AMT 공법을 통한 새로운 수처리 방향 모색

김병율,최동민 대한환경공학회 1998 대한환경공학회 학술발표논문집 Vol.1998 No.12

염화 안료 발색에 대한 연구

김병율 한국도자학회 2016 한국도자학연구 Vol.13 No.3

In the 20th century, a sudden change was brought to every aspect of our lives. The advancement of science and technology surpassed the speed of change in people’s values and emotions. Technology changed the entire world into a one-day life zone, and expanded our lifespan up to 100 years old. However, various problems raised into the surface as society became dependent on these technologies. Even in the art field, several new genre was introduced through various forms of abstraction such as installation art, avant-garde, and so on. Ceramics is one area of the many artistic fields, with a close relationship with human’s lifestyle, and it has remained in our history for a long time as a cultural heritage. Before the 14th century, artists used oxidized steel and copper as their medium of work. However, details were lost with these methods of art making. The worldwide introduction of white and blue porcelain from the 14th century Jingdezhen kiln of China enabled for artists to portray precise detail and expression. White and blue porcelain became the center of ceramics by the exportation through silk road, and are still used today. As we entered the 20th century, the development of chemical industry arose, such as the use of chloride pigment, followed by a new style in ceramics. Hydrochloric acid and oxide pigment (cobalt, steel, copper, chrome, etc.) enables great details, and chloride pigment illustrates a soft and clear color formation by soaking into the surface like a watercolor. Out of the many approaches of creating ceramics, color formation using chloride pigment seeks to find its way into the art making practice for ceramic artists. 20세기로 들어오면서 사람의 생활은 모든 면에서 급격한 변화를 가져오게 되었다. 과학 기술의 발달은 인간의 정서나 감정이 따라 가지 못할 정도로 발전되어 세계를 일일 생활권으로만들었고 100세 시대로 수명을 연장시켜 놓았다. 편리함과 안락함이 정신세계를 지배하여 여러 가지 병폐점도 수반되고 있다. 예술분야에서도 새로운 장르가 나타나 이제까지의 예술세계에서는 접해보지 못했던 설치예술, 전위 예술 등 일반인들이 이해하기 어려운 여러 모양의 표현이 나타나게 되었다. 공예속의 도자기는 많은 예술 영역가운데 하나이지만 인간 생활과 밀접한 관계를 갖고 있으며 실생활에 유용하게 쓰여 왔고 수많은 문화유산 가운데 가장 많은 양으로 남아 있다. 14세기 이전의 그림 표현 방식은 산화철, 산화동등을 이용하여 표현 하였으나 세밀하게 나타내기 어려웠다. 14세기 중국의 원(元)대 중국 강서성 경덕진요(景德鎭窯)에서 만들어져 세계에 수출된 청화백자(靑華白磁, White and Blue Porcelain)의 출현은 이제까지와는 다른 새로운표현방식으로 흰 바탕에 푸른색(산화코발트)으로 그림을 그리고 세밀함과 농담표현이 자유로웠다. 청화백자는 세계도자의 중심이 되었으며 실크로드를 통하여 세계에 수출하게 되었고 현대에 이르기까지 제작되고 있다. 20세기로 들어오면서 화학공업(Chemical industry)의 발달로 새로운 도자표현 방법이 개발되었는데 그 중에 한 가지가 “염화 안료”(Chloride Pigment)를 이용한 표현법이다. 염산과 산화 안료(코발트, 철, 동, 크롬 등)의 혼합물로 고체상태의 안료를 액체로 만들어 그림과 채색을하는 표현법이다. 산화코발트는 농담표현과 세밀한 표현이 가능한 반면 염화 안료는 발색이부드럽고 색이 기물에 스며들어 수채화 같이 맑은 느낌을 준다. 다양한 도자표현 방법가운데 염화 안료에 의한 발색법도 도예가 들에게 자리매김 할 수 있도록 모색하고자 한다.

천목다완에 대한 연구

김병율 한국기초조형학회 2021 기초조형학연구 Vol.22 No.2

When three elements of soil, water, and stone meet and go through human hands, the basic “Pottery” that we need most in our lives is completed. The purpose of this study is to describe the history and definition of ceramics and Cheonmokdawan made in Song Dynasty, China, and to present directions to the future by re-examining them in modern times. The research method describes the social situation, aesthetic consciousness, method of use, interest of the general public, and changes in the form of teacups according to the times of the Tang & Song Dynasty where Cheonmokdawan was produced. Distinguish the type of Cheonmokdawan that was used to drink tea and identify the firing methods and characteristics. The research describes the situation of ceramists in Korea and Japan, including China, the current country of origin, and presents the discovery and direction of ceramists who use Cheonmok through the public's attention. They used red soil, iron, manganese, etc. to paint or draw patterns, and produced pottery with black to reddish brown colors. Generally, black or reddish-brown pottery is called ‘CheonMok’, which has been used as pottery for common people in Southeast Asia. “The first black glaze pottery to be fired is known to be near Hangzhou in Zhejiang Province, China's Woljukiln, which is from the 3rd and 4th centuries.” In Korea, papers and books on ‘Cheonmok’ are poorly published, and most of them are researched by Japanese and Chinese scholars. There are many names for ‘Cheonmok’ but when the Japanese monk, who went to the temple of Shenzhong in Zhejiang Province in Japan (1185–1333), returned to his country with a small black bowl, it was brought from the Cheonmok and became to be called a Cheonmokdawan. 흙과 물, 불 이 3요소가 만나서 사람의 손을 거치게 되면 우리들의 생활에 가장 필요한 기초적인 도구인 ‘도자기’가 완성된다. 도자기는 동· 서양을 무론 하고 인간의 역사와 발자취가 있는 곳은 어느 곳에서든지 다양한 형태로 그 산물들을 현재에까지 남기고 있다. 일반적으로 검거나 적갈색 계통의 도자기를 天目(천목)이라 부르는데 이러한 기물들은 한국, 중국, 일본뿐만 아니라 동남아시아에서 서민들의도자기로 사용되어왔으며 현재까지도 생산하고 있다. 이 연구의 목적은 중국 송대에 제작되어 현재까지 이어져 내려오는 도자기, 천목다완의 역사와 정의를 기술하고 현대에 재조명하여 미래지향해야 할방향성을 제시하는 것이다. 연구 방법은 천목다완이 제작되었던 당· 송대의 사회적 상황, 미의식, 사용방법, 일반인들의 관심, 시대에 따른 찻잔 형태의 변화 등을 기술한다. 차를 마시기 위해 사용했던 천목다완의 종류를 구분하고 소성 방법과 특징 등을 알아본다. 현재 종주국인 중국을 비롯하여 한국, 일본의 작가군의 상황을 기술하고 일반인의 관심을 통하여 천목 작가의 발굴과 방향을 제시한다. “검은색 유약의 도자기가 최초로 구워진 것은 중국의 월주요(越州窯)로서 절강성(浙江省)의 항주(杭州) 부근으로 알려져 있으며 이는 3~4세기의 것이다.” 우리나라에서 천목에 대한 논문이나 서적은 미비하게발표되고 있으며 대부분 일본이나 중국 학자들의 연구가 많은 양을 차지하고 있다. 천목에 대한 명칭은 여러 가지 설이 있으나 일본 鎌倉(가마쿠라시대 1185년~1333년)에 중국 절강성(浙江省)에 있는천목산에 있는 선종의 절에 수행하러 갔던 일본의 고승이 수행을 끝마친 후 본국으로 돌아갈 때 그곳에서 공양에 사용했던 검은색 계통의 조그마한 碗(완)을 갖고 귀국하였다. 천목에서 갖고 왔다 하여그 후 검은색 계통의 완 종류를 천목, 천목다완이라 부르게 되었다.

코발트 발색에 대한 연구

김병율 한국도자학회 2014 한국도자학연구 Vol.11 No.1

In Korean university, we teach three different categories of ceramics, namely, traditional ceramics, industrial ceramics, and formative ceramics. Some universities emphasize more on tradition, while others emphasize formative ceramics. In the university where female ratio is greater than male, they tend to teach industrial ceramics along with the other class, due to the nature of the subject, which requires delicacy and patience. After molding and forming, the object goes through bisque firing, and, to display different texture, there is process of coloring. Usually, iron or cobalt is used, but they sometimes are troublesome as they smear onto hands or runs down on the object. It can be said that this may be the one of reason why the white or transparent kind of glaze gets polluted due to powdery material of color come up. After the second firing, wesometimes find the object still retains the running of the glaze. So we did an experiment to maintain the transparency of glaze and to prevent running phenomenon. We mixed CMC in powder state with water, and we mixed the solution with glycerin and glaze to find the point where it does not smear onto hands, yet it is good to brush with. There is preference in the choice of color for everyone. However, I am sure one can find his unique color with careful selection of color, experiment, and research. 한국에서 대학의 도자교육은 전통도자, 산업도자, 조형도자 등 세 가지로 나누어 교육을 하고 있다. 학교에 따라 전통을 중시하기도 하고 조형도자를 중시하기도 한다. 남학생 대비 여학생이 많은 학교에서는 산업도자 위주로 수업을 병행하는 경향이 많다. 이는 섬세함과 인내심을 필요로 하는 과목의 특징이라 하겠다. 성형을 거쳐 정형 후 초벌구이를 끝낸 기물들은 여러 가지로 질감을 표현하는데 공통적으로 나타나는 것은 채색의 단계를 거치게 된다. 보편적으로 철이나 코발트를 많이 사용하는데 때로는 손에 묻기도 하고 기물 위에서 번지기도 해 곤란을 격기도 한다. 유약 시유 시 위에 안료의 분말들이 떠올라 백유나 투명유 계통의 유약들이 오염되는 원인의 하나라 하겠다. 재벌구이를 끝낸 기물들은 안료의 번짐 현상이 그대로 나타나는 것을 종종 목격하곤 한다. 유약의 투명도 유지 및 희석을 방지하기 위해 실험을 하였다. 분말 형태의 CMC에 물을 섞어 액체로 만들어 글리세린과 안료를 섞어 가면서 손에 묻지않고 붓 놀림이 좋은 방법을 연구하였다. 개인에 따라 색의 선호도가 다르지만 좋아하는 색을 선별하여 연구한다면 타인이 같지 못하는 특징을 갖는 색을 갖으리라 생각한다.

宋代湖田窑青白瓷历史和发展脉络的考察研究

李梓豪,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.2

A large number of archaeological excavations have confirmed that the fire of Hutian Kiln in Jingdezhen began to rise in the Five Dynasties and finally died out in the Ming Dynasty at the time of Longqing and Wanli. It lasted for over 700 years, which was very rare among ancient Chinese kilns. In this long period of time, Hutian Kiln fired a variety of ceramics, including White Porcelain, Celadon, Bluish White Porcelain, Yellow and Black Glazed Porcelain, Black Glazed Porcelain, Egg-white Glazed Porcelain, Blue and White Porcelain, Blue and White Glazed Red Porcelain, Blue and Underglaze Red porcelain, Green Glazed Porcelain, Blue Glazed Porcelain, etc., but the most mainstream, most representative products are White Glazed Porcelain. Focusing on the Song Dynasty, this paper studies the decorative techniques of Blue and White Porcelain in Hutian Kiln in Jingdezhen, explores the evolution trend of the decorative techniques of Blue and White Porcelain in Hutian kiln in The Song Dynasty, and demonstrates the inevitable relationship between this trend and the technological development and aesthetic changes at that time. 大量考古发掘资料证实,景德镇湖田窯的窑火远从五代开始兴烧到明代隆(庆)、万(历)之际最后熄灭,其中连续不间断的烧造达700余年,烧造时间如此之长,这在中国古代众多瓷窑中是非常罕见的。在这漫长的岁月中,湖田窯烧制的陶瓷品种众多,有白瓷、青瓷、青白瓷、黄黑釉瓷、黑釉瓷、卵白釉瓷、青花瓷、釉里红瓷、青花釉里红瓷和绿釉瓷、蓝釉瓷等,但是最主流、最具代表性的产品是清白釉瓷。 本文以宋代为主,针对景德镇湖田窯青白瓷的装饰技法进行研究,探究出宋代湖田窯青白瓷的装饰技法的演变趋势,并论证这一趋势与当时工艺发展,工艺审美变迁的必然联系。

關於中國磁州窯裝飾技法的研究

楊向紅,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.2

Cizhou Kiln is one of the famous folk kilns in China, and Cizhou Kiln, Xing Kiln and Ding Kiln are three the most famous ancient kilns in Hebei of China. Because its kiln site is in the area of Guantai Town and Pengcheng of Handan and Danci’s county side, in Hebei, the Status of Cixian in the Song Dynasty is in Cizhou, so it’s named Cizhou kiln. Its style is bold and unrestrained, free and easy, with extremely bright and simple folk kiln characteristics. Its decoration combined ceramic techniques with culture and fine arts, promoted ceramic objects to a new artistic realm, opened the precedent of ceramic painting and decoration, and laid the foundation for the appearance of blue and white porcelain and colorful porcelain in the Song Dynasty and beyond. It has had a wide influence in the field of porcelain making at China and abroad, occupies a very important position in China and even in the history of porcelain making in the world. The ceramics of Cizhou kiln has a long history. Ancient Cizhou area, namely fengfeng mining area, Cixian county and Wuan area in today’s Handan, Hebei Province, as early as 7,500 years ago, early ancestors had been able to fire pottery. In this area, there were many finds of colored pottery of Yangshao culture period, black pottery of Longshan culture period, gray pottery of Shang and Zhou Dynasties period and hard pottery with warring States printing patterns. And there have found pottery workshops, indicating that the production of pottery has begun to take shape. The glazed pottery of Cizhou in the Han Dynasty reached maturity, and the Wei, Jin and Southern and Northern Dynasties had completed the transformation from glazed pottery to coarse porcelain celadon and began to fire white porcelain. The engobe white porcelain of Sui, Tang and Five dynasties became more mature in technology, and the fetal glaze became a great concept. Cizhou kiln in song Dynasty reached its peak and became the largest folk kiln in China. 磁州窯是中國著名的民間瓷窯,磁州窯與邢窯、定窯統稱為中國河北古代三大名窯。因其窯址在今河北邯鄲郫磁縣的觀台鎮與彭城鎮一帶,磁縣宋代屬磁州,故名磁州窯。其風格粗狂豪放,奔放灑脫,具有極為鮮明、淳樸的民窯特色。其裝飾將陶瓷技藝與文化、美術揉融在一起,將陶瓷器物提升到了一個嶄新的藝術境界,開啟了陶瓷彩繪裝飾的先河,為宋及以後青花與五彩瓷的出現奠定了基礎。在國內外制瓷領域產生了廣泛的影響,在中國甚至在世界瓷藝發展史上,都佔有相當重要的地位。 磁州窯的燒陶制瓷歷史源遠流長。古代磁州地域即今河北邯鄲的峰峰礦區、磁縣和武安等地,早在七千五百年前的新石器早期先民們就已經能夠燒制陶器,這一地區曾多有發現仰紹文化時期的彩陶、龍山文化時期的黑陶及商周的灰陶和戰國印紋硬陶;並已出現了制陶作坊,標誌著制陶的生產已初具規模。漢代磁州的釉陶臻于成熟,魏晉和南北朝時期已完成了釉陶向粗瓷青瓷的轉化,開始燒制白瓷。隋唐五代的化妝白瓷在工藝技術上更趨成熟,胎釉蔚為大觀。宋代磁州窯進入鼎盛,並躍然成為中國最大的民間窯系。

中國明代德化窯人物造型研究

張可輝,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.1

Dehua kilns played an important role in the whole ancient Chinese ceramic industry. They were once known as the three great porcelain capitals in southern China, together with Jingdezhen in Jiangxi and Lilin in Hunan, especially in the Ming Dynasty Dehua County's porcelain production reached an unprecedented peak, geographical, cultural and technological factors such as Dehua County white porcelain to a new unique historical height. The carrier of this characteristic image is the ceramic character shape. The character shape of the Dehua Kiln in the Ming Dynasty of China has a pivotal position in the history of Chinese ceramics, whether it is the study of Chinese Buddhist art or the study of the development of Chinese ceramics, the character shape of the white porcelain of the Dehua kiln in the Ming Dynasty of China can never be bypassed. The prosperity of the Dehua Kiln is inseparable from its superior geographical position and its abundant and unique ceramic firing resources. As the starting point of the ancient Chinese sea route of Silk Road, Port of Quanzhou, it has provided a vast trade market for the development and prosperity of Dehua Kiln, thus promoting the development of ceramic handicraft industry and the exchange and integration of Cultures, providing technical support for the development of Dehua Kiln through the technological improvement caused by population migration Unique ceramic materials make Dehua County white porcelain as white and beautiful as snow. The selection of the subject matter of the character shape of the Dehua Kiln in the Ming Dynasty showed People's belief and culture under the feudal society background at that time. The prosperity of religious belief was bound to have a large number of related derivatives Buddhist and Taoist characters with the same image of different materials and materials are also emerged Dehua Kiln fully utilizes the unique ceramic material to display the religious figure image theme in the religious art and the ceramic art has the unique artistic charm. Theprosperity of overseas trade brought by the sea route of Silk Road made the Western religious figures and street figures of Dehua kiln a new product, adding to the category of Dehua Kiln figures. Dehua kiln character molding techniques, steps clear and rigorous, is conducive to the character molding firing rate and efficiency improvement. Due to the progress of the times, molding material changed into plaster, but traditional molding techniques are still used nowadays. The prosperity of Dehua Kiln's character shape is not only the superior geographical position, advanced porcelain-making technology, unique ceramic material and sufficient culture, but also the artists who are engaged in porcelain industry. As the most influential artist at that time, He Chaozong contributed his own strength to the prosperity of the character shape of Dehua Kiln, d.eveloped Dehua Kiln with his unique artistic achievements, left a large number of valuable ceramic art works as people's valuable spiritual wealth. 德化窯在整個中國古代陶瓷產業中有著舉足輕重的地位,曾經與江西的景德鎮和湖南的醴陵並稱為中國南方的三大瓷都,特別是在明代,德化的制瓷達到了一個前所未有的高峰,地域,文化及工藝等要素把德化白瓷推向了新的獨具特色的歷史高度。而這種特色的形象載體就是陶瓷人物造型,中國明代德化窯的人物造型在中國陶瓷史上有著舉足輕重的地位,不管是研究中國的佛教藝術還是研究中國的陶瓷發展,中國明代德化窯的白瓷人物造型是永遠也不可能繞過的。 德化窯的繁盛與其優越的地理位置及其豐富而獨特的陶瓷燒制資源是分不開的,作為中國古代海上絲綢之路起點的泉州港,為德化窯的發展興旺提供了廣闊的貿易市場,從而帶動了陶瓷手工業的發展,促進了文化的交流與融合,人口遷徙導致的技術改進為德化窯的發展提供了技術支持,獨特的陶瓷材料讓德化白瓷潔白如雪的魅力獨樹一幟。 明代德化窯人物造型題材的選取展現了當時封建社會背景下人們的信仰和文化,宗教信仰的繁榮必定會有大量相關的衍生品出現,不同材質同一形象的佛教及道教的人物形象也展現在人們面前,德化窯充分利用獨特的陶瓷材質所表現的宗教人物形象題材在宗教藝術和陶瓷藝術上有著獨特的藝術魅力。海上絲綢之路帶來的海外貿易繁榮,讓德化窯西方宗教人物題材及市井人物造型成為新品,增添了德化窯人物造型題材的品類。

中国明・清时代古彩装饰技法研究

张灿,김병율 한국도자학회 2020 한국도자학연구 Vol.17 No.3

This paper takes ancient color in the Ming and Qing Dynasties as research object and its decorative technique as main research content. Ancient color is the art of color painting on glaze. Five kinds of low-temperature lead glazes such as red, yellow, blue, green and purple are used to draw pictures on the finished glaze surface with transparent glass texture. Most of the subjects are fish, algae, animals, people, landscapes and so on. The ancient color began in the Ming Dynasty. During the reign of Kangxi, the ancient color developed into the mature stage with the progress of economy, culture and making process of porcelain. Ming and Qing Dynasties is an important period which can represent the achievement of the ancient color art. Technique is an important part of the ancient color. The decoration material of ancient color is excellent and the process is normative, which provide technical support for the decorative effect of the ancient color. The decoration techniques of the Ming and Qing dynasties are reflected in three aspects. The first is the freehand brushwork of technique. Ancient color in Ming and Qing dynasties color express emotion through simple lines and subjective color. The second is the decoration of the pattern. The image of ancient color in the Ming and Qing Dynasties is exaggerated and general. The composition is balanced and complete, making the ancient color with decorative sense and fun. The third one is the implied meaning of subject. Ancient color in the Ming and Qing dynasties express people's good wishes through auspicious themes, folk stories and others. These are the common characteristics of the Ming and Qing dynasties. Because of the different times, the decoration techniques of ancient color of the Ming and Qing dynasties have their own characteristics. Duan Maofa, Shi Yuren, Li Leying, Zhu Legeng and other modern ancient color artists are deeply influenced by the decorative techniques of ancient color in the Ming and Qing dynasties. They inherit the ancient color of the Ming and Qing Dynasties in the aspects of subject, pattern, brush usage, composition, color and so on. Meanwhile, they strive for innovation and give the ancient color a new look. This paper expounds the historical background and technological process of the ancient color in the Ming and Qing Dynasties, especially makes a comparative study on the painting, color techniques, decorative forms of patterns, subjects and other aspects of the ancient color in the Ming and Qing Dynasties. It can be seen that the color contrast of ancient color of the Ming and Qing Dynasties is strong and the image is exaggerated. The patterns are decorative and folk. The ancient color of Ming Dynasty is extensive and lively, while the ancient color of Qing Dynasty is rich and delicate. From the study of decorative techniques of ancient color in the Ming and Qing Dynasties, we can make a summary that decorative techniques, cultural connotation and key points of inheritance of ancient color has important guiding significance for the future development of ancient color, which is also the importance of the study of ancient color in the Ming and Qing Dynasties. 本文以明清古彩为研究对象,以明清古彩的装饰性技法为主要研究内容。古彩是釉上彩绘艺术,在烧制完成的釉面上用红、黄、蓝、绿、紫等五种低温铅釉低温铅釉:低温铅釉是以氧化铅为助溶剂,烧成温度在1000°C以下,上在已烧成的瓷器上,入炉二次烧成的颜色釉。 绘制画面,为玻璃透明质感。题材多为鱼藻、动物、人物、山水等。古彩始于明代,康熙时,经济,文化,和制瓷工艺的进步,使得古彩在康熙时代发展到成熟的阶段,明清是能代表古彩艺术高度的重要时期。工艺是古彩重要的一部分,古彩装饰材料精良,流程规范,这些为古彩的装饰性效果提供了技术支持。明清古彩的装饰技法体现在三个方面。一是技法的写意性 写意性: 以简单的笔墨勾勒出物体的形态,以表达意境。 ,明清古彩通过简单的线条和主观的色彩来表达情感。二是图案的装饰性,明清古彩形象夸张概括,构图讲究平衡圆满,使古彩具有装饰感和趣味性。三是题材的寓意性 寓意性:语言文字或艺术作品里所寄托、隐含的意思。 ,明清古彩通过祥瑞题材,民间故事等题材来表达人们美好的愿望。这些是明清古彩的共同特征。因时代的不同,明清古彩在装饰技法上也有各自的特点。段茂发、施于人、李磊颖、朱乐耕等现代古彩艺术家深受明清古彩装饰性技法的影响,在题材、图案、用笔、构图、色彩等方面继承了明清古彩,同时勇于创新,赋予了古彩新的风貌。 论文通过对明清古彩的历史背景和工艺过程的阐述,尤其是对明清古彩的绘画、用色技法,图案的装饰形式,题材等方面进行了比较研究,可以看出,明清古彩色彩对比强烈,形象概括夸张,图案装饰性强,具有民俗性,并且明代古彩粗放活泼,而清代古彩丰富细致的不同的特点。对明清古彩装饰性技法的研究,可以总结出古彩的装饰技法,文化内涵以及传承的要点,对未来古彩的发展有着重要的指导意义,这也是研究明清古彩的重要性所在。

利用修坯刀的弹性制作纹样的研究

吴明轩,김병율 한국도자학회 2021 한국도자학연구 Vol.18 No.2

Scholars discover a number of important historical materials in the study of ancient pottery. Through such data, it was discovered that ceramic decorations, as well as the shape and materials of pottery, are a research direction worthy of researchers' study. A decorative technique called dodo technique is a technique that produces patterns using a sharp heel knife. It has taken an important position with its traditional and decorative craft techniques that have continued to develop since ancient times. Chatter mark is one of the decorative techniques that has a long history in pottery culture, and Chatter mark techniques are common in modern pottery works. In addition, the five techniques that occupy an important position in the deep ceramic historical culture are the Chatter mark technique, abbreviation, color summary, and cyanide. It has been attracting attention as a decorative technique discovered accidentally in the process of cutting heels, and in modern times, many artists have learned this technique and applied it to their works through modern works. In investigating the situation in which the modern ceramic industry uses pottery decoration, there are two ceramic production sites, mainly Yongcheon celadon production sites in China and Ondayaki production sites in Japan. The artist, who decorates with the Chatter mark technique, learned from a survey conducted by a relatively large number of producers working at Yongcheon production site and Ondayaki production site. From studying old craft techniques, it leads to research and investigation, preparation and learning, harvesting and production. Through the research of this paper, new decorative effects were obtained from old ceramic crafts. The effects can be classified into three categories, and first, the attention is focused and the hand stability is maintained to create a pattern at once. Second, the choice of tools is important in producing characteristic chatter mark works. Third, a new style of work can be created according to the artist's technique. chatter mark techniques are used in a variety of ways, and we can make use of chatter mark techniques as much as we want. New effects can be achieved when used in conjunction with other techniques. This effect is expressed in a modern way, pioneering a new art world of chatter mark techniques.

세라믹 주얼리 시장 확대 방안 연구

최소미,김병율 한국도자학회 2021 한국도자학연구 Vol.18 No.2

Today, costume jewelry is playing its role as a medium that enables one's self-expression. Costume jewelry use ingredients other than precious metals for reasonable pricing and trendy designs. Ceramic jewelry is cost effective, and can be made into various texture and color. Also, it has many advantages as it is eco-friendly, maintains its gloss and shape for a long time and chemically stable. Thus it has become a highly popular type of jewelry. As for the domestic ceramic jewelry, the industry has expanded from design R&D to brand development with introduction to various brands, and other jewelry designer brands are launching new collections using ceramic. This indicates the acknowledgement of ceramic as a jewelry material, and also optimisation of ceramic's strong point. However, the consumer's value recognition on ceramic jewelry is still low and the research about the circulation and marketing of ceramic jewelry is still very inefficient. In accordance with changes in fashion consumption trend and expansion of online market, the offline focused sales is transferring to online sales based on various online platforms. The main goal of platform is to connect users, and create values such as product and service. Also, various types of platforms satisfy needs of consumers with many interesting contents, and shows off distinctiveness through each platform strategy. This study selected 5 top platforms with ceramic jewelry brand shops and platforms that have domestic brands shops to analyze the characteristics of each brand. Based on the analysis, this study suggested online platform strategy that suits each ceramic jewelry brand, and also examined the path of each brand to establish popularity by analyzing the ceramic jewelry design trend that fits the modern fashion trend.