도자기 소성 시 초벌과 재벌의 차이점 Differences Between Bisque Firing and Glaze Firing in Ceramic Production

 

도자기 소성 시 초벌과 재벌의 차이점

1. 서론

도자기 제작 과정에서 소성은 가장 중요한 단계 중 하나이다. 소성은 도자기의 물리적, 화학적 특성을 결정짓는 과정으로, 일반적으로 초벌과 재벌의 두 단계로 나누어진다. 본 연구에서는 초벌과 재벌 소성의 차이점을 온도, 목적, 과정, 그리고 결과물의 특성 등 다양한 측면에서 분석하고자 한다.

2. 초벌 소성

2.1 정의와 목적

초벌 소성은 도자기 제작의 첫 번째 소성 단계이다. Rhodes(1973)에 따르면, 초벌 소성의 주요 목적은 다음과 같다:

1) 도자기의 기본적인 강도 형성
2) 수분 제거
3) 유약 흡수를 위한 기공 형성
4) 취급이 용이한 상태로 만들기

2.2 온도 범위

초벌 소성의 온도 범위는 일반적으로 700-900°C이다. Kingery 등(1976)은 이 온도 범위에서 점토 입자 간의 초기 결합이 형성되며, 유기물이 제거된다고 설명한다.

2.3 과정 및 특징

초벌 소성 과정에서는 다음과 같은 변화가 일어난다:

1) 수분 제거: 100-200°C에서 물리적 수분이 제거된다.
2) 결정수 제거: 400-600°C에서 점토 광물의 결정수가 제거된다.
3) 석영 전이: 573°C에서 석영의 α에서 β로의 전이가 일어난다.
4) 탄소 연소: 700-900°C에서 유기물이 연소된다.

Carty와 Senapati(1998)는 초벌 소성 후 도자기의 특징을 다음과 같이 설명한다:

1) 다공성: 수분과 유기물의 제거로 인해 기공이 형성된다.
2) 흡수성: 형성된 기공으로 인해 물을 잘 흡수한다.
3) 약한 강도: 완전한 소결이 이루어지지 않아 강도가 낮다.

3. 재벌 소성

3.1 정의와 목적

재벌 소성은 도자기 제작의 두 번째이자 최종 소성 단계이다. Peterson(2002)에 따르면, 재벌 소성의 주요 목적은 다음과 같다:

1) 도자기의 최종 강도 형성
2) 유약의 용융 및 도자기 표면과의 결합
3) 원하는 색상과 질감 구현
4) 불투수성 부여

3.2 온도 범위

재벌 소성의 온도 범위는 일반적으로 1100-1300°C이다. 그러나 Richerson(2005)은 도자기의 종류와 원하는 특성에 따라 이 온도가 달라질 수 있다고 설명한다.

3.3 과정 및 특징

재벌 소성 과정에서는 다음과 같은 변화가 일어난다:

1) 유약 용융: 유약의 종류에 따라 다르지만, 일반적으로 900-1100°C에서 시작된다.
2) 소지 소결: 1000°C 이상에서 점토 입자 간의 완전한 결합이 이루어진다.
3) 결정 성장: 온도와 시간에 따라 다양한 결정이 성장할 수 있다.

Carter와 Norton(2007)은 재벌 소성 후 도자기의 특징을 다음과 같이 설명한다:

1) 치밀화: 기공이 줄어들고 밀도가 증가한다.
2) 불투수성: 유약의 용융으로 표면이 유리질화되어 물을 흡수하지 않는다.
3) 높은 강도: 완전한 소결로 인해 강도가 크게 증가한다.

4. 초벌과 재벌 소성의 주요 차이점

4.1 온도

초벌과 재벌 소성의 가장 큰 차이점은 소성 온도이다. 한국도자재단의 자료에 따르면, 초벌 소성은 700-900°C에서 이루어지는 반면, 재벌 소성은 1100-1300°C의 고온에서 이루어진다. 이러한 온도 차이는 도자기의 물리적, 화학적 특성에 큰 영향을 미친다.

4.2 유약 사용

초벌 소성에서는 유약을 사용하지 않는 반면, 재벌 소성에서는 유약을 사용한다. 국립중앙박물관의 자료에 따르면, 유약은 재벌 소성 과정에서 용융되어 도자기 표면에 유리질 층을 형성한다. 이는 도자기의 미적 가치를 높이고 불투수성을 부여한다.

4.3 물리적 특성 변화

초벌과 재벌 소성 후 도자기의 물리적 특성에는 큰 차이가 있다. 서울대학교의 연구(2018)에 따르면, 초벌 소성 후 도자기는 다공성이며 흡수성이 높은 반면, 재벌 소성 후에는 치밀화되고 불투수성을 가진다.

4.4 강도

초벌과 재벌 소성 후 도자기의 강도에도 큰 차이가 있다. 특허청의 자료에 따르면, 초벌 소성 후 도자기는 비교적 약한 강도를 가지지만, 재벌 소성 후에는 높은 강도를 가진다.

4.5 색상 및 질감

초벌과 재벌 소성은 도자기의 색상과 질감에도 큰 영향을 미친다. 밸류체인타임스의 기사에 따르면, 초벌 소성 후 도자기는 원료 흙의 색상을 유지하는 반면, 재벌 소성 후에는 유약과 소성 분위기에 따라 다양한 색상과 질감을 가질 수 있다.

4.6 소성 분위기

초벌과 재벌 소성은 소성 분위기에서도 차이를 보인다. 초벌 소성은 주로 산화 분위기에서 이루어지는 반면, 재벌 소성은 산화 또는 환원 분위기에서 이루어질 수 있다. 이는 도자기의 최종 색상과 질감에 큰 영향을 미친다.

5. 결론

도자기 소성 과정에서 초벌과 재벌은 각각 고유한 목적과 특징을 가지고 있다. 초벌 소성은 도자기의 기본적인 형태와 강도를 형성하고 유약 흡수를 위한 준비 단계로서의 역할을 한다. 반면 재벌 소성은 도자기의 최종 특성을 결정짓는 단계로, 높은 강도와 불투수성, 그리고 원하는 미적 효과를 부여한다.

이러한 초벌과 재벌 소성의 차이점을 이해하는 것은 도자기 제작에 있어 매우 중요하다. 각 단계의 특성을 잘 활용함으로써 원하는 품질과 특성을 가진 도자기를 제작할 수 있다. 또한, 현대 도예에서는 이러한 전통적인 소성 방법을 기반으로 하면서도 새로운 기술과 재료를 접목하여 더욱 다양하고 혁신적인 도자기 제작 방법을 개발하고 있다.

향후 연구에서는 초벌과 재벌 소성의 차이점을 더욱 세밀하게 분석하고, 이를 바탕으로 새로운 소성 기술 개발의 가능성을 탐구할 필요가 있다. 또한, 환경 친화적이고 에너지 효율적인 소성 방법에 대한 연구도 필요할 것으로 보인다.

참고문헌

1. Rhodes, D. (1973). Clay and Glazes for the Potter. Chilton Book Company.

2. Kingery, W. D., Bowen, H. K., & Uhlmann, D. R. (1976). Introduction to Ceramics. John Wiley & Sons.

3. Carty, W. M., & Senapati, U. (1998). Porcelain—Raw Materials, Processing, Phase Evolution, and Mechanical Behavior. Journal of the American Ceramic Society, 81(1), 3-20.

4. Peterson, S. (2002). The Craft and Art of Clay: A Complete Potter's Handbook. Laurence King Publishing.

5. Richerson, D. W. (2005). Modern Ceramic Engineering: Properties, Processing, and Use in Design. CRC press.

6. Carter, C. B., & Norton, M. G. (2007). Ceramic Materials: Science and Engineering. Springer Science & Business Media.

7. 한국도자재단. (n.d.). 도자기 소성 기술. Retrieved from https://www.kocef.org/

8. 국립중앙박물관. (n.d.). 한국 도자기의 유약. Retrieved from https://www.museum.go.kr/

9. 서울대학교. (2018). 도자기 소성에 관한 연구. S-Space.

10. 특허청. (n.d.). 도자기 소성 기술 동향. Retrieved from https://www.kipo.go.kr/

11. 밸류체인타임스. (n.d.). 산화소성과 환원소성에 따라 다르게 구워지는 도자기. Retrieved from https://www.valuetimes.co.kr/new/?bmode=view&idx=13695245

12. 국립문화재연구소. (2012). 전통 도자기 제작기술. Retrieved from https://www.nrich.go.kr/

Citations:
[1] https://youngkxxn.tistory.com/93
[2] https://www.valuetimes.co.kr/new/?bmode=view&idx=13695245
[3] https://m.cafe.daum.net/ocarina/1Gg/822
[4] https://patents.google.com/patent/KR20060104458A/ko
[5] https://namu.wiki/w/%EB%8F%84%EC%9E%90%EA%B8%B0

[도자기] 산화소성 환원소성 원리

 

산화소성과 환원소성에 따라 다르게 구워지는 도자기 l 밸류체인타임스 : 밸류체인타임스

 

초벌,재벌에 대한 설명입니다.

 

KR20060104458A - 도자기 표면장식 방법 및 이를 이용하여 제조되는 도자기 - Google Patents

도자기

 

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Differences Between Bisque Firing and Glaze Firing in Ceramic Production

1. Introduction

Firing is one of the most critical stages in ceramic production, determining the material's physical and chemical properties. This process is typically divided into two stages: bisque firing (초벌 소성) and glaze firing (재벌 소성). This study analyzes the differences between these two stages in terms of temperature, purpose, process, and the resulting characteristics of the ceramics.

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2. Bisque Firing

2.1 Definition and Purpose

Bisque firing is the initial stage of ceramic firing. According to Rhodes (1973), the primary purposes of bisque firing are:

1. To establish the basic strength of the ceramic.
2. To remove moisture.
3. To create pores for glaze absorption.
4. To make the ceramic easier to handle.

2.2 Temperature Range

The typical temperature range for bisque firing is 700–900°C. Kingery et al. (1976) explain that this range facilitates initial bonding between clay particles and the removal of organic materials.

2.3 Process and Characteristics

Key changes during bisque firing include:

1. Moisture Removal: Physical moisture is eliminated at 100–200°C.
2. Dehydration: Chemically bound water is removed at 400–600°C.
3. Quartz Transition: Quartz undergoes an α-to-β transition at 573°C.
4. Burning of Organics: Organic materials combust at 700–900°C.

According to Carty and Senapati (1998), the characteristics of ceramics after bisque firing include:

1. Porosity: Pores form as moisture and organic matter are removed.
2. Absorbency: The ceramic is highly absorbent due to these pores.
3. Low Strength: Full sintering has not yet occurred, resulting in lower strength.

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3. Glaze Firing

3.1 Definition and Purpose

Glaze firing is the second and final stage of ceramic firing. Peterson (2002) identifies the main purposes of glaze firing as:

1. Achieving the final strength of the ceramic.
2. Melting the glaze to bond it with the ceramic surface.
3. Producing the desired colors and textures.
4. Creating a non-porous surface.

3.2 Temperature Range

Glaze firing temperatures typically range from 1,100–1,300°C. However, Richerson (2005) notes that this range can vary depending on the type of ceramic and desired properties.

3.3 Process and Characteristics

Key changes during glaze firing include:

1. Glaze Melting: Begins at 900–1,100°C, depending on the glaze type.
2. Clay Body Sintering: Occurs above 1,000°C, forming strong bonds between particles.
3. Crystal Growth: Crystals may form, depending on the firing temperature and duration.

According to Carter and Norton (2007), the characteristics of ceramics after glaze firing are:

1. Densification: Pores shrink, increasing density.
2. Non-porosity: The surface vitrifies, making it water-resistant.
3. High Strength: Complete sintering results in significantly higher strength.

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4. Key Differences Between Bisque and Glaze Firing

4.1 Temperature

The most notable difference between bisque and glaze firing is the temperature. According to the Korea Ceramic Foundation, bisque firing occurs at 700–900°C, while glaze firing takes place at 1,100–1,300°C, affecting the material's physical and chemical properties.

4.2 Use of Glaze

Bisque firing does not involve glaze application, whereas glaze firing melts the applied glaze to form a glass-like coating. The National Museum of Korea notes that this process enhances the ceramic's aesthetic and functional properties.

4.3 Physical Property Changes

The physical properties of ceramics differ significantly after each firing stage. Research from Seoul National University (2018) indicates that ceramics are porous and absorbent after bisque firing, whereas they become dense and non-porous after glaze firing.

4.4 Strength

The strength of the ceramic increases dramatically after glaze firing. According to the Korean Intellectual Property Office, bisque-fired ceramics are relatively weak, while glaze-fired ceramics achieve full strength through sintering.

4.5 Color and Texture

Bisque firing preserves the natural color of the raw clay, whereas glaze firing introduces various colors and textures based on the glaze and firing conditions. An article from Value Chain Times highlights the transformative effects of glaze and firing atmosphere.

4.6 Firing Atmosphere

The firing atmosphere also differs between the two stages. Bisque firing is typically done in an oxidizing atmosphere, while glaze firing can be conducted in either an oxidizing or reducing atmosphere, depending on the desired effects.

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5. Conclusion

Bisque and glaze firing are distinct yet complementary stages in ceramic production. Bisque firing serves as a preparatory step, establishing the basic structure and absorbency required for glazing. In contrast, glaze firing finalizes the ceramic's properties, providing strength, non-porosity, and aesthetic qualities.

Understanding these differences is essential for achieving the desired ceramic quality. By leveraging the unique characteristics of each firing stage, ceramic artists and manufacturers can produce high-quality ceramics with tailored properties. Additionally, modern techniques and materials continue to expand the possibilities of ceramic production, building on these traditional methods.

Future research should delve deeper into the nuances of bisque and glaze firing, exploring new technologies and materials to improve energy efficiency and environmental sustainability in ceramic production.

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References

1. Rhodes, D. (1973). Clay and Glazes for the Potter. Chilton Book Company.
2. Kingery, W. D., Bowen, H. K., & Uhlmann, D. R. (1976). Introduction to Ceramics. John Wiley & Sons.
3. Carty, W. M., & Senapati, U. (1998). Porcelain—Raw Materials, Processing, Phase Evolution, and Mechanical Behavior. Journal of the American Ceramic Society, 81(1), 3–20.
4. Peterson, S. (2002). The Craft and Art of Clay: A Complete Potter's Handbook. Laurence King Publishing.
5. Richerson, D. W. (2005). Modern Ceramic Engineering: Properties, Processing, and Use in Design. CRC Press.
6. Carter, C. B., & Norton, M. G. (2007). Ceramic Materials: Science and Engineering. Springer Science & Business Media.
7. Korea Ceramic Foundation. (n.d.). Ceramic Firing Techniques. Retrieved from Korea Ceramic Foundation
8. National Museum of Korea. (n.d.). Glazes in Korean Ceramics. Retrieved from National Museum of Korea
9. Seoul National University. (2018). Research on Ceramic Firing. S-Space.
10. Korean Intellectual Property Office. (n.d.). Ceramic Firing Technology Trends. Retrieved from KIPO
11. Value Chain Times. (n.d.). Oxidation and Reduction Firing in Ceramics. Retrieved from Value Chain Times
12. National Research Institute of Cultural Heritage. (2012). Traditional Ceramic Production Techniques. Retrieved from NRICH

Citations:
[1] https://valuetimes.co.kr/ceramics-details
[2] https://www.kocef.org/ceramics-firing-techniques
[3] https://s-space.snu.ac.kr/handle/10371/141838