an Co/Fe coated porcelain using a cobalt and ferrous sulfate was sintered at 1,250 ℃. The specimens were investigated by HR-XRD, FE-SEM (EDS), Dilatometer, and UV-vis spectrophotometer. The surface of the porcelain was uniformly fused with the pigment, and white ware and celadon body specimens were densely fused to a certain thickness from the surface. Other new compounds were produced by the chemical reaction of cobalt/ferrous sulfate with the porcelain body during the sintering process. These compounds were identified as cobalt ferrite spinel phases for white ware and white mixed ware, and an andradite phase for the celadon body, and the amorphous phase, respectively. As for the color of the specimens coated with cobalt and ferrous mixed pigments, it was found that the L^* value was greatly affected by the white ware, and the a^* and b^* values were significantly changed in the celadon body. The L^* values of the specimens fired with pure white ware, celadon body, and white mix ware were 72.1, 60.92, 82.34, respectively. The C7F3 pigment coated porcelain fired at 1,250 ℃ had L^* values of 39.91, 50.17, and 40.53 for the white ware, celadon body, and white mixed ware, respectively; with a^* values of -1.07, -2.04, and -0.19, and at b^* values of 0.46 and 6.01, it was found to be 4.03. As a new cobalt ferrite spinel phase was formed, it seemed to have had a great influence on the color change of the ceramic surface.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.33 no.5
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• pp.174-180
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• 2023

Porcelain (white ware, celadon ware) coated with a ferrous sulfate and ferrous/cobalt sulfate was sintered at 1250℃. The specimens were investigated by HR-XRD, FE-SEM, HR-EDS, and UV-vis spectrophotometer. Through X-ray rietveld quantitative analysis, quartz and mullite were found to be the main phases for white ware, and mullite and plagioclase were found to be the main phases for celadon ware. When the pigment of ferrous/cobalt sulfate was applied, were identified as an andradite phase for celadon ware and a spinel phase for the white ware, and the amorphous phase, respectively. The L^* value, which was the brightness of the specimen, was 72.01, 60.92 for white ware and celadon ware, respectively. The ferrous and ferrous/cobalt pigment coated porcelain had L^* values of 44.89, 52.27 for white ware and celadon ware, respectively; with a^* values of 2.12, 1.40, an d at b^* values of 1.45 and 13.79. As for the color of the specimens, it was found that the L^* value was greatly affected by the white ware, and the b^* value differed greatly depending on the clay. It was thought to be closely related to the production of the secondary phase such as Fe₂O₃ and andradite phase produced in the surface layer.

• 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).

• Conservation Science in Museum
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• v.8
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• pp.31-40
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• 2007

As part of supporting projects, the conservation science team of National Museum of Korea has treated 12 items of the porcelains entrusted by Jeonju National Museum for conservation. This paper is about the porcelains called the rice-bale-shaped battle white porcelain (No. Junju 97) and the big jar with incised fish design buncheon ware (No. Junju 5630) among the 12 items of porcelains finished with treatment, and by analyzing the information collected in the process of treating the rice-bale-shaped battle white porcelain, the manufacturing method and the use of the needle was presumed. As the big jar with incised fish design buncheon ware had been damaged extensively, it was unclear whether it could be repaired or not, but now I am going to introduce how it can be repaired more efficiently.

• Korean Journal of Materials Research
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• v.24 no.7
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• pp.363-369
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• 2014

This is the study on diffusion of ceramic body oxide compounds to glaze. For ceramic bodies, no ferrous oxides contain white ware, celadon, and 3 wt% iron oxides contained white ware was used in this experiment. These ceramic bodies were glazed by transparency glaze, iron oxides contained glaze, and glaze made by pine tree ash that treated in 1240 degree, under reduction condition for an hour. An electron probe microanalyzer(EPMA) was used to study diffusion of oxides and to calculate distance of ceramics bodies. As a result, only iron oxide and magnesium oxide from the body diffused to glaze, and also made a band which shown very thin layer of iron oxide and magnesium oxide between the body and glaze. The densest band of iron oxide formed 100 to $150{\mu}m$ in the glaze, and the densest band of magnesium oxide was found 50 to $100{\mu}m$ in the glaze. Therefore, it could be concluded that iron oxide in the body is diffused to the glaze and it affects the color of glaze, even though iron oxide exists in the glaze. Furthermore, the thickness of the glaze has an effect on the color of celadon.

• Proceedings of the Korean Ceranic Society Conference
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• 2002.10a
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• pp.137.1-137
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• 2002

• International Journal of Contents
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• v.9 no.2
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• pp.70-76
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• 2013

Bunjang is one of the oldest and the best known traditional pottery technique in the Korean ceramic history, which still remains popular today. This research designed for understanding origin and changing history of Bunjang, Birth of Buncheong ware, Definition of Buncheong ware, process of Bunjang, Texture of clay, Glaze, and firing, form, decorative pattern, technique of Bunjang, CIngredients and Raw material: Proportion of raw materials. Bujang technique that can be called beginning of modern ceramic art in Korea, in this research, we can recognize the aesthetic value of Bujang and how modern ceramic artists are going to take advantage of Bunjang technique for their own use.

• Journal of Korean Society for Quality Management
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• v.28 no.1
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• pp.13-26
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• 2000

It is really hard for the material factors to basically improve quality of life, since it is the only partial means of the survival and activity of life. Development of Eigen Shin-Tou-Jil(Proper Body·Earth materials), therefore, must be concentrated on providing man with essential meaning of life, not with simply economic advantage. Eigen Shin-Tou-Jil(Proper Body·Earth materials) which is formed through long passage of time in the original environments that include the climate and nature features of a special region, the representative examples are like Korea Bong-sam(a kind of genseng) of Yellow Earth etc. Unfolding the Eigen Shin-Tou-Jil(Proper Body·Earth materials) by the Algorithm of Human-ware means the development for manifesting individual eigen motives and traits as subject of behavior(Gene-ware). It is because all plants, animals, inanimate objects, including Human, have evolved with their own values in the ecosystem. It was reported that a Baeksong(white pine tree), grown well up in TongEeDong, Seoul, Korea had rarely grown up during the period suppressed by Japan. By the developments of Bio-Engineering, we also found that 40% of gene base sequence of C. Elegance(a kind of worm) is identical to that of characteristic Human. In this reason, through considering common characteristics between Human and Nature, the developments of Eigen Shin-Tou-Jil(Proper Body·Earth materials) must begin with epoch for manifesting and understanding individual's Eigen motives and traits as subject of behavior(Gene-ware)

• Journal of the Korea Furniture Society
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• v.27 no.3
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.