• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• Journal of Conservation Science
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• v.24
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• pp.1-11
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• 2008

The Unhyungung Water Container in the possession of the Seoul Museum of History in Korea is consisted of a calcareous marble developed laminated bedding and numerous argillaceous veinlets. This monument should need to conservation treatment because of black discoloration and seriously numerous cracks. Vertical and horizontal cracks in the monument are developed following stratification and argillaceous veinlets that are relatively low coherence between the rock materials. We have proved that the material inducing discoloration on the surface is carbon which is formed by deposited organic matters. As the result of the ultrasonic measurements, although highly surface weathering degree, the physical properties of the Unhyungung Water Container is confirmed slightly weathered state. The depths of cracks in the monument are calculated at maximum 60mm in some cracks completely penetrating into the wall and at minimum 9mm in the other crack. The cracks, developed following veinlet, are revealed that there penetrate from an outer wall to an inside wall for the monument. And most depths of cracks, developed following stratification, are calculated 20 to 30mm. This result will offer a significant data for conservation of the Unhyungung Water Container.

• Cartoon and Animation Studies
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• s.45
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• pp.235-258
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• 2016

As the first class Teaching Artists system is about to be brought to effect, the ability required for Teaching Artists to design educational contents, develop and manage education programs is not much different from that of a museum Educator. This system is necessary for resolving problems in existing Arts and Culture Education, such as overlapping programs and adjusting difficulty levels by age to meet the demand of educatee. It also deals with drawbacks in production-oriented curriculum originating from the preference in some subject. In addition, as progress in science and technology makes rapid changes in digital media and its subculture, increasing need for novel and interdisciplinary curriculum in the field of Arts and Culture Education puts further emphasis on the importance of this system. In this study, we focus on clarifying the significance of Educator as a professional and proposing curriculum for the system, trying to avoid restricting our discussion to current Arts Instructor Supporting Project which are merely aimed at supporting children and adolescents to grow up to enjoy culture and arts. Capacity for designing curriculum for culture and arts, the kernel of qualification for the first class Teaching Artists, requires a variety of comprehensive expertise and qualification such as doing preliminary research on contents related to animation, curating, determining potential of educational contents, organizing educational contents for appropriate educatee, understanding esthetic property and its role in education, and appreciating and enjoying cultural contents. Therefore, Teaching Artists plays roles not only in developing and running educational programs but also in supporting and cooperating with culture and arts institutions, designing and managing creative programs, combining and communicating with different social groups, and emphasizing mutual interchange in culture.

• Journal of Conservation Science
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• v.32 no.1
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• pp.33-42
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• 2016

Modern cultural heritage were made with various materials. But there are no certain analysis for modern cultural heritage. Analysis on rickshaw from National Museum of Korean Contemporary History were carried out using P-XRF, species identification, paint film analysis, FT-IR and microscope observation. As a result Copper and Zinc were measured in metal parts. Nickel alloys were first used in the modern era for rickshaw. Wooden parts, Oak(Quercus spp.), bamboo(Phyllostachys spp.) and Hinoki cypress(Chamaecyparis spp.) were identified. Outer films were painted by 5 layers and inner films were painted by 3 layers. More simple painting process were performed on the inner part. Cotton and wool were identified by FT-IR. Also, cowhide were identified. Authenticity conservation and restoration could be carried out with the results.

• Journal of Conservation Science
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• v.33 no.5
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• pp.319-329
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• 2017

In this study, formaldehyde concentrations in two exhibition halls were monitored using a passive sampler from May 2012 to April 2013. Formaldehyde concentrations in the exhibition halls were 5 to 36 times higher than concentrations outdoors. Concentrations inside the exhibition room and showcase varied according to pollutant source, HVAC(heating, ventilation, air conditioning)system and environment management. The formaldehyde concentration levels were corrected according to a standard method prescribed by Indoor Air Quality Management Law of the Ministry of Environment, Korea. As a result, Most concentration levels exceeded the exhibition standard of the Ministry of Environment($100{\mu}g/m^3$) and artifacts conservation standard of Tokyo National Museum($50{\mu}g/m^3$). Seasonal concentrations in the exhibition room and showcase were in the order summer>fall>spring>winter. Formaldehyde emissions increased in summer when air temperature and relative humidity are both high. Formaldehyde concentration distribution according to the temperature and relative humidity showed positive correlation. Air temperature showed good correlation because $R^2$ was in the range of 0.8~0.9. Analysis of formaldehyde emission characteristics in the exhibition hall would be helpful in efforts to improve indoor air quality.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• KOMUNHWA
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• no.70
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• pp.5-15
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• 2007

Octagonal green glass bottle with long neck(녹유리장경각병) was found in the tomb of the princess Hwayu who was King Youngjo's daughter by a concubine while the tomb was exhumed and buried in another place around Bucheon City, Gyeonggi-do. This octagonal glass bottle is dark green. It was made in AD 1736-A1795 because it was cngraved an inscription of "건륭년제" the bottom. This glass bottle was taken an X-ray radiography and tested adhesives and restoration materials for the conservation. Loctite 401 was suitable as considering the translucency of the glass bottle, good adhesive property and reversibility of the adhesive so it was chosen. A minute piece of the glass was analyzed the composition and lead isotope ratio. Major chemical composition of the glass bottle consisted of SiO2, K2O, and PbO system and the ratio was 68: 18.5:5.7. Green color of glass bottle was due to Fe2O3 and CuO. When the glass bottle was made, quartz as raw material of silica and K2O as natural saltpeter(KNO3) were utilized. As a result of lead isotope ratio analysis, it was suggested that the galena as raw material of lead for glass making came from the southern part of China. These results are expected to become useful data in background of glass culture and circulation study of old glass.

• KOMUNHWA
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• no.59
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• pp.112-147
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• 2002

This article is contrived to analyse the present situation and social practices of culture goods in Gyungju, historical city. For this, I collected Materials from agencies and organizations concerning of production, distribution, consumption of culture go

• 보존과학연구
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• s.28
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• pp.91-104
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• 2007

The goal of this study was to provide basic data for arrangement of management in museum environment. We investigated characteristics of distribution on indoor air pollutants at exhibition halls and storages in museums between July and August, 2007. The monitoring carried out at three cultural sites, Pusan, Daejeon and Kyungjoo which is possessed their own exhibition hall and storage in Museums. We adopt the several pollutants for this survey such as $PM_{10}$, $PM_{2.5}$ $CO_2$, Formaldehyde, TBC, CO, $NO_2$, Rn, VOCs, $O_3$ and followed the standard method of Ministry of Environment, Korea for sampling and analysis, respectively. The results of this survey revealed that average concentration of $PM_{10}$ and $PM_{2.5}$ in storages were $117.3{\mu}g/m^3$ and $92.6{\mu}g/m^3$, respectively. The average concentration in storages of gases pollutants and microorganism such as $CO_2$, Formaldehyde, $NO_2$, Rn, TVOC, $O_3$, and TBC showed as: 788.8ppm, $30.7{\mu}g/m^3$, 0.4ppm, 6.4ppb, $1.3pCi/{\ell}$, $1,374.9{\mu}g/m^3$, 2.4ppb, and $119.4cfu/m^3$, respectively. In addition, average concentration of $PM_{10}$ and $PM_{2.5}$ in exhibition halls were $49.5{\mu}g/m^3$ and $56.1{\mu}g/m^3$, respectively. The average concentration in exhibition halls of gases pollutants and microorganism such as $CO_2$, Formaldehyde, $NO_2$, Rn, TVOC, $O_3$, and TBC showed as: 475.2ppm, $94.1{\mu}g/m^3$, 0.3ppm, 12.4ppb, $0.3pCi/{\ell}$, $1,179.1{\mu}g/m^3$, 5.2ppb, 2.4ppb, and $24.8cfu/m^3$, respectively.