부산대학교 도서관

This study is a review of the researcher's own work. Through the morphological transformation of ceramics, it is aimed to reinterpret the meaning of 'tradition' and apply various luster techniques that are effective in expressing mythical contents as one of the main work themes of the researcher.  Eventually, it aimed to enhance the researcher’s subsequent works. In addition, it provides the technical data of the luster techniques to researchers of luster to diversify ceramics expression.Porcelain were the mainstream of ceramic art in any age and any country. Thus, porcelains have had a significant meaning in the history of ceramics. In fact, vessels were the defining element of ceramics for thousands of years. Although modern potters are also not free from vessels, they are starting to move away from them and into to modern ceramics.Especially in modern ceramics, vessels became more formative aspects rather than functional containers.This researcher could not be free from the problem of 'tradition' because he could not help being aware that pottery has developed not only as a traditional art but also as a craft. Pottery is an art that inevitably requires the skill of the soil material as well as this researcher’s reinterpretation of the notion of 'tradition' in a broad sense.With this idea, the researcher tried to transform the vessels with themes of birth myths, in which other researchers have also been interested, since studying various transformation works in 2015. In particular, the researcher began to focus on the formality of light while paying attention to ancient myths of our country. However, it was not possible to use such a strong metallic light effect as a traditional domestic material. While experimenting with various materials, the ceramics already had a naturally vitreous surface, and gloss became attracted to a very characteristic luster ware. In the case of the luster glaze with a metallic character on the surface, reflection of light is a critical element of beauty. Of course, reflection of light plays an important role in traditional Korean ceramics. For example, in the case of a moon jar, the role of light and shade that envelops the white surface is a factor that fully reveals the charm of the moon jar. In the case of ceramics, which intends to emphasize light, intense reflection of light and metallic brilliance can be more attractive than light itself.Luster glaze can be applied not only at low temperature but also at intermediate temperature, and it minimizes shrinkage of shape, so it can be used one ceramics that cannot be processed through standard firing temperatures. In other words, large-sized works are likely to become cracked due to different shapes and shrinkage directions when they are made, but luster wares are easy to work with. In addition, the metallic material of the luster glaze can have the same effect as the metal itself, even with a very small amount. As a modern potter, this researcher thinks that creative formative work is the first priority, although he must also grasp and learn techniques and theories at the same time. The creative formative work is the work of formulating the mental image through which the artist wants to express himself. The luster ware, once a mysterious technological product that was once regarded as an alchemy, is no longer the secret of the producers thanks to the efforts of contemporary artists, yet it is still not easy to restore the lustrous colors.As it was not a traditional domestic pottery material, luster glaze is difficult to connect directly to the researcher’s keen interest in Korean tradition. The luster technique is worthy of continued research, and is considered a meaningful field in the domestic pottery industry.