본 연구는 도예작업에서 즉흥성으로 이해되고 있는 라쿠(RaKu)소성을 데이터로 체계화시켜적용함으로서 향후, 도예작업에서 균일한 결과물을 도출하고 라쿠(RaKu)소성의 표준화 방안을모색하는데 목적이 있다.
라쿠(RAKU,樂燒)는 일본에서 유래된 소성방법으로 라쿠기법을 이용한 소성이란 뜻의‘라쿠야키’(Rakuyaki,樂燒)로 많이 알려져 있다. 시유한 기물을 가마에 넣어 900-1100℃사이에서소성하다가 즉시 기물을 꺼내 톱밥, 신문 등의 작용과정을 거쳐 빨리 식히는 방법을 말한다.
라쿠의 어원에서 알 수 있듯이 소성자의 즉흥적 행위는 라쿠소성에서 매우 중요시된다. 소성과정에서 톱밥에 던져 넣을 때도 즉흥적 행위에서 발견된 수많은 우연들이 새로운 작품들을탄생시켜 왔기 때문이다.
그렇다고 우리는 우연성에만 기대어 작업을 진행해야 하는가! 그 동안의 연구물이 그러했다고 인정하고 흐르는 대로, 나오는 대로 결과에 만족해야 하는가! 우연이 아닌 계산되어지면안 되는 것인가! 연구자는 새로움이란 늘 사소한 비판에서 출발하는 것이라 보고 그 가능성을보여주고자 이와 같은 사소함에서 본 연구를 진행하였다.
따라서 본 연구는 기존 라쿠소성의 즉흥성이 아닌 동일한 실험 조건으로 소성실험을 진행하여 체계적인 표준데이터를 제시하였다. 또한 도출한 라쿠 소성 데이터가 실제 표준화가 가능한지 연구자의 작품 소성을 진행함으로써 증명하여 제시하였다.
표준 데이터 조성 실험은 입체작업과 판 작업이 주를 이루고 있는 도예작업의 특성을 반영하여 독립적인 비율의 소지(거친 산청토, 분청토)를 조합하고 판형과 입체형 두 가지 종류의시편을 제작하였다. 소성실험은 총 5회로 870℃, 900℃, 930℃, 950℃, 970℃의 온도이며, 가마안에서 재임위치(위층, 아래층)를 구분하여 위치 변화를 확인하고자 하였다. 또한 연구자가 사용하는 4가지 유약(흰색기본유, 흰색균열유, 동매트유, 암벽유)을 2가지 시유법인 담금 시유법과 붓 시유법으로 시유하여 변화를 관찰하였다.
실험 결과를 정리·분석하고 소성 온도에 따른 유약의 용융상태와 색채특성을 분석하여 라쿠소성 표준데이터를 도출하고 정리하였다.
5번의 소성실험결과, 시편 색감과 용융도가 가장 좋은 소성은 950℃온도에서의 소성이었고재임 위치는 위에 재임한 것 보다 아래에 재임한 시편에서 좋은 결과가 나타났다. 이는 가마상황(화구에 인접)에 따라 나타나는 온도차에 의한 결과이며, 유약별로 용융점이 조금씩 다른이유 때문이다. 소성상황과 환경이 소성결과에 영향을 줄 수 있겠으나 본 실험에서 사용한 유약을 기준으로 최적의 색감과 용융도를 보인 소성은 950℃의 온도가 적당하다는 결론을 도출할 수 있었다. 또한 실험에서 도출한 라쿠 소성 표준 데이터가 실제 테이터로 표준화가 가능한지 연구자의 작품 소성을 진행함으로써 증명하여 제시하였다.
즉흥성과 우연성으로 이해되는 라쿠 소성에서 표준데이터 조성으로 도자 표현에 새로운 가능성을 보여주고자 한다.
The purpose of this study is to systematize RaKu firing, which is understood as improvisation in ceramic works with find standardization method of Raku in the future by drawing uniform results. The term RaKu (樂燒) refers to a firing method originating in Japan. It is also known as Rakuaki, which means firing by employing the RaKu method. According to the RaKu method, a vessel is glazed, then put in a kiln, fired at 900℃-1100℃, immediately taken out from the kiln, and quickly cooled down through a process using sawdust and paper. As the origin of the name suggests, a potter’s impromptu action is very important in RaKu. This is because of the randomness found in impromptu actions, such as throwing the vessel in sawdust during the firing process, creates new different works. Even so, should we solely depend on randomness during the process? Do we have no choice but to adhere to the previous studies and be satisfied with the given outcomes? Can we calculate data instead of depending on randomness? The reseacher believes that regarding novelty starts from criticizing the trival points and in order to show the possibility, this study was carried out in such a triviality. Thus, the study suggests systematic standard data by conducting experiments on firing with the same conditions, instead of depending on the traditional RaKu firing’s properties of being impromptu. Also, the study proves is presented by progressing the researcher's work on whether the data of Raku can be standardized. The experiment to form the standard data was conducted as follows: to combine different clay (rough Sancheong clay, Buncheong clay) in individual ratios, reflecting the characteristics of pottery mainly consisting of three-dimensional works and board works; and to produce two kinds of samples, a board type and a three-dimensional type. Firing experiments were conducted five times at 870℃, 900℃, 930℃, 950℃, and 970℃. By distinguishing the locations (upper, lower) in the kiln, differences upon location were identified. Also, four kinds of glaze—basic white, white crackle, bronze matte, ambyeok —and two methods of glazing—dipping, brushing—were adopted and changes were observed. After analysis was carried out on the results, the standard data for RaKu firing were drawn and organized by examining the melting status of glazes and colors according to firing temperatures. The results of the five experiments suggested that at 950℃, the quality of sample colors and fusibility were the highest, and the lower location rather than the upper showed better result `1s. These are the effects brought about by different temperatures according to the conditions of the kiln and different melting points according to glazes. Although the firing status can influence the firing results, based on glazes used in this study, it was concluded that the best quality of colors and fusibility was produced at 950℃. Whether the RaKu firing standard data, drawn from the experiments, can be applicable as real data or not was proved by firing the researcher’s own works. The outcome of this study is to show possibilities for new expression on ceramics by forming the standard data of RaKu firing, which is considered impromptu and random.
The purpose of this study is to systematize RaKu firing, which is understood as improvisation in ceramic works with find standardization method of Raku in the future by drawing uniform results. The term RaKu (樂燒) refers to a firing method originating in Japan. It is also known as Rakuaki, which means firing by employing the RaKu method. According to the RaKu method, a vessel is glazed, then put in a kiln, fired at 900℃-1100℃, immediately taken out from the kiln, and quickly cooled down through a process using sawdust and paper. As the origin of the name suggests, a potter’s impromptu action is very important in RaKu. This is because of the randomness found in impromptu actions, such as throwing the vessel in sawdust during the firing process, creates new different works. Even so, should we solely depend on randomness during the process? Do we have no choice but to adhere to the previous studies and be satisfied with the given outcomes? Can we calculate data instead of depending on randomness? The reseacher believes that regarding novelty starts from criticizing the trival points and in order to show the possibility, this study was carried out in such a triviality. Thus, the study suggests systematic standard data by conducting experiments on firing with the same conditions, instead of depending on the traditional RaKu firing’s properties of being impromptu. Also, the study proves is presented by progressing the researcher's work on whether the data of Raku can be standardized. The experiment to form the standard data was conducted as follows: to combine different clay (rough Sancheong clay, Buncheong clay) in individual ratios, reflecting the characteristics of pottery mainly consisting of three-dimensional works and board works; and to produce two kinds of samples, a board type and a three-dimensional type. Firing experiments were conducted five times at 870℃, 900℃, 930℃, 950℃, and 970℃. By distinguishing the locations (upper, lower) in the kiln, differences upon location were identified. Also, four kinds of glaze—basic white, white crackle, bronze matte, ambyeok —and two methods of glazing—dipping, brushing—were adopted and changes were observed. After analysis was carried out on the results, the standard data for RaKu firing were drawn and organized by examining the melting status of glazes and colors according to firing temperatures. The results of the five experiments suggested that at 950℃, the quality of sample colors and fusibility were the highest, and the lower location rather than the upper showed better result `1s. These are the effects brought about by different temperatures according to the conditions of the kiln and different melting points according to glazes. Although the firing status can influence the firing results, based on glazes used in this study, it was concluded that the best quality of colors and fusibility was produced at 950℃. Whether the RaKu firing standard data, drawn from the experiments, can be applicable as real data or not was proved by firing the researcher’s own works. The outcome of this study is to show possibilities for new expression on ceramics by forming the standard data of RaKu firing, which is considered impromptu and random.
