無光澤釉에 關한 硏究

Abstract

現代陶藝에서 釉藥은 표면장식의 한 分野로 위치를 굳히고 있는 추세이며, 특히 無光澤釉에 대한 취향이 높아지고 있다. 따라서 本 硏究에서는 無光澤釉에 좀더 과학적인 方法으로 접근하기 위해 산화아연(ZnO)과 탄산칼슘(CaC0_(3))을 媒熔原料로 使用한 鹽基性 無光澤釉를 택하여 알루미나(A1_(2)0_(3))와 실리카(SiO_(2)) 添加量의 變化로 組成된 12種類의 釉에 發色劑를 添加하여 다양한 釉色變化를 시도하였다. 使用된 自色磁器素地의 燒成溫度 範圍를 測定하기 위하여 吸水率, 線收縮率 實驗과 示差熱分析도 하였으며, 釉의 燒成溫度 實驗을 통해 無光澤 效果가 가장 좋은 溫度를 決定하였다. 實驗結果 1200℃가 無光澤釉의 適定 燒成溫度라 推定하여 發色劑 添加實驗을 수행하였다. 發色劑로는 發色劾果가 확실하여 보편적으로 使用되는 산화동(CuO), 산화코발트(CoO), 산화니켈(NiO), 산화크롬(Cr_(2)O_(3)), 산화제이철(Fe_(2)O_(3))을 택하여 添加量에 따른 釉色變化와 전기爐의 酸化燒成과 가스爐의 還元燒成에 따른 釉色 變化도 比較하였다. 實驗結果는 다음과 같다. 1. 산화동(CuO)은 酸化燒成時 綠色系列로, 還元燒成에서는 添加量에 따른 色相의 明度 차이는 없었으나, CuO가 還元되어 赤色系列로 發色하였다. 2. 산화코발트(CoO)는 燒成분위기에 따른 色相 變化는 없었으며, 添加量에 따른 체계적인 釉色 變化와 적은 添加量에도 發色 效果는 컸다. 3. 산화니켈(NiO)은 燒成분위기에 따른 色相 變化는 없었으나, 添加量에 따라 체계적으로 釉色 變化가 나타났다. 4. 산화크롬(Cr_(2)O_(3))은 일반적으로 綠色系列로 發色하지만 알루미나(Al_(2)O_(3))의 영향으로 갈색계열로 나타났다. 휘발성이 적은 크롬은 添加量에 따라 均一하게 發色하였으나, 還元燒成時 전반적으로 色相이 어두워졌다. 5. 산화제이철(Fe_(2)O_(3))은 酸化 燒成時 明度 높은 황색계열로, 還元燒成에서는 Fe_(2)O_(3)가 還元되어 회녹색계열로 불안정하게 發色하였으며, 미세한 결정도 나타났다. 實驗結果 發色이 좋다고 생각된 것을 本 硏究者의 試作品에 應用한 結果, 試片보다 다양한 釉色 變化의 가능성을 기대할 수 있었다.;It is a difficult question to define what the modern style of ceramic art is. However, taking a look at the current and trend of it, we can see that modern ceramic art has come out of the category, of vessel as a utensil of our daily lives, and that the domain of expression is extending far beyond the scope of ceramic art. Due to its role in modern ceramic art, the glaze tends to secure its position as a separate field of surface decoration, and propensity toward matt glaze is growing highter. Therefore, in order to approach matt glaze through more scientific methods, this study adopted basic matt glaze using zinc oxide (ZnO) and Calcium Carbonate (CaCO_(3)) as the medium raw materials. Twelve(12) kinds of glaze were prepared by changing the quantity of Al_(2)O_(3) and SiO_(2). In the 1st experiment, matt glaze was sintered in the atomosphere of oxidizing flame in an electric furnace by changing it to 1100℃, 1150℃, 1175℃, 1200℃, 1225℃ and 1250℃ in order to settle the sin-tering temparature. In the 2nd experiment, I added, as coloration agents, oxides of metals such as oxides of Copper(CuO), Cobalt(CoO), Nickel (NiO), Chrome(Cr_(2)O_(3)) Iron (Fe_(2)O_(3)), etc. to 12 different kinds of glaze, and compared the colors being produced according to the sintering atmosphere by changing the quantity of additives. They were sintered, each, in an electric furnace and gas furnace with the sintering temperature being fixed at 1200℃. The results of such experiments are as follows: 1. CuO showed remarkable differences according to the sintering atmosphere. Those with 0.25% addition showed no coloration at all. 2. CoO showed no changes in coloration according to the sintering atmosphere, but generally showed stable color tones in the electric furnace. Also, the coloration power was very excellent. 3. NiO showed comparatively stable color tones, but there appeared very minute spots on the surface. 4. In case of Cr_(2)O_(3), the color tones in general became dark in the gas furnace. 5. Fe_(2)O_(3) showed stable coloration in the electric furnace but there appeared an unstable phenomenon of spots in the gas furnace, and the color tones became dark, too. As the result having applied those of which the coloration was considered to be good to this researcher's test work, the changes in colored glaze on the curved surface could be felt to be natural rather than in the case of test pieces which utilized the plane. The surface decoration could be given a possibility of better expression by means of changes in colored glaze of matt glaze.