• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Journal of Conservation Science
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• v.30 no.4
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• pp.457-466
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• 2014

Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.

• The Journal of the Petrological Society of Korea
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• v.27 no.4
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• pp.195-205
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• 2018

Noerok is a green pigment made of mineral used the Gachil(priming coat) of wooden architecture in Chosun Dynasty era. It has been reported that various Noerok are discovered in Janggimyeon, Pohang. In this study, The Noerok from two places is compared and discussed. Noerok in the two places has blulsh-green to green color, and it is similar to their occurrences on fracture filling, vein and dike on outcrop. However, there are differences between two sites according to its petrological feature, mineral composition and geochemistry. While the Noeseongsan sample is mostly celadonite, Gwangjeongsan samples are characterized by celadonite with varying contents of cristobalite, tridymite, feldspar, along with some vitrified contents. In terms of major elements, the amount of $Al_2O_3$, $Fe_2O_3$, MgO and $K_2O$ decreases linearly with increasing $SiO_2$, whereas $Fe_2O_3$ is linearly proportional to MgO. In summary, Noerok in the study areas can be classified into 4 types (type 1, type 2, type 3-1, type 3-2) base on color, mineral composition, elemental composition, and vitrification grade.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.100-116
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• 2023

The Sinamsa Temple was built in the late Goryeo Dynasty and a gilt-bronze seated Buddha is enshrined in Geungnakjeon hall in the precinct. Various damages occurred in the gilt layer of the Buddha, such as peeling of the gilt layer and deteriorating gloss. In the study, the conservation conditions of the inside and outside on the statue were accurately investigated, and the making technique was interpreted through the material characteristics and non-destructive diagnosis of the statue. As a result, it is estimated that gold-gilding layer is pure gold, coloration pigment of black is carbon, green is malachite, atacamite and verdigris, red is red lead and cinnabar, respectively. In the deterioration evaluation, peeling, cracking, break out and exfoliation of the gilt layer are confirmed as damages, but the conservation condition is relatively wholesome. However, the gloss of the gilt layer is calculated to be wider in the poorer part than the maintenance part. The ultrasonic velocity of the statue was calculated to be 1,230 to 3,987 (mean 2,608) m/s and showed a relatively wide range. In infrared thermography, peeling was not confirmed, and no special bonding marks were found. In endoscope, some biological damage and corrosion were observed on the surface of the internal metal, and sealed artifacts were identified. Manufacturing technique based on the study, it is considered that the gilt-bronze seated Buddha was cast at once, and the mold was inverted to inject molten metal.

• Proceedings of the Korea Association of Crystal Growth Conference
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• 1996.06b
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• pp.219-222
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• 1996

수열법은 밀폐용기중에서 10$0^{\circ}C$이상의 가열, 가압된 수용액이 반응에 관여하는 것으로써, 수정, CaCO3, AlPO4, GaPO4 등과 같은 단결정의 육성 뿐만 아니라 균일분산계로부터 균일한 결정성의 미립자 합성에도 폭넓게 이용되고 있다. 세라믹분말의 합성에 있어서, 이 방법은 특히 형상, 입자크기의 제어가 용이할 뿐만 아니라 고상법, 졸-겔법, 공침법에서와 같은 열처리, 분쇄과정이 필요없기 때문에 고순도의 초미립자를 얻을 수 있는 장점이 있다. 근년 미국, 일본에서는 수열법을 이용한 유전, 압전체 등 세라믹분말의 일부가 공업적인 규모로 대량 생산되고 있다. 그러나 이에 대한 국내 기술은 아직 초기단계에 이르고 있는 실정이다. 따라서 본 연구실에서는 수열법에 의한 단결정 육성 (예; 자수정, CaCO3, AlPO4, GaPO4, KTP, Emerald 등), 박막제조 (예; GaP, PbTiO3, BaTiO3 등), 정제 (고령토, 장석, 도석 등), 원석처리 (진주, 인공 emerald, 비취 등) 그리고 각종 세라믹분말의 합성 등과 같은 다양한 기반기술의 축적과 동시에 공업화에 대응한 수열장치를 위하여 반응용기의 대형화, 엄밀한 밀폐방식, 실용적인 수열조건 등을 개발해 오고 있다. 본 발표에서는 현재까지의 연구개발 내용 중에서 결정성 미립자에 관련한 세라믹분말의 합성에 대한 일부의 결과들을 보고한다. 일반적으로 수열장치는 전기로, 반응용기, 온도 및 압력제어계 등을 기본으로 하고 있으며 시판용의 대부분이 교반기가 부착된 수직형 (vertical type)이다. 이와 같은 방식에 있어서는 엄밀한 밀폐가 곤란, 반응온도의 한계성 (25$0^{\circ}C$ 이하), 증진율의 한계성 (소량생산) 등과 같은 점이 있기 때문에 본 연구실에서는 개폐식 전기로내에 엄밀한 밀폐가 가능한 수평식(horizontal type)의 반응용기를 채택한 뒤 이를 회전 또는 시이소(seesaw)식으로 움직일 수 있도록 하여 연속공정화, 온도구배의 자율조절 그리고 보다 저온에서도 인위적인 이온의 확산을 효율적으로 유도할 수 있도록 하였다. 이와 같은 방식은 기존의 방식과 비교하여 반응용기 내에 응집현상과 미반응물이 존재하지 않으며 또한 단분산으로 결정성 미립자를 대량적으로 얻을 수 있는 장점이 있었다. 다음은 이상과 같이 본 연구실에서 자체 개발한 수열장치를 이용하여 PbTiO3, (Pb,La)TiO3Mn, BaTiO3, ZnSiO4:Mn, CaWO4 등과 같은 세라믹분말에 대한 합성 실험의 결과이다. 압전성, 초전성이 우수한 PbTiO3 및 (Pb,La)TiO3:Mn 분말의 수열합성은 PbO, TiO2, La2O3 등의 분말을 출발원료로 하여 합성도도 25$0^{\circ}C$부근의 알카리성 용액중에서 결정성 PbTiO3 및 (Pb,La)TiO3:Mn 미립자를 단상으로 얻었으며 입자의 형상 및 크기는 합성온도와 수열용매의 종류에 의존하였다. 유전체로서 폭넓게 응용되고 있는 BaTiO3 분말은 Ba(OH)2.8H2O, TiO2와 같은 최적의 출발원료를 선택함으로써 15$0^{\circ}C$ 부근의 저온영역에서도 용이하게 합성할 수 있었다. 특히 본 연구에서는 수용성인 Ba(OH)2.8H2O를 사용함으로써 host-guest적인 반응을 유도시키는데 있어 물의 가장 실용적이고 효과적인 수열용매임도 알았다. ZnSiO4:Mn, CaWO4, MgWO4와 같은 형광체 분말은 공업적으로 고상반응 또는 습식법에 의해 얻어지고 있으나 이들 방법에 있어서는 분쇄공정으로 인한 형광특성의 저하와 같은 문제점이 있다. 따라서 본 연구에서는 수열법을 이용하여 이들 화합물의 합성을 시도하였으며 그 결과 합성온도 30$0^{\circ}C$ 부근의 알칼리성 용액중에서 수열적으로 얻어짐을 알았다. 여기서의 합성분말을 이용하여 실제 조명램프로 제조한 결과 녹색, 청색 발광용 형광체로서 우수한 형광특성을 나타내었다. 천연에서 소량 산출되고 있는 고가의 (Li,Al)MnO2(OH)2:Co 분말은 도자기의 전사지용 청색안료로써 이용되고 있다. 본 연구실에서는 LiOH.H2O, Al(OH)3, MnO2 등의 분말을 출발원료로 하고 24$0^{\circ}C$ 온도 부근 그리고 물을 수열용매로 하여 천연산에 필적하는 (Li,Al)MnO2(OH)2:Co 분말을 인공적으로 합성하였다.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• Journal of Korean Society of Forest Science
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• v.41 no.1
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• pp.7-18
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• 1979

Almonds are one of the oldest sources of food and oil for man as used the ice cream, candy, roast, salting, chocolate, breads, backed, cookies, and flavoring ect. So, we wish to plant Almond in our country at the most parts of mountains. In this purpose we must be find out of both root stock of more compatibility and new techniques of grafting was rather simples as compared with the many steps of machinary involved today. This investigation has been carried out to reveral compatibility and practical controls of environment effectives involved in the occurence of each difference combination results in interspecific grafting of Almonds on the root stock of Prunus mandshurica and Prunus persica as materials during the 9 months period from March to November in 1978. With these selected scions were 4 varieties of Almond employing as the Hal1's hardy, Nonpareil, and Thompson grafted in the polyethylene green house with almost identical provision made for effective controls of automatical supplying to heating and mistsprayers as the $22{\sim}25^{\circ}C$ of temperature and 70~90% humidity. Following results have been obtained. Those environmental controls were more effective and practical to grafting unions and success by means veneer-grafting at the green house. 1. Hall's hardy Almond grafted on the root stock of Prunus persica was more compatibility than Prunus mandshurica. 2. The survival percentages as follows of the 95.33% of Hall's hardy/Prunus persica and 92.66% of Hall's hardy/Prunus mandshurica. And those were no significant between root stock of both species. 3. The 3 varieties of sweet Almond grafted on the root stock of P. mandshurica. And those were no significant between root stock of both species. 4. And the survival percentages as fellows. Thompson 92.66%, Nonpareil 90.66% and Kapareil 89.33% those grafted on the root stock of Prunus persica. 5. And then the survival percentage of interspecific grafts on the root Prunus mandshurica as follows of the materials of Thompson 89.66%, Nonpareil 87%, Kapareil 85%. 6. The analysis of variance were no significant among the interactions between 3 varieties Almond and 2 species of root stock plants. 7. And the growth of interspecific grafts of the high 161cm, diameter 12.3mm and length of roots 21.5cm growth as the Hall's hardy Almond grafted on the root stock of Prunus persica. 8. The root stock plants of Prunus mandshurica more effected to 6~8 days early developed leafing of scions and dark green colour than the Prunus persica. 9. The identical provision of automatic systems was more effective to graft unions and grafting process. 10. The veneer-grafting method at the green house was more effective and practical method for the mass production of Almond grafts.