• Journal of Conservation Science
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• v.27 no.1
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• pp.49-59
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• 2011

The damaged ceramics were repaired and restored thru various methods with various materials. The history of Ceramic repair and restoration has developed widening its areas from traditional stage utilizing applicable living material to the specified field that introduces new materials, new process methods and material analysis. Through investigations over the documents, artifacts and analysis, the period could be divided into natural material period in which uses the bonds extracted from the animals, plants and lime (prehistoric to Japanese domination period), Semi-artificial period in which mix natural material and synthetic resins such as "Jusabi"(Japanese domination period to 1970s.) and complete synthetic resin period in which introduces new materials and process methods in accordance with preservation standard (after 1980s).

• Journal of Conservation Science
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• v.26 no.1
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• pp.25-32
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• 2010

The yellowing is always occurred phenomena in epoxy restoration material of antic-ceramics. For re-restoration of remains with epoxy restoration material, the epoxy elimination step is the first one in all course of restoration In this paper, the chemically elimination treatments methods of epoxy in various antic-ceramics were discussed. We fabricated the epoxy elimination material for antic-ceramics restoration which were made up Dichloromethane and Dichlormethane based Dimethylformamide solution. Dichloromethane and Dichloromethane + Dimethylformamide mixture were applied to epoxy in various antic-ceramic sample. Particularly, Dichloromethane + Dimethylformamide solution had the best result in variation of color change, gloss, vending strength, weight, exfoliation time test after deposition in this solution. Dichloromrthane had the volume increase characteristics for epoxy material and Dimethylformamide had the mollification ones. So, Dichloromathane increased exfoliation in approximal surface of the epoxy material and antic ceramic, and Dimethylformamide decreased the surface hardness of epoxy. In this result, epoxy material even inside of ceramic that have very weak inside bonding is adaptable and stable eliminated. And in order to show the perfect elimination of this material, we successfully dissolve the epoxy restoration material in one antic pottery that is in one university museum's possession using this mixture. So, there is guarantee in the eternity and stabilization of restoration for antic-ceramics.

• Journal of Conservation Science
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• v.34 no.1
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• pp.23-29
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• 2018

This study synthesized poly-urea and used it as a filler material for the restoration of porcelain. The synthesized poly-urea was manufactured as a resin and hardener mix that does not undergo contraction during curing, and is unfading. Given an adhesion strength of $180kg/cm^2$ and shearing strength of $200kg/cm^2$, the synthesized poly-urea exhibited the same efficacy as the epoxy putty currently sold in the market. Moreover, it also overcame the drawback of foaming encountered by urethane restoratives, which are a structurally similar type. The hardening time and pot life could also be controlled using additives. The poly-urea used for the restoration of modern artifacts presented a pot life of approximately one hour and took 12 h for complete hardening ($T_{90}$). When a $2{\times}2{\times}2cm$-sized test sample was added to xylene, poly-urea started to separate approximately two hours later and completed perfect pulverization within the solution 24 h later, demonstrating its reversibility. When directly applied to contemporary artifacts, it demonstrated the potential for restoration, as well as convenience and colorfulness.

• Journal of Adhesion and Interface
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• v.13 no.4
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• pp.171-181
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• 2012

The demand characteristics of the conventional 12 kinds of epoxy resins which have been used for restoration of the ceramic relics were investigated to provide standards of the effective materials in this study. The result of durability analysis showed that a liquid type is more effective in ceramic relics (low damage, high strength), and a paste type is more effective in earthenware relics (high damage, low strength). The result of workability analysis appears that the liquid type is higher than the paste type, and a slow curing type is higher than a fast curing type in surface hardness. Therefore, in the case of the liquid type which is hard to reprocess due to high surface hardness, it is necessary to conduct a study on improving physical properties by adding filler. The result of the gloss analysis on epoxy resins showed that the liquid type (colorless) has higher gloss than the paste type, and the slow curing type has higher gloss than the fast curing type in liquid types. CDK-520A/520B and Araldite SV 427-2/HV 427-1 showed the most similar gloss to $700^{\circ}C$ earthenware, Devcon 5 minute, EPO-TEK 301-2, and Quik Wood showed the most similar gloss to celadon and whiteware, Quik Wood, EPO-TEK 301-2, and Devcon 5 minute showed the most similar gloss to buncheongware. It is necessary for conservator to decide the range of the restoration surface by predicting the increase and decrease of the restoration surface because most of the epoxy resins caused the volume change in curing process.

• Journal of Conservation Science
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• v.36 no.5
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• pp.306-314
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• 2020

The use of synthetic resins in ceramic restoration poses several challenges, including aging and potential damage to artifacts, which has raised the need to investigate new materials and restoration methods. This study set out to incorporate full color 3D printing into the 3D digital technology-based restoration method, an emerging approach currently being researched, and to print out missing parts with color information. After examining material physical properties with an experiment, the investigator printed out missing parts from a white porcelain vessel and grayish-blue-powdered celadon plate and compared them in chromaticity and brilliance. The experimental results show that the outputs had comparable tensile strength to the original restoration materials, whereas the recorded compressive strength was approximately 1.4~2 times higher than that of the original restoration materials. According to the NIST table of color difference values, the white porcelain vessel was visible at ΔE^*ab 1.55, and the grayish-blue-powdered celadon plate was perceivable at 3.34. Even though it was impossible to express the colors accurately owing to printer limitations, this non-contact approach reduced the possibility of damage to the minimum. In conclusion, it can be applied to objects with a high chance of damage or generate display effects through purposeful color differentiation in missing parts.

• Conservation Science in Museum
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• v.22
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• pp.85-96
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• 2019

The restoration of ceramics excavated in fragments is limited by the difficulty of inferring the overall shape of the original object. However, recent innovations in digital technology can help to overcome the limits of conventional restoration using handwork. This study explored the potential of digital technology by digitally restoring a shard from a white porcelain water dropper excavated at a kiln site at Sindae-ri. In order to complete the digital restoration, 3D scanning was applied to obtain scan data, and 3D modeling and texture mapping were performed. In this way, three-dimensional data with patterns and color information was acquired and the original form of the water dropper could be ascertained based on the shard. The study found that the data acquired from digital restoration can be used for various purposes, including for obtaining data on cross-sections or missing portions of a relic.

• Conservation Science in Museum
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• v.11
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• pp.53-60
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• 2010

In this paper, key features of an excavated submarine article and general process of its conservation will be introduced. First, the conservation process of removing salt from an excavated submarine article was done by desalting stage, and the X-Ray photographing was done for its inner and outer damage detection. The process of making a restoration mold with the beeswax for the broken part, making restoration material with fillers and grinded broken pieces of earthen ware have similar color and quality, and color matching distinguishable for the naked eye after the whole conservation process have been finished.

• Journal of Conservation Science
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• v.31 no.4
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• pp.373-386
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• 2015

This study identified degradation properties by temperature stress with Araldite$^{(R)}$ AY103-1/HY956 used for ceramics. Tensile and compressive strength of durability increased for 6,480 hours at temperature of $34{\sim}45^{\circ}C$. In stability of external stress and temperature, compressive strength is superior to tensile strength, it requires conservation plans considering strength properties and stress of restoration materials. The tensile shear strength of adhesion properties decreased for 4,320 hours at temperature of $40{\sim}60^{\circ}C$. In ceramics with porosity, environments under isothermal-isohumidity are important because interfacial properties of adherend are concerned with performance variation. Glossiness decreased for 6,480 hours at temperature of $34{\sim}45^{\circ}C$ and color difference increased. Gloss stability was superior and color stability was weak, which requires improvement of optical properties. In artifacts on display in museums, there is concern about temperature rise on restoration materials by lighting therefore, it needs to minimize change in physical properties by exposure environments.

• Journal of Adhesion and Interface
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• v.16 no.4
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• pp.137-145
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• 2015

This study aimed to develop epoxy putty as a multi-purpose connection and restoration material that can be used for material-specific restoration work such as metal, wood, ceramics, earthenware and stone artifacts by replacing synthetic resins currently being used for preservation treatment of cultural assets. Existing synthetic resins have the issue of cutting force resulting from high strength, deflection resulting from long hardening time, contaminating the surface of artifacts through staining on tools or gloves and need for re-treatment resulting from material discoloration. Accordingly, paste type restoration material most widely being used in the field of cultural assets preservation treatment was selected and examined the property to select it as an object of comparison. Based on such process, epoxy putty was developed according to the kind of agent, hardener and filler. For the purpose of solving the issues of existing material and allowing the epoxy putty developed to have similar property, property experiments were conducted by selecting agents and hardeners with different characteristics and conditions. The study findings showed that both kinds are paste type that improved work convenience and deflection issue as a result of their work time of within 5~10 minutes that are about 3~10 times shorter than that of existing material. In regards to wear rate for increasing cutting force, it improved by about 3 times, thereby allowing easy molding. For the purpose of improving the issue of surface contamination that occurs during work process, talc and micro-ballon were added as filler to reduce the issue of stickiness and staining on hand. Furthermore, a multi-purpose restoration material with low shrinkage, low discoloration and high cutting force was developed with excellent coloring, lightweight and cutting force features.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.114-125
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• 2016

Lacquer is one of the most widely used natural resin in East Asia since Neolithic Age. As a major ingredient of lacquerware, lacquer is waterproof, insect-proof and rot-proof to be durable and anti-abrasion, generally utilized for mainly painting purpose. According to lacquerware excavated from several sites of Japan and China, lacquerware seems to appear in Neolithic Age. On the other hand in case of excavation research in Korea, lacquerwares are found after the Bronze Age. The initial purpose of lacquer is estimated to be adhesive, regarding the literatures mentioning bitumen(Yeoksceong ), animal glue(Kyeo) and egg alumen(Nanbaek). Especially piece of jar coffin unearthed in Pyeongtaek Daechu-ri site had trace of restoration by lacquer and hemp as an evidence of lacquer for adhesion in Pre-Three Kingdoms period. Since then a trend to restore the broken ceramics with lacquer and decorate with golden foil lasted especially in Joseon Dynasty. In the field of gold plated lacquer method, mother-of-pearl inlaying technique for lacquerware and restoration of buildings, lacquer is still used as adhesive. Due to matter of reversibility lacquer is being avoided for conservation and restoration of cultural heritage. Lacquer as a traditional material for adhesive since ancient times, however, has advantage in adhesion strength and durability. Because synthetic resin adhesive has problem of emission of volatile organic compounds and aging over time, lacquer receives attention recently. On the contrary, by combination adhesive from mixing lacquer and animal glue, already proved the possibility of applicability and chemical modification. A research to utilize lacquer as modern paint or functional material is also conducted continuously also in China and Japan. To put traditional material into practical use and modernize, chemical research from the molecular level of the lacquer is necessary in the near future.