도재 수리시스템에 따른 도재와 복합레진의 전단결합강도

김경규,신상완,이정렬,김영수,Kim, Kyoung-Kyu,Shin, Sang-Wan,Lee, Jeong-Yeol,Kim, Young-Su 대한치과보철학회 2007 대한치과보철학회지 Vol.45 No.4

Purpose: This in vitro study evaluated shear bond strengths of surface treatment porcelains with four porcelain repair systems simulating intraoral bonding of composite resin to feldspathic porcelain or pressable porcelain. Material and methods: Eighty Porcelain disks were prepared. Group A: forty disk specimens were fabricated with Feldspathic Porcelain($Omega^{(R)}900$, Vident, Menlo Park, CA, USA). Group B: forty disk specimens were fabricated with Pressable Porcelain(IPS Empress 2 ingot, Ivoclar-Vivadent, Schaan, Liechtenstein, Germany). Each groups was divided into 4 subgroups and composite resin cylinders were bonded to specimen with one of the following four systems: Clearfil Porcelain Bond(L. Morita, Tustin, CA, USA), Ulradent Porcelain Etch. (Ultradent, Salt Lake City UT, USA), Porcelain Liner-M(Sun Medical Co., Kyoto, Japan), Cimara Kit(Voco, Germany). After surface conditioning with one of the four porcelain repair systems substrate surfaces of the specimen were examined microscopically(SEM). Shear bond strengths of specimens for each subgroup were determined with a universal testing machine (5mm/min crosshead speed) after storing them in distilled water at $37{\pm}1^{\circ}C$ for 24 hours. Stress at failure was measured in $MP_a$, and mode of failure was recorded. Differences among four repair systems were analyzed with two way ANOVA and Duncan test at the 95% significance level. Results: In the scanning electron photomicrograph of the treated porcelain surface, hydrofluoric acid etched group appeared the highest roughness. The shear bond strength of the phosphoric acid etched group was not significantly(p>0.05) different between feldspathic porcelain and pressable porcelain. But in no treatment and roughened with a bur group, the shear bond strength of the feldspathic porcelain was significantly higher than that of the pressable porcelain. In hydrofluoric acid etched group, the shear bond strength of the pressable porcelain was significantly higher(p<0.05). Conclusion: 1. Treatment groups showed significantly greater shear bond strengths than no treatment group(p<0.05). 2. Group with more roughened porcelain surface did not always show higher shear bond strengths. 3. In phosphoric acid etched group, there was no significant difference in shear bond strength between feldspathic porcelain and pressable porcelain(p>0.05). However in the other groups, there were significant differences in shear bond strengths between feldspathic porcelain and pressable porcelain(p<0.05).

韓國 瓷器의 發生과 그 系統

변남주(Byun Nam-Ju) 역사문화학회 2003 지방사와 지방문화 Vol.6 No.1

The purpose of this study is to investigate the origin and the relevant subjects of Korean porcelain to understand the lines, and to clarify the nature of the kilns at Sindeok-ri, Haenam that represents the southern area. For the purpose, we examined the origin and the relevant subjects, investigated the sites of kilns at the beginning stage of Korean porcelain classifying them into those in the southern area and the central area, and compared the two areas to draw differences between them. We also compared the manufacturing skills with those of the kilns at Wolju in China. An important agreement of result of this study, the first, it is highly likely that kiln sites at ‘the beginning stage of Korean porcelain’ in the southern area and the central area might succeed different lines. With regard to the kinds of products, celadon porcelain, black porcelain and pottery were produced from the same kilns in the southern area, while celadon porcelain and white porcelain were produced after pottery in the central area. Examining the types in detail, small-sized bowels and storage containers such as pyunbyungs, pyunhos and potbelly glaze bottles. The mouths of the bottles were tray-shaped. On the other hand, in the central area, small-sized bowels as well as janggos, kettles and small-sized bottles were produced. The mouths of the little-sized bottles were trumpet-shaped. Small-sized bowels from the southern area were made in Chinese skills and storage containers appear to resemble traditional pottery, while the central area produced all Chinese-styled small-sized bowels and storage containers. Examining their characteristics, those from the southern area are without a pattern while a few of those from the central area have iron figures or marquetries. Concerning the plastic skill, the two areas demonstrate further clear distinctions in Chookyobob(how to make a pottery kiln), Gabbal(pottery baking capsule), Gabbal-cover, slope dochim(triangle phase clay pad) and the props, the use of fireproof earth and the baking methods. Because of, a theory of toward of south manufacturing skill of marquetries don’t be opportune. The second, the kilns of Sindeok-ri, Haenam with those in the central area are as follows. In the kiln site of Sindeok-ri, the sole large-sized group of kiln remains, has around 60 ruins of kilns that produced porcelain (celadon porcelain and black porcelain) and pottery. In terms of kinds, Sindeok-ri of Haenam in the southern area produced porcelain and pottery at the same time differently from the central area where porcelain was produced after pottery. At Haenam, Jinsan-ri kilns succeeding Sindeok-ri kilns produced janggos with iron figures. It was confirmed that janggos had been produced since the early stage. Seeing the styles, porcelain from Haenam in the southern area is all without a pattern. On the contrary, in the central area, a few of Janggos in the later age were made with the techniques of iron figures and marquetries. The difference is more distinctive in the plastic method. In the southern area, upside-down-bowl-typed Gabbal(pottery baking capsule) and bowl-typed Gabbal were unearthed simultaneously. It is estimated that, at the time when the teacups of the Chinese style with a corona-shaped foot were baked separately, the Zen Buddhism and tea culture had been popularized to some extent. Furthermore, the kilns at Sindeok-ri was located in a geographically significant spot where the estuary of the Youngsan River became the gateway of the southwest region for active transactions of the Zen Buddhism and tea culture. Considering the environments of geography and the silkroad of sea. port of Youngsan river, the collective kiln sites of the southern area suggest that they are possibly the origin of Korean porcelain that occurred around AD 850.

朝鮮時代 黑磁의 製作樣相과 性格- 문헌기록과 가마터 출토품을 중심으로 -

서지영 한국미술사학회 2011 美術史學硏究 Vol.- No.270

Black-glazed porcelains from the Joseon period, distinct from buncheong ware or white porcelains in terms of shape, glaze, and firing method, bear strong witness to the rich diversity of Joseon ceramics. This variety of Joseon ceramics is one of the most notable ceramic traditions in East Asia. Black-glazed porcelains appears to have been ceramics used to store and carry liquid and other things, as confirmed by documentary sources and chemical analysis of evidence found in kilns from this period. Component analysis revealed that Joseon black-glazed porcelains are made of white clay and ingredients that are similar to those used for buncheong ware and white porcelains from the same period. Documentary sources, meanwhile, show that black-glazed porcelains,made of white clay, were perceived in Joseon as sturdier vessels than earthenware vessels. Also, unlike earthenware, which is fired only once, black-glazed porcelains are glazed and fired twice, just like regular porcelains, as shown by the analysis of fragments found in a kiln,along with those of buncheong ware and white porcelains. Glaze used for black porcelainsduring the Joseon period contained twice to four times more oxidized iron than the glaze used for buncheong ware or white porcelains; hence, the dark color. Joseon black-glazed ware varies in terms of clay and glaze and region of production. Types of vessels and firing methods changed over time. Three stages can be distinguished in the evolution of Joseon black-glazed porcelains. During the first phase (15th and 16th centuries), they were produced in small quantities at buncheong ware kilns. These blackglazed wares are similar to buncheong ware, in terms of ingredients, shapes, and firing methods, but are distinct from the latter in that they are mainly, vases and jars, in other words, storage vessels. During the second phase (17th and 18th centuries), they started to be produced at white porcelain kilns. Although similar to white porcelains in ingredients, shapes,and firing methods, black-glazed vases and jars from this period were more varied in design than white porcelain vases or jars. During the third phase (19th century and thereafter), there was the emergence of kilns producing either exclusively or mainly black-glazed ware, and this was accompanied by an overall increase in the production of this type of ware. Just as the first and second phases, black-glazed vessels produced during this period were also vessels for storing and carrying. Meanwhile, although they tended to be similar to white porcelains in terms of ingredients and firing methods, vases and jars in black-glazed ware from this period have at times original shapes that are not seen among white porcelain ones. Such an increase in the production of black-glazed ware appears to have had to do with the food culture of the late Joseon period. Advances made in farming and fisheries techniques made a larger variety of foodstuff available, which, in turn, led to the development of new accommodation techniques. Such developments are likely to have driven up the demand for vessels for storing food. With the increased production of grain, surplus grain was used to brew liquor, possibly boosting the demand for vases and jars for storage purposes. This study is significant in that it reconstructs the circumstances of production of black-glazed porcelains during the Joseon period and analyzes their characteristics, based on both information available through documentary sources and the careful examination of surviving items whose site of production is precisely known, comparing them with buncheong ware and white porcelains in terms of clay and glaze, production sites, types of vessels, shapes, and firing methods. 흑자란 검은색조의 유약이 시유된 자기를 일컫는다. 조선시대에 제작된 흑자는 기형과 유색·제작 방법에서 분청사기·백자와 구분되는 독특한 특성을 갖추고 있다. 조선시대 흑자는 실용적인 성격을 띠고 음식을 저장·운반하는 용도로 사용되었다. 흑자는 분청사기나백자의 태토와 유사한 성분으로 이루어진 것을 과학적 분석을 통해 알 수 있었으며, 문헌에서 도기와는 다른자기처럼 인식했음을 확인하였다. 또한 단벌 구이를 기초로 하는 도기와는 달리 초벌 후 시유하는 과정이나,분청사기·백자와 함께 번조된 흑자의 파편을 통해 흑자를 자기질로 볼 수 있다. 흑자의 유약은 산화철을 비롯한 착색제의 함량이 분청사기나 백자에 비하여 다량 함유되어 흑색계열의 어두운 색조로 나타나는 것이 특징이다. 조선시대 흑자는 원료와 생산지, 그릇의 종류와 형태, 번조방법에 따라 시기별 특징을 이루는데, 세 단계의 변화양상을 보이고 있다. Ⅰ기(15-16세기)의 흑자는 분청사기 가마터에서 소량 생산된 것으로, 원료·기형·번법 모두 분청사기와 유사했으나 기종은 병과 호를 중심으로 한 저장·운반기 위주로 출토된 것이 분청사기와 차이점을 가진다. Ⅱ기(17-18세기)의 흑자는 백자 가마터에서 생산되기 시작하며, 흑자의 원료나 기형·번법은 백자와 유사한 면이 있었으나, 흑자병과 호의 기형은 백자보다 다양하게 제작되었으며, 소량이지만 흑자발과 접시 등 음식기도 확인되었다. Ⅲ기(19세기 이후)에는 흑자만 단독으로 생산하는 가마나 백자보다 흑자를 중심으로 생산하는 가마가 확인되어 흑자가 양적으로 증가하는 시기이다. Ⅰ·Ⅱ기와 마찬가지로 저장·운반기 중심으로 제작되어 흑자의 용도는 변함이 없는 것으로 보이며, 원료나 번법 등은 백자와 유사한 면이 확인되었다. 또한 백자에서는 확인되지 않는 기형의 흑자병과 호가 다양하게 제작되었다. 이처럼 조선 후기에 흑자가 많이 생산되는 이유는 음식문화와 연관이 있을 것으로 보았는데, 농·어업의발달로 인하여 조리법이 다양해지고, 저장용의 자기 수요가 증가했을 것으로 추정하였다. 또한 곡물의 재배량이 증가되면서 주류문화의 발달로 음료를 보관할 수 있는 호와 병의 수요도 증가하게 되었을 것으로 보았다. 이 연구는 문헌기록을 통해 흑자에 대한 어의와 용례를 살펴보고, 출토지가 명확한 가마터 출토품을 중심으로 흑자의 원료와 생산지, 기종과 기형, 번법을 동시대의 분청사기나 백자와 비교분석하여 조선시대 흑자의 제작양상과 제작 시기별 특징을 도출해 낸 것에 의미가 있다.

금구자기의 금속 성분 분석을 통한 재료특성별 적용사례와 심미안적 연구 - 국립중앙박물관 소장 금구자기를 중심으로 -

황현성,장민경 한국도자학회 2016 한국도자학연구 Vol.13 No.2

The porcelain with metal bound rims refers to the high-end decorative porcelain decorated or reinforced with metal which were popular in China and the Goryeo Dynasty in Korea. The porcelain with metal bound rims from the Goryeo Dynasty was influenced by the porcelain with metal bound rims from China and later it was made using Korea’s own methods. This study is to estimate the reasons why the metal bound rims was used by different material characteristics by researching old literature, based on the previously analyzed metal components used in the porcelain with metal bound rims, and to make an aesthetic observation upon presumption that the reason was due to differences in colors by the porcelain material characteristics. For a while metal bound rims were only estimated without scientific analyses, but as a result of analyzing components in the recent research made on six units of Korean and Chinese Porcelain with metal bound rims owned by the National Museum of Korea, it discovered that the porcelains used various material characteristics: brass in two units, tin in two units, silver plated with gold in one unit and silver in one unit. Based on the result and through old literature, the purpose for each metal was estimated. As the order of importance in metal was “pure gold > gold-plated silver > pure silver > silver-plated brass > pure brass,” it is believed that metal bound rims were differentiated by material characteristics according to the user's social class. It is also assumed that not only it marked the ranking of class but also in general, part of porcelain, such as the edge, prone to break is reinforced for protection. The material used in metal bound rims differentiated social class while it pursued decorative effects, or superficial beauty. Decorations found in the existing porcelain in Korea, such as celadon, include gold and silver, but in white porcelain, silver is more frequently used than gold for its natural look. Thus, this study is to look for aesthetically harmonious combinations by contrasting the unique color of each metal and various types of porcelain. In case of celadon, both gold and silver types go well, but in white porcelain, the white tone of silver and tin works better, and the gold tone does not look out of place on bowl with black glaze. Therefore, it appears that decorative matches between metal and porcelain, such as gold and silver on celadon; silver and tin on white porcelain, and brass on bowl with black glaze, did not merely maximize decorative effects but selectively arranged to enhance the color of each porcelain type. 금구자기는 주로 중국과 고려에서 사용하였던 자기로 구연부에 금속으로 장식 또는 보강한것을 지칭한다. 고려 금구자기는 중국에서 유입된 금구자기의 영향을 받았으며 이후 우리나라에서도 주체적으로 제작하기 시작한다. 본 논문에서는 기존에 분석된 금구자기에 사용된 금구의 금속 성분분석을 바탕으로 금구를 재료특성별로 다르게 사용한 이유를 고문헌을 통해 추정해보고 나아가 도자기 재질에 따른 색감 차이 때문이 아닌가 생각하여 이를 심미안적 관찰로 밝혀보고자 한다. 오랜 동안 금구를 과학적 분석을 하지 않고 단지 추정만 하다가 지난 연구에서 국립중앙박물관에서 소장 중인 한∙중 금구자기 6점을 대상으로 성분 분석하였다. 분석결과 황동 2점, 주석 2점, 금도금한 은 1점, 은 1점으로 다양한 재질을 사용하고 있음을 알게되었다. 분석 결과를 바탕으로 금속 재료특성별 사용 목적을 고문헌을 통해 추정해보았다. 금속의 위계가‘순금> 금도금한 은> 순은> 은도금한 동> 순동’으로 나타나는 걸로 보아 금구도 금속 재료특성별 신분 계급에 따라 차등사용하였을 것이다. 이렇게 자기에 금구를 사용한것은 신분에 따른 차등사용뿐만 아니라 일반적으로 구연부가 파손되기 쉬운 도자기의 단점을 고려하여 구연부를 보호하기 위함이라 생각된다. 또한 금구는 신분에 따라 재질을 달리하면서도 장식효과 즉 외면적 아름다움을 추구하였을 것이다. 기존 도자기들의 적용 사례를 보더라도 청자에는 금, 은으로 장식하고 있지만, 백자에는 금보다는 은으로 장식한 경우가 보다 더자연스러운 것을 알 수 있다. 따라서 이번 연구에서는 여러 종류의 도자기에 금속이 가진 고유의 색감을 적용하여 심미학적으로 가장 아름다우면서 색상이 잘 어울리는 조합을 찾아보고자 하였다. 청자의 경우 금, 은색 계열이 모두 잘 어울리지만, 백자에는 은, 주석의 백색이, 흑유자기에는 금색인 황동으로 장식하였을 때 이질감이 없음을 알 수 있었다. 따라서 청자에금, 은으로 백자에는 은, 주석 그리고, 흑유자기는 황동으로 장식한 것은 단순히 사용한 것이아니라 장식효과를 극대화하기 위해 도자기 색감을 고려하여 선택적으로 사용한 것으로 본다.

조선후기 철화백자와 회화에 나타난 화조문양의 조형성 연구

박현주 한국도자학회 2019 한국도자학연구 Vol.16 No.2

White porcelains are a kind of ceramics that existed and prevailed through the early part of the Joseon Dynasty to its later part since its initial production in the 10th Century during the Goryeo Dynasty. In the 15th Century, hard porcelains were produced by the influence of white and blue porcelains of the Ming Dynasty of China. However, in the 17th Century, historic events of Japanese Invasion of Korea and Second Manchu Invasion made the purchase of expensive Chinese white and blue pigments no further available and, as a result, iron oxide porcelains (鐵 畵白磁porcelain made using iron oxide pigment) became hugely popular owing to their good accessibility of pigments everywhere in the country. Along the way, in step with wide distribution of porcelains to the countryside, local porcelain kilns were actively operated. The origin of iron oxide porcelains was from the 11th Century during the Goryeo Dynasty, and the 17th Century when iron oxide porcelains started to get popular in full fashion was their heydays. Iron oxide technique was a decoration method using pigment of ruddle mostly composed of iron oxide. This pigment tends to spread so quickly on the surface once contacting the water that producers must draw the picture in an extremely fast way, but they can express it freely. Iron oxide porcelains, in particular, expressed a diverse range of patterns such as birds and flowers, flowering plants, clouds & dragons and four gracious plants with a bold and picturesque stroke. This study, which conducted comparative research with bird-and-flower paintings during the Joseon Dynasty drawn in a similar period with bird-and-flower patterns out of a number of patterns of ceramics, sought to introduce unique pictorial expressions of iron oxide porcelains as shown at bird-and-flower patterns. For this, Chapter Ⅰ discussed the purpose and methodology of the study, while Chapter Ⅱ examined background of emergence of iron oxide porcelains and characteristics by each period to introduce iron oxide porcelains that expressed the sentiments of the Joseon society in a unique way. Chapter Ⅲ analyzed classification of bird-and-flower paintings and symbolism as appeared in paintings during the Joseon period and examined examples of work connected to the latter part of the Joseon period. Chapter Ⅳconducted comparative research with bird-and-flower paintings shown at folk paintings which were drawn in the similar period with bird-and-flower patterns of iron oxide porcelains that attempted diverse pictorial expressions out of diverse porcelains. And it found bird-and-flower patterns were drawn frequently not only in paintings but on ceramics because of their symbolism of good auspice. Along the way, Chapter Ⅴ attempted to vividly represent the feelings of patterns by linking old patterns of ceramics with today's 3D technique. This treatise was a follow-up of the researcher's previous comparative research with paintings regarding iron oxide patterns in grayish-blue-powdered celadon at A Study on Pictorial Expression Shown at Patterns of Grayish-blue-powdered Celadon: Focused on fish patterns at Gyeryongsan celadon. And it sought a comparative research between the patterns on paintings and those on porcelains. And the study suggested two works of 3D as an example in search for a fresh and unique method and the researcher would like to use them in ceramic creation and treatises in a path towards extending ceramics in the pictorial point of view in the future studies. 백자는 고려시대 10세기 이후 제작되기 시작하여 조선 전기에 걸쳐 말기까지 지속된 자기의일종이다. 15세기에는 중국 명대의 청화백자의 영향으로 경질백자가 제작되었고 17세기에는 임진왜란과 병자호란으로 인해 중국에 의존하여 구입했던 값비싼 청화안료가 더 이상 수급이 어려워지자 국내 어디서나 안료를 쉽게 구할 수 있는 철화백자가 크게 유행하였다. 또한 백자의보급이 지방으로까지 널리 확대되어 지방 백자 가마들이 활발하게 운영되었다. 철화백자의 기원은 고려시대 11세기경부터이며 본격적으로 유행하기 시작하는 17세기는 철화백자의 전성기이다. 철화기법은 석간주(石間硃)라는 산화철이 주성분인 안료를 이용하여 그림을 그린 장식기법을 말한다. 이 안료는 물에 닿으면 빨리 퍼지므로 아주 빠른 필치로 그려야하므로 그림을 자유롭게 그려 표현할 수 있다. 특히 철화백자는 대담하고 회화적 느낌의 선으로화조(花鳥)·화훼(花卉)를 비롯해 운룡(雲龍), 사군자류 등 다양한 문양을 표현했다. 본 연구는 백자의 여러 문양 중 화조문양과 비슷한 시기에 그려진 조선시대 화조도(花鳥圖)를 비교 연구함으로서 화조 문양을 통해 나타난 철화백자만의 특별한 회화적 표현을 소개하고자한다. 이를 위해 Ⅰ장에서는 연구의 목적과 방법을 논하고, Ⅱ장에서는 철화백자의 발생배경과시기별 특징을 고찰하여 조선사회의 감성을 특유의 방법으로 보이고 있는 철화백자를 소개한다. Ⅲ장에서는 조선시대 회화에서 등장하고 있는 화조도의 분류와 상징성에 대해 분석하고 조선시대 후기로 이어진 작품사례를 살펴보았다. Ⅳ장에서는 백자 중에서도 회화적 표현이 다채롭게 시도된 철화백자의 화조문양과 비슷한 시기의 그려진 민화에 나타난 화조도를 비교연구하였으며 화조문양은 길상적 의미의 상징성 때문에 회화뿐 아니라 도자기에서도 많이 그려진것으로 분석하였다. 또한 Ⅴ장에서는 도자기의 옛 문양을 오늘 날의 기술인 3D와 접목하여 문양의 느낌을 실감나게 재현하고자 하였다. 본 논문은 앞서 본인이 연구했던 박현주(2018).「분청사기 문양에 나타난 회화적 표현 연구: 계룡산 철화분청사기의 물고기문양을 중심으로」『한국도자학연구』Vol.15 No.2 2018. 에서 분청사기에서의 철화문양에 대해서 회화와 함께 비교연구 하였던 사례에 이어 후속으로 백자에서의 철화문양에 대해서 회화와 함께 비교연구 하고자 하였다. 아울러 본 논문에 좀 더 색다른방법을 모색하기위해 시범적으로 3D 두 작품을 제시하였고 이를 바탕으로 향후 이어지는 본인의 연구에서 도자기를 회화적 관점으로 확장하는 도자작품 창출과 대논문에 활용하고자 한다.

조선시대 중·후기 흑유자기의 기형변화

김태홍 호서고고학회 2013 호서고고학 Vol.0 No.29

Black-glazed Porcelains were recognized by the concept included to Onggi(甕器) or Earthenware in Joseon Dynasty. Existing studies focus on the investigation of concept or uses of Black-glazed Porcelains through the documentary or scientific analysis. This thesis examined production and shape change of Black-glazed Porcelains which didn’t be mentioned previously in comparison with White Porcelain·Black-glazed Porcelains and White Porcelain produced in Kiln together. Extremely small quantity of Black-glazed Porcelains which were examined based on the management period of Kiln were produced by focusing on jar and bottle in medium and latter period of the 17th century. And then, proportion of Black-glazed Porcelains is slowly increased. And, lots of jars and various lids of Black-glazed Porcelains were produced and changed to Kiln producing White Porcelain additionally in the latter period of the 18th century. Black-glazed Porcelains and White Porcelain used the clay in same range and glaze in different range. Also, ceramic type of two kinds were manufactured by same type in most of Kilns except for the third of Hapan-ri, Gapyeong. But, there are a few differences in guyeon, gup type, decoration method, etc. Black-glazed Porcelains of documentary material were recorded by various words such as raddle(石間間)·Oja ceramics(烏瓷)·Lacquerware(漆器), etc. Raddle means White Porcelain that black paint or raddle is painted on bowl and Oja ceramics are produced by raddle glaze after producing bowl with white clay. Lacquerware uses different clay from that of Oja ceramics, so they are judged to be different kinds of bowl. The kinds of Black-glazed Porcelains recorded in document were daily containers such as jar, bottle, etc. but there are similar jar and bottle in actual Kiln. If synthesizing the contents, Black-glazed Porcelains which had been discovered in Kiln with a production of White porcelain and Black-glazed Porcelains from middle and latter stage of the 17th century to the 19th century may be the Oja ceramics mentioned in document. This research analyzed production and shape changes of Black-glazed Porcelains in comparison with chronology of White Porcelain. And, it’s significant to analyze the cases of using Black-glazed Porcelains by comparing words of Black-glazed Porcelains with archaeological data discovered in actual Kiln through the document research. 흑유자기는 조선시대 옹기나 도기에 포함된 개념으로 인식되었으며, 기존의 연구에서도 문헌이나 과학적 분석으로 흑유자기의 개념이나 용도를 밝히는 것에 연구의 무게 중심을 두었다. 본 논문에서는기존에 언급하지 못하였던 흑유자기의 제작양상과 기형변화를 최근에 조사된 백자·흑유자기 가마에서 제작된 백자를 바탕으로 흑유자기의 제작과 기형변화를 살펴보았다. 가마의 운영시기를 기초로 살펴본 흑유자기는 17세기 중·후반에호와 병이 중심이 되어 극히 소량만 제작하였다. 이후 흑유자기의 비중은 서서히 증가하여 18세기 후반에 이르러 호와 다양한 뚜껑 등이다량 생산되는 흑유자기 가마로 전환되었다. 제작된 흑유자기와 백자는 동일한 범주의 태토를 사용하였으나 유약은 서로 다른 계열로 차이를 보인다. 또한 두 종류의 자기의 기형은 가평 하판리 3호를 제외한 대부분의 가마에서 구연이나 굽 형태등 약간의 차이를 보이나 동일한 기형으로 제작하였다. 문헌자료에 나타난 흑유자기는 석간주·오자·칠기 등 다양한 용어로 기록되었다. 발굴조사 결과와 문헌자료를 비교한 결과, 석간주는 그릇에 검은 색을 내는 안료 또는 석간주로 시문한 백자를 뜻하며, 오자는 백토로 그릇을 만든 후 석간주 유약을 시유하여 제작한것임을 알 수 있다. 칠기는 오자와 태토가 다른 것으로 보아 다른 종류의 그릇이었다고 판단된다. 문헌에서 기록한 흑유자기의 기종은호, 병 등 일상용기를 주로 수록하였는데, 실제 가마에서도 이와 유사한 호와 병을 볼 수 있다. 이러한 내용을 종합해 보면, 17세기중·후반에서 19세기까지 백자·흑유자기 가마에서 출토된 흑유자기는 문헌에서 언급한 烏瓷로 보는 것이 좋을 것이다. 이 연구는 백자의 편년을 바탕으로 흑유자기의 제작과 기형변화를분석하였으며 문헌기록을 통해 흑유자기의 용어와 실제 가마에서 출토된 고고학적 자료를 비교하여 흑유자기 용례를 분석한 것에 의미가 있다.

근대기 황해도 백자항아리의 제작배경과 양식적 특징

이혜인 한국미술사교육학회 2019 美術史學 Vol.- No.37

White porcelain jar from Hwanghae-do is regional porcelain made from late 19C to Korean War, which is made in the form of pottery on the tradition of porcelain. Joseon people are its supply and demand. It is the local product not directly affected by Japan. As the pottery making which was active in Hwanghaebuk-do until late Joseon period moved to Haeju in modern times, and the production and development of specialized product that could survive in the pottery market would be necessary in Hwanghaebuk-do. In early 20C, the desire to have various potteries as the pottery was one of the important living items spread among the middle and upper class and in Bongsan, people began producing the white porcelain pot professionally which was made before modern times in response to this demand. White porcelain Jar in the form of pottery was a main product of Bongsan-gun, Hwanghaebuk-do and was made actively in 1920s. The western region where Hwanghae-do was located was a place that advancing to the public office was difficult due to the political discrimination from the beginning of Joseon era. They naturally paid attention to the commerce and this region grew into a place that the commercial aspect was remarkable. In Hwanghae-do, the middle and upper class grew into an important demand class of this region as it was formed widely for a long time. The improvement of the economic power and the change of society let people pursue the quality of life and this consumer’s desire would influence the pottery making. Hwanghae-do white porcelain was a new style of stock container that had the storage function of the pottery and the aesthetic function of white porcelain, and decorated the interior space unlike the general potteries. Therefore, the main consumption class was the middle and upper class who had an enough space that could decorate the inside of home and wanted to decorate it. Hwanghae-do white porcelain jar is one of the products made by reflecting various purchase desires of consumers this time. The main origin of Hwanghae-do white porcelain jar known as ‘Haejubackja’ is Bongsan, Hwanghaebuk-do. This study classified into two regions: Bongsan and Haeju through the white porcelain jar on which the region name was carved. Consequently the white porcelain jar in the form of pottery over 50cm was mostly made in Sansu-myeon, Bongsan-gun, and it was confirmed that the ordinary dishes were actively produced focusing on Geonmdam-myeon in Haeju in modern times. In particular, it was possible to more closely apprehend the white porcelain through ‘survey of ceramic industry source in Sansu-myeon, Bongsan-gun’ by Governor General of Korea during the Japanese colonial era. In this paper, the production, production background, and mode feature of Hwanghae-do white porcelain jar were examined. Hwanghae-do white porcelain jar was made in a conventional way without the Japan’s direct intervention in terms of the making technology. In the period that the modern industrialization proceeded with the influx of the capital and technology during the Japanese colonial era, Hwanghae-do white porcelain jar maintained the traditional technology and the potteries specialized with the capital were produced professionally. This pot is significant as a pottery in which the aesthetic sense of that-time locals was reflected actively. 황해도 백자항아리는 근대기, 즉 19세기 말부터 한국전쟁 이전까지 제작된 지방백자로 백자의 전통 위에 옹기형태로 제작된 도자이다. 그 공급과 수요 역시 모두 조선인으로, 일제 의 직접적인 영향을 받지 않은 향토적인 생산품이라고 할 수 있다. 조선 후기까지 황해북도를 중심으로 활발했던 도자제작은 근대기에 이르러 해주로 이동 하면서, 황해북도에서는 도자 시장에서 살아남을 수 있는 특성화된 제품의 생산 개발이 필 요했을 것이다. 20세기 초, 옹기가 중요한 살림 품목의 하나였던 만큼 다양한 옹기를 소유 하고 싶은 욕구가 중산층 사이에 퍼졌고, 봉산에서는 이러한 수요에 대응하여 근대기 이전 부터 제작되던 백자항아리를 특화하여 전문적으로 생산하기 시작했다. 옹기 형태의 백자항 아리는 황해북도 봉산군 일대 가마의 주요 제작 상품으로, 1920년대에 이르러 활발하게 제 작되었다. 황해도가 위치한 서북지방은 조선 초부터 정치적 차별로 인해 관직 진출이 어려웠던 곳이 다. 이들은 자연스럽게 상업에 관심을 두게 되었고 상업도시적인 면이 두드러진 지역으로 성장 하였다. 이런 배경을 바탕으로 황해도에서는 중산층이 오랜 시간 폭넓게 형성되어 이 지역의 중요한 수요층으로 성장하였다. 경제력의 향상과 사회의 변화는 사람들로 하여금 삶의 질을 추 구하는 경향으로 발전되었고, 이러한 소비자의 욕구는 도자제작에도 영향을 미쳤을 것이라 생 각한다. 황해도 백자항아리는 일반 옹기와 달리, 옹기의 저장 기능과 백자의 심미적인 기능까 지 더해진 실내를 장식할 수 있는 새로운 양식의 저장용기였다. 때문에 주된 소비층은 집안을 장식할 수 있는 여유 공간을 가지고 있으며, 이곳을 꾸미고자 했던 중산층이었다. 황해도 백자 항아리는 이 시기 소비자의 다양한 구매 욕구를 반영하여 제작된 상품 중 하나로 볼 수 있다. 일반적으로 ‘해주백자’라고 알려진 황해도 백자항아리의 주산지는 황해북도 봉산지역이 다. 본 연구에서는 지역명이 시문된 백자항아리를 통해 봉산과 해주의 두 지역 양식으로 분 류를 시도했다. 결과적으로 50cm 가 넘는 옹기 형태의 백자항아리는 주로 봉산군 산수면 일대에서 제작되었으며, 근대기 해주에서는 검단면을 중심으로 일상기명 제작이 활발하게 이루어졌음을 알 수 있었다. 특히 일제강점기 조선총독부의 ‘봉산군 산수면 요업원료 조사’ 를 통해 백자항아리를 좀 더 면밀하게 파악할 수 있었다. 본고에서는 황해도 백자항아리의 제작과 생산배경, 양식적 특징 등을 살펴보았다. 황해 도 백자항아리는 제작 기술에서 일제의 직접적인 개입이 이루어지지 않은 재래식으로 제작 되었다. 일제강점기 자본과 기술이 유입되며 근대적 공업화가 진행되던 시기에 황해도 백 자항아리는 이전부터 이어져온 전통기술을 유지하며, 자급화된 자본으로 특화된 도자를 전 문적으로 생산했다. 또한 당대 지역민들의 미감이 적극적으로 반영된 도자로써 그 의의가 있다고 생각한다.

朝鮮 後期 陽刻白磁 硏究

구혜인 한국미술사학회 2009 美術史學硏究 Vol.263 No.263

본 논문은 조선후기 양각백자를 기술․양식․교류사․문화사적인 면에서 다각도로 조명하여 그 실체를 밝히는데 목적을 두고 있다. 조선후기 양각백자의 제작배경은 크게 세 단계로 파악된다. 중국과 일본의 양각기법에 대한 인식의 단계에서 양각백자가 국내로 유입되고 일부계층에서 이에 호응하여 구득하는 단계를 지나, 正祖 19년(1795)에 단행된 靑彩와 匣燔 금지령을 통해 소량 제작되던 양각백자가 확대 생산되는 단계로 진행된 것으로 파악된다. 특히 중국 福建省 德化窯와 漳州窯에서 제작된 양각백자와의 유사성과 당시 다수의 복건상인들이 국내로 표류해 오거나 상선이 경유한 점과 관련지어 중국 南方窯 생산 도자기들의 국내 유입 가능설을 새롭게 제시하였다. 기술적 측면에서 조선후기 양각백자는 기존에 알려진 것보다 훨씬 다양한 기법들이 사용되었다. 문양의 바탕면을 깎아내는 彫刻陽刻, 도범을 사용하여 기형과 문양을 동시에 찍어내는 壓出陽刻, 문양을 별도로 제작하여 붙이는 貼花陽刻, 태토보다 농도가 낮은 점액질상태의 白泥를 사용하여 그림을 그리듯이 문양을 표현하는 堆花陽刻의 4가지로 구분된다. 특히 퇴화양각의 경우, 이 기법을 이미 사용하고 있었던 중국과 일본에서 그 선례를 찾아 영향관계의 가능성을 밝힐 수 있었다. 다음으로 각 기종의 제작양상과 특징을 비롯하여 문양별 표현 양식에 대해 비교하였다. 食器 ․ 儀禮器類, 文房具類, 기타 生活器皿類로 나누어 고찰한 결과 양각백자만의 특성이 드러났다. 즉 양각기법은 조선후기 백자의 거의 전 기종에서 나타나며 다양한 기형과 문양을 갖추었는데, 전체적으로 최고급 품질이 유지되면서도 병, 연적은 선택적으로 대량생산되었다. 또한 잔 ․ 필통 ․ 연적의 특정 기형이나 퇴화양각한 십장생문 ․ 매화문에서는 중국 복건성 德化窯와 漳州窯와의 영향관계가 감지된다. 문양 표현양식에서 2차원적 평면이 갖는 표현한계를 극복하고 문양의 특징을 효과적으로 전달하기 위해 문양에 따라 여러 방법을 변용한 사실을 확인할 수 있었다. 조선후기 양각백자는 장식성향에 따라 크게 세 단계로 그 변천상을 확인할 수 있었다. Ⅰ期는 18세기 중엽부터 국내에서 일부 생산되던 양각백자가 1895(1795년입니다.)년 정조의 청화 ․ 갑번금지책으로 인해 본격적인 생산이 시작되는 시기이다. Ⅱ期는 양각기법이 기존의 생산양상을 유지한 채 청화장식과 차별화되는 고급 장식기법으로 자리매김하는 시기로 퇴화양각과 같은 새로운 기법이 시도되는 시기이다. Ⅲ기는 일부 기형이 일반수요로까지 확대되면서 태토와 문양에서의 질적 수준이 다양화되는 시기이다. 이 때‘又石 ․ 草隱’등 왕실관련 인척이나 관료들과 관계된 것으로 추정되는 명문들이 남아 있어 중요한 편년자료로 활용될 수 있다. 조선후기 양각백자를 보다 뚜렷이 규명하기 위해서는 대상 범위를 국내에만 국한시킬 것이 아니라 동시기 중국, 일본을 비롯하여 유럽의 양각백자까지 넓히고, 백자를 넘어 다양한 재질의 공예에 나타나는 양각문을 분석한다면 가능할 것으로 생각된다. This paper is a holistic examination of late-Joseon white porcelains with embossed designs, discussing them from technical and stylistic perspectives as well as from the perspectives of cultural history and the history of ceramics exchange in East Asia. The production of white porcelains with embossed designs in late Joseon took place through three successive stages. The first is the stage during which Korean potters became aware of the embossing techniques used in China and Japan. During the second stage, white porcelains with embossed designs of Chinese and Japanese origin were brought to the Korean peninsula, with some people owning them in their private ceramics collections. During the third and last stage, white porcelains with embossed designs, thus far produced only in small quantities, were mass-produced. This last phase of mass-production began during the reign of King Jeongjo, with the ban in 1795 of underglaze cobalt-blue decoration and the use of saggers during pottery firing. Joseon white porcelains with embossed designs are quite similar to those produced in the Dehua Kiln and Zhangzhou Kiln in Fujian Province, China. Around that time, Fujian merchants were often diverted to the shores of Joseon or their ships called at Joseon ports, which explains the introduction of ceramics from southern Chinese kilns. Late-Joseon white porcelains with embossed designs were much more diversified in production techniques than they were previously believed to be. There were four major types of techniques: carved embossing (jogak yanggak), consisting in digging out the surface layer around a design to create relief; extrusion embossing (apchul yanggak) using a mold to shape the porcelain ware and surface designs at the same time; appliqué embossing (cheophwa yanggak) in which designs are separately created and affixed to the surface of the pottery; and white-slip embossing (toehwa yanggak) in which white slip of a lower concentration than the pottery clay is used to draw designs on the surface. Examples of pottery wares embossed using white slip were found in China and Japan, suggesting that these two countries could have been the source of influence for Joseon potters. Meanwhile, late-Joseon white porcelains with embossed designs are divided, in this study, into three categories, tableware and ritual ware, stationery items and other daily ware. Embossing is a technique that is encountered in most types of late-Joseon white porcelains, and designs created using this technique are widely varied. Vases and water droppers are the most popular types of embossed white porcelains, showing also the highest quality of execution. Items such as cups, brush holders and water droppers and designs such as white slip-embossed Ten Symbols of Longevity and plum blossoms show the influence of the Dehua and Zhangzhou kilns. Wide-ranging techniques were used for embossed designs to create the three-dimensional effect and for greater expressivity. By surface ornamental technique, one can distinguish three different periods in the history of late-Joseon white porcelains with embossed designs. The first period is the one following the policy of King Jeongjo in 1795, during which embossed porcelains, which had been produced in small quantities since the mid-18th century, were finally produced on a massive scale. The second period is when embossed designs began to be recognized as a sophisticated ornamental technique, on an equal footing with blue-and-white decorations and yet distinct from them. It was during this period that innovative techniques such as white-slip embossing were attempted by Joseon potters. During the third period, their quality standards became greatly diversified in response to the expanding market for embossed white porcelains. Inscriptions such as “Useok,” and “Choeun,” found on some of these porcelain wares , referring to the royal household and high-ranking government officials are, for instance, highly use...

치과용도재에 의한 법랑질 마모에 관한 연구

이영국,이선형,양재호,정헌영,Lee, Young-Kook,Lee, Sun-Hyung,Yang, Jae-Ho,Chung, Hun-Young 대한치과보철학회 1999 대한치과보철학회지 Vol.37 No.1

Dental porcelain is one of the materials of choice for restoration where esthetics is of concern, but has a considerable potentials of wear. The wear of enamel is variable when opposed by different porcelain systems and surface conditions, and the exposed dentine and opaque porcelain due to clinical failure is expected to have high potentials of wear. The purpose of this study was to investigate the wear effects of self-glazed, polished incisal porcelain. polished dentine and opaque porcelain against human enamel in the laboratory by use of a pin-on-disk type wear tester. 4 types of dental porcelain($Vita-{\Omega}$, Ceramco-II, Vintage powder $Vita-{\alpha}$ of In-Ceram system) and type IV gold alloy as cotrol group were used for test specimens. Intact buccal cusps of maxillary premolar were used for enamel specimens, and the cusp converged to a point and was devoid of visible abrasion, caries, decalcification. The upper part was the cusp of a maxillary premolar and the lower part was a porcelain specimen. The enamel wear was deter-mined by weighing the cusp before and after each test. Surface profilometer was used to quantitate wear of the porcelain specimens. Vicker's hardness tester was used to evaluate the surface hardness of test specimens. The SEM was used to evaluate the wear surfaces. The results were as follows : 1 Self-glazed porcelain produced more enamel wear than polished porcelain, especially the enamel wear of $Vita-{\alpha}$ self-glazed porcelain was 3.2 times more than that of other groups. 2. Opaque porcelain produced least porcelain wear, $Vita-{\alpha}$ self-glazed porcelain produce greatest porcelain wear, but there was no statistically significant difference between the groups(p>0.05). 3. The enamel wear of dentine porcelain was 3.8 times more than that of polished inisal porcelain(p<0.05), and the enamel wear of opaque porcelain was 1.9 times more than that of polished inisal porcelain, but there was no statistically significant difference between the groups(p>0.05) 4. Overglazed porcelain produced less enamel wear than self-glazed porcelain, and more enamel wear than polished porcelain, but there was no statistically significant difference between the groups(P>0.05). 5. The hardness number of $Vita-{\Omega}$ dentine and Ceramco-II opaque porcelain was larger, but that of Vintage dentine and $Vita-{\alpha}$ self-glazed porcelain was similar to other groups. 6. Examination of SEM photographs revealed that overglazed porcelain had smoother surface than self-glazed porcelain, and self-glazed porcelain had smoother surface than polished porcelain. Much polishing scratches and larger porosities were observed on the opaque porcelain specimen, and much polishing scratchess and small porosities were observed on the dentine porcelain specimen.

신흥사기점의 도자기 생산특징과 전승양상

김병욱 동아시아고대학회 2022 동아시아고대학 Vol.- No.66

The Sinheung porcelain factory produced white porcelain and black porcelain at the same time in the late Joseon Dynasty, and this tradition has been maintained to this day. Such a pottery tradition is difficult to find, not just in the Gangwon-do Province but also nationwide. The factory’s record of ceramic production was compiled in 1916 in Samchukunji, Sinheung-ri also produced a lot of porcelain. Through this, it can be seen that fraudulent production was already prevalent in the Sinheung porcelain factory before 1916. The characteristics of the Sinheung factory’s ceramic production can be summarized as follows: first, it produced white porcelain and black porcelain at the same time. This is usually difficult due to the different materials involved, such as soil and glaze. Generally, one kiln produces a field of pottery. The Sinheung factory overcame this and produced ceramics in two fields. Second, ceramics were produced by classifying grades. The best-made bowl was called “Won-gi,” the commonly used bowl was “Sang-gi,” and the bowl made of lower-grade ceramics was “Ha-gi.” All three classes of products were completed with pottery after being baked in a kiln. When the kiln cooled, the objects were taken out and the defective ones were eliminated. These may have included bowls whose glaze had not melted well or broken due to the excessive temperature in the kiln. This selection process was called “Pagi” and the rejects were destroyed in a dedicated place called “Pagi-Jang.” This is considered to be a characteristic of the Sinheung porcelain factory, which is difficult to find in other regions. Third, when making black porcelain, locally produced red ochre was used as the raw material for the glaze. This production process has been followed from the Goryeo and Joseon periods until the present moment; however, its importance has not been sufficiently recognized and studied by researchers. Therefore, this study summarizes the context of black porcelain production at the Sinheung porcelain factory by revealing the conditions under which red ochre, a raw material used for manufacturing the glaze, which has not been known. In other words, the factory was able to produce the two types of porcelain based on the regional specificity and environment, which facilitated the supply and demand of raw materials necessary for ceramic production such as clay and red ochre. The continuation of this porcelain production tradition has been made possible by family inheritance and commitment to its original quality standards. The Sinheung porcelain factory was started by Kwak Bong-jae (unknown date of birth and death) in the late Joseon Dynasty and was bequeathed to his son Kwak In-ok (1877-1964), who then passed it on to his eldest and second sons, Kwak Yong-up (1911-1992) and Kwak Yong-woon (1914-2008). At the third generation, however, the tradition of pottery production suffered as plastic and nickel-silver bowls became popular. As a result, Kwak Yong-woon was not succeeded by his son in the factory’s administration, which was transferred to one of his collaborators, Shin Won-soo, so that the tradition could continue. Shin Won-soo had the necessary abilities to produce ceramics and committed to preserve the original production techniques, tools, and raw material collection procedures at the Sinheung porcelain factory. The ceramic production tradition of the Sinheung Porcelain factory was inherited by direct descendants from the 1st to 3rd generations, and was passed on to other people with the ability to produce ceramics from the 3rd to 4th generations.