• Conservation Science in Museum
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• 제30권
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• pp.47-70
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• 2023

In 2019, the first excavation survey was conducted at the Temple Site No. 4 of Yaksugok Vally in Namsan Mountain, Gyeongju to determine the original location of the headless stone Buddha statue and the structure of the temple site. The survey excavated a stone Buddha head that was confirmed in a comparative analysis to be petrologically and mineralogically identical to a headless stone seated Buddha statue found derelict nearby. Traces of gold leaf and black adhesive were found on a portion of the right side of the face of the Buddha head buried in the ground. Since it is exceedingly rare for lacquer and gilding techniques to have been applied to a large stone Buddha statue without a base layer, this study examines the gilding techniques of the time by analyzing the characteristics of the materials used. In this process, the structure of the gold foil was observed through analytical microscopy and scanning electron microscopy with energy dispersive X-ray spectrometry, and the gold (Au) component was identified. As a result of analyzing the black adhesive using pyrolysis-gas chromatograph/mass spectrometry (pyrolysis-GC/MS), pyrolysis compounds such as hydrocarbons, fatty acids, catechol, and catechol oxidation products were detected. This was identical to the characteristics identified upon analyzing lacquer collected from species of lacquer tree whose main component is urushiol. Therefore, it was confirmed that the stone Buddha head excavated from the Temple Site No. 4 of Yaksugok Valley was separated from a nearby stone seated Buddha statue, and that the gold foil was attached using lacquer sap collected from lacquer trees, which grow in Korea, China, and Japan.

• Conservation Science in Museum
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• 제30권
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• pp.23-46
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• 2023

The Jija Chongtong Gun, owned by Seokdang Museum of Dong-A University, is a tubedstyle heavy weapon of the battlefield in the mid-Joseon Dynasty and is the second largest firearm after Cheonja Chongtong. The original surface color of the Jija Chongtong Gun was obscured by foreign substances and therefore it was judged that its condition requires the conservation treatment. For stable conservation treatment, gamma ray and X-ray non-destructive transmission surveys was conducted to determine the internal structure and conservation condition. And the component analysis on the material components and surface contaminants of Jija Chongtong Gun was conducted by utilizing the p-XRF component analysis, SEM-EDS component analysis, and XRD analysis. As a result of the gamma-ray and X-ray non-destructive transmission investigation, a large amount of air bubbles was observed inside Jija Chongtong Gun, and the part that appeared to be a chaplet by visual observation was not identified. As a result of gamma-ray and p-XRF component analysis, it was confirmed that Jija Chongtong Gun was bronze made of copper (Cu), tin (Sn), and lead (Pb) alloy. As a result of surface analysis of foreign substances using SEM-EDS, it was confirmed that the main components of white foreign substances were calcium (Ca), sulfur (S), and titanium (Ti). Titanium was presumed to be titanium dioxide (TiO₂), the main component of white correction fluid. The red foreign substance was confirmed to contain barium (Ba) as its main ingredient, and was presumed to be barium sulfate (BaSO₄), an extender pigment in paint. White and red contaminants, mainly composed of titanium and barium, are presumed to have been deposited on the surface in recent years. The yellow foreign substances were confirmed to be aluminum (Al) and silicon (Si), and were presumed to have originated from soil components. As a result of SEM-EDS and XRD component analysis, the white foreign substance was confirmed to be gypsum (CaS). Based on the results of component analysis, surface impurities were removed, stabilization treatment, and strengthening treatment were performed. During the conservation process, unknown inscriptions Woo (右), Byeong (兵), Sang (上), and Yi (二) were discovered through a portable microscope and precise 3D scanning. In addition, the carving method, depth, and width of the inscription were measured. Woo Byeong Sang is located above Happo Fortress in Changwon, and Yi can be identified as the second hill.

• Conservation Science in Museum
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• 제3권
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• pp.71-78
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• 2001

The airtightness of museum cases in museums was measured by using CO₂ tracing gas, but it has been pointed that it has a problem with measuring the airtightness of a museum case which has a hole inside before it is used or while is being used. So studies tried to come up with alternatives which make it possible to measure the airtightness of a museum case before it is used or while it is being used if necessary by indirectly measuring the airtightness of the museum case without changing its form. Indirect measuring is done by measuring the change of Art-sorb weight and the change of temperature and humidity inside the museum case. Experiments were made for 12 days with three builtin wall case installed at the same place without turning on the lights but with Art-sorb and the data logger of temperature and humidity put into museum case. The change rate was produced with the change of temperature and humidity inside the museum case divided by that of those around museum case. As a result, the temperature change rate of museum case A(0.67) was lower than that of museum case B(0.69) or museum case C(0.79). The humidity change rate of museum case A(0.12) was lower than that of museum case B(0.19) or museum case C(0.72) showing that its airtightness was the best. Also in the direct airtightness measurement by CO₂ tracing gas, the air exchange rate was compared with the humidity change rate by Art-sorb in the indirect measurement.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• 제1권
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• pp.174-197
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• 2024

Personal ornaments made from precious metals that have been excavated from tombs dating to the Maripgan period (4th-6th century) of the Silla Kingdom are a major subject of analysis in the study of gender and hierarchy among the tomb occupants. Nonetheless, bracelets had been neglected until Ha Daeryong's recent research on determining gender through bracelets attracted attention. Accordingly, an examination and organization of the fundamental elements of Silla bracelets was needed. In response, this paper examines their physical characteristics, appearance, changes over time, and related wearing practices. The data for this study is derived from 176 bracelets, mostly made from silver or gold. Copper and glass bracelets are also included. Many of them were cast in a single-use earthen mold. Even the notched and protruding designs were created by casting rather than carving. Glass bracelets and bracelets with dragon designs were made using molds with round cavities. Excluding those produced using metal sheets, the rest of the bracelets are thought to have been cast in a mold with a long-string-shaped cavity and then bent round. After being bent, the two ends were either soldered together (closed type) or left open (open type). As demonstrated in the study by Lee Hansang, Silla bracelets evolved from plain rounded rod-shaped bracelets, such as the one excavated from the Northern Mound of Hwangnamdaechong Tomb, to versions with notched designs, and eventually to those with protruding designs, which gained popularity by the sixth century. The precedents of plain rounded rod-shaped bracelets are presumed to have been thin rod-shaped bracelets from the Proto-Three Kingdoms period. Bracelets need to be fit to the wrists so that they do not slip off easily when worn. The open type design was the preferable way to achieve this. Moreover, given the ductility of gold, silver, and copper, it seems that it would have been possible to stretch or deform them. In the end, I concluded that even if a bracelet is too small to pass man's hand, the open type could have been worn. Furthermore, if a closed-type bracelet were pressed into an oval shape, it would not be impossible for a man to put it on. When bracelets are divided according to their degree of deformability into type A (the open type) through type D, which is almost impossible to deform, type A is commonly found with wearers of thin hollow earrings, and types C and D (which are difficult to deform) are not found with wearers of thin hollow earrings, but only with wearers of thick hollow earrings. Therefore, it can be seen that men were allowed to wear bracelets, and the existing studies that differentiate between men and women based on the wearing of thin hollow earrings, thick hollow earrings, and swords remain valid.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• 제1권
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• pp.150-173
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• 2024

The Gyeongsang region experienced an epoch-making social transformation approximately around the second to first century BCE, including the replacement of Bronze Age types of tombs (such as dolmens, stone cist tombs, and earthen tombs with flat capstones) with clusters of wooden coffin tombs and the emergence of wajil pottery (soft stoneware) and ironware. These shifts in the archaeological material evidence have been discussed in the context of the formation of the states that comprised the three Han confederacies and in relation to wooden coffin tombs built in later periods. This paper explicates the appearance of clustered wooden coffin tombs with accompanying ironware by categorizing them. In particular, it examines the emergence of wooden coffin tombs by creating the Wolseong-dong type, which differs from Tomb No. 5 in Joyang-dong and Tomb No. 1 in Daho-ri with their deep burial pits and large quantities of prestige goods and soft stoneware items. The Wolseong-dong type of tomb commonly features ironware, including flat-bladed iron axes, oblong cast iron axes, iron wire, iron chisels, and iron swords; a small slender, rectangular wooden coffin tomb with a shallow burial pit of less than sixty centimeters; and pottery of a type preceding soft stoneware, such as long-necked jars, triangular attached-rim pottery bowls and pots, and mounted vessels. There are also a few bronzeware items found in them, but no prestige goods. This study scrutinizes tombs in Tamni-ri in Uiseong, Hagu-ri in Gyeongju, and Hakjeongdong in Daegu by comparing them with the Wolseong-dong type, and it confirms that in Sinseodong in Daegu, Wolseong-dong type tombs and later Joyang-dong type tombs have separate spatial distributions within the site. This also indicates that the Wolseong-dong type is a valid categorization among wooden coffin tombs. Although the rise of the Wolseong-dong type tomb is associated with the migration of a group, I reserve judgement on whether its origins should be understood in the context of the iron culture in the southwestern region of South Korea that was sparked by King Jun's advance to the south or if they lie in the western region of North Korea. Either way, the Wolseong-dong type is thought to be the tombs of a group of people with lower hierarchical status than the occupants of the later Joyang-dong type.

• Journal of the Korea Convergence Society
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• 제11권9호
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• pp.125-134
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• 2020

This study analyzed the cases of online art museum education based on the core competency of Jenkins' new media literacy to supplement the limitations of online art museum education programs. The core competency of media education suggested by Jenkins can serve as a reference point for an online art museum content. For the case analysis, 4 museums were selected as the domestic art museum, and 4 as the overseas art museum. The results of analysis based on new media literacy are as follows. In the case of overseas art museums, content for mutual communication such as video conferencing and commenting at the bottom of the site page was constructed, but domestic online art museums lacked these elements. Therefore, there is a need to improve core competency of appropriation, networking, negotiation, distributed cognition, and collective intelligence by organizing communication content.

• MISULJARYO - National Museum of Korea Art Journal
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• 제99권
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• pp.50-71
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• 2021

The Five-story Stone Pagoda from the Dongsa-ri Temple Site in Buyeo, dated to early Goyeo Dynasty, is valuable in that it is the southernmost example of the capital Kaesong pagoda style. This pagoda exhibits characteristics of the central Goryeo style featured in the pagodas built in and around the capital Kaesong, such as the diagonally curved section of the support for the cover stone above the upper stereobate. It also shares stylistic affinities with eleventh-century stone pagodas. The ansangmun (elephant eye patterns) in the lower stereobate of the Dongsa-ri Five-story Stone Pagoda resemble those in the pedestal of the Stone Seated Buddha (which was likely repaired in 1028 during the reign of King Hyeonjong), at the Jeongrimsa Temple site in Buyeo. It also reflects elements found in the flagpole supports from the Cheonheungsa Temple site in Cheonan. The sculpting techniques used in these patterns are also similar. Such congruencies suggest that the Dongsa-ri Five-story Stone Pagoda was built in the eleventh century. The Dongsa-ri Temple Site in Buyeo, located near the Geumgang River, served as a principal route for transporting grain-tax during the Goryeo Dynasty. It was also situated along the way to the Goryeo royal temple, Gaetaesa Temple. The geographical significance of the site and the extensive repairs undertaken at Jeongrimsa Temple during the reign of King Hyeonjong (r. 1009-1031) of the Goryeo Dynasty appear to have impacted the production of the Dongsa-ri Five-story Stone Pagoda. The Dongsa-ri Five-story Stone Pagoda also bears stylistic resemblances to the stone pagoda and flagpole supports found at neighboring Cheonheungsa Temple, which is presumed to be related to the establishment of Honggyeongsa (or Honggyeongwon) Temple in 1021 in Cheonan. This indicates the route of the transmission of the Kaesong pagoda style. The Five-story Stone Pagoda from the Dongsa-ri Temple Site pays testimony to the cultural accomplishments of eleventh-century stone artworks in Buyeo and adjacent regions. This pagoda embodies the majestic and assertive aesthetics that define of the Goryeo Dynasty, as do early Goryeo colossal Buddhist sculptures, including the Stone Standing Maitreya Bodhisattva at Daejosa Temple in Buyeo, the Stone Standing Buddha Triad at Gaetaesa Temple in Nonsan, and the Stone Standing Maitreya Bodhisattva at Gwanchoksa Temple in Nonsan. All of these bear similarities to the massive stone lantern and pagoda at Hyeonhwasa Temple in the capital Kaesong. The production of the light, sleek, sharp, and sophisticated Dongsa-ri Five-story Stone Pagoda is presumed to reflect the maturity of the cultural competence of the people in Dongsa-ri, Buyeo under the influence of Buddhist culture from the capital Kaesong during the eleventh century, a time marked by active cultural exchanges among regions.

• Korean Journal of Heritage: History & Science
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• 제56권3호
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• pp.76-98
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• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.

• Conservation Science in Museum
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• 제27권
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• pp.67-90
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• 2022

A C-46 transport aircraft, which can be thought of as a large cultural heritage item from the modern period, was subjected to paint analysis and conservation treatment in preparation for its exhibition. The C-46 is the first aircraft ever dispatched to overseas combat zones by the Korean Air Force and carried out missions during the Vietnam War. The aircraft is mainly made of aluminum and shows signs of corrosion on its surface, including pitting and etching, as well as gray and white powdery attachments. In the analysis of the paint, diatomite(SiO₂·nH₂O) was confirmed in the red paint, titanium dioxide(TiO₂) was identified in the white paint, black iron oxide(Fe₃O₄) was detected in the black paint, and colcothar(Fe₃O₄) mixed with putty was confirmed in the blue paint. Infrared spectroscopy revealed the use of alkyd resin in the paint on the main body and nitrocellulose in the Taegeuk pattern. During the conservation treatment, mechanical cleaning, such as sanding, was conducted to remove paint and varnish from the surface. Corrosion was removed by sanding and cleaning with chemical solvents, and new paints and varnishes were applied. Through the paint analysis and conservation treatment, the aircraft was made available for exhibition in a stable condition.

• 보존과학연구
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• 통권35호
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• pp.121-127
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• 2014

The Vietnam homecoming box that has been collected in National Museum of Korean The Vietnam homecoming box that has been collected in National Museum of Korean Contemporary History got severely damaged such as rot, attached foreign substance, fading, color, wood decay. In particular, the bottom of the box was unstable state that deteriorated by pests and the left strut was severely damaged by some deep cracks and pests. The metal bands were remained on the side and bottom of the box, and all the bands were seriously corroded. On the bottom-right of the lid, black foreign matter was adhered to the surface. In the process of conservation treatments, the cleaning, filling cracks, reinforcing the bottom of the box, attaching the metal bands were proceed in order after the investigation of the state.