濟州粘土와 耐火匣燒成을 利用한 항아리 開發硏究

Abstract

Jeju island is a volcanic island, built by volcanic eruptions, containing a geological consistency of over 95% of alkaline basalt and about 5% of Mugearite and trachyte. The soil from this island that was formed by volcanic eruptions has mainly basalt as a host rock so it is very conflicting in color and the ingredients in contrast to the clay from the red clay from the mainland that contains a high percentage of iron (Fe2O3) and alkali (Na20+K20). This study had started to redesign Jeju traditional pots (that was made by Jeju's unique geographical environment) with modern sense and the practicality. However, I tried to keep the traditional way inchoosing the type of clay and shape the pots so they could still have the identity of Jeju Island. At the beginning, I did a lot of experiments with clay dug from many different areas in Jeju. To let it maintain the hardness of red Onggi and the beauty of smoke-firing, I sprayed ashes over the pots after bisque-firing and did the second firing to harden the pots. After that, I did saggar firing for the purpose of this study. These are the results: First, as a result of the experiments with the clay I picked for the use of ceramic work, gray-brown clay called Gonaengi clay(found in Sin-pyeong) has a good quailty of viscosity and the dark brown clay from the same area has a great red color for ceramics. Second, as a new look of Onggi that is made from the nature of Jeju, I could develop Jeju's traditional past with some modern sense while keepingits own traditional shape and beauty as well. Third, firing 3 times helps to harden pots like Onggi and the third saggar firing that makes Jeju's typical black color. Finally, I got the result of making the pots with a black quiet gloss and the special effects from the parts covered by ashes as well as other parts that aren't covered. In other words, saggar firing after 1180 degrees Celsius of glaze-firing compensated the low-strength of black earthenware but the pots could still have Jeju's traditional black color. As a result, I used the traditional forming method with clay from Jeju and did high-firing and saggar firing additionally to give the identity of Jeju to the pots that I pursued. I could understand more about the use of saggar firing and the firing methods in modern ceramic field and I could get closer to Onggi with a new look at the same time. However, there are still some things that should be fixed with continuous work and study, and I expect that there will be other various studies about Jeju Onggi and it flourishes in different conditions.