• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.68-83
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• 2016

Pan-jang(板墻) has become the lost facility, and the examples of its original form can be found no more due to its variable material characteristics. In order to study panjang as a lost facility, the following are needed: - To bring to light its usage and examples. - To investigate its components and structure. Panjang refers to the wall made of wooden plate and is classified as a special wall according to its material characteristics. In addition, Chinese mokyeongbyuk(木影壁) and Japanese panbyeong(板?) are similar to Korean panjang in terms of the materials, but there are clear differences in their structures. Panjang was also transformed into various types according to their materials or forms. As the wooden elements of panjang, sinbang(信防), pillars, do-ri(道里), jungbang(中枋), inbang(引枋), parn(板), dae(帶), choyeop(草葉), bangyeon(方椽), gaeparn(蓋板), pyeonggodae(平高臺), and yeonharm(椽檻) were selectively used, and they are similar, in particular, to the components of ilgakmoon(一角門). The stylobate of panjang is largely classified into three according to the kinds and structures of the wooden elements; and its frame into two according to whether sanginbang(上引枋) is used or not. The materials for the roof area include planks(蓋板) and tiles and have the distinct structural differences according to each material.

• Conservation Science in Museum
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• v.27
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• pp.147-164
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• 2022

Over 200,000 Korean cultural heritage items are currently located abroad. They have made their way to 22 countries under different circumstances and with unique backgrounds. While some of them continue to contribute to promoting Korean culture around the world, others cannot be exhibited due to damage or poor condition. In view of these circumstances, the Overseas Korean Cultural Heritage Foundation (OKCHF) has since 2013 provided museums and art galleries abroad with support for the conservation, restoration, and utilization of the Korean cultural heritage items that they house. As a part of these efforts and on the occasion of the 120th anniversary of the diplomatic relationship between the Republic of Korea and the Kingdom of Belgium in 2021, a gilt-bronze case for acupuncture needles dating to the Goryeo period (918-1392) from the collection of the Royal Museums of Art and History (RMAH), Belgium was brought to Korea for conservation treatment. The primary purpose of this conservation treatment was to restore the original form of the relic and slow to the degree possible the progress of corrosion. The conservation treatment of the gilt-bronze case followed the fundamental order of conservation treatment: removal of corrosive substances, stabilization, and reinforcement. Since this was the first case of restoring metallic cultural properties under the abovementioned support program by the OKCHF, special methodologies distinct from those available in overseas institutions were required. Diverse scientific methods (e.g., X-ray inspection, CT scanning, 3D microscopy) were applied to identify the metalcraft techniques used in the Goryeo period. The analysis found that several designs, including lotus and scrollwork, were exquisitely engraved on the surface of the case by making dots using a round-edged chisel. A bronze plate engraved with designs was rolled into a cylindrical form. The ends were overlapped by 2 to 3 centimeters and then attached to each other by silver soldering. The overlapping ends were welded flat with nearly no gaps. As the final process in the production, the case was lavishly gilt with gold powder using amalgam gilding. The conservation treatment of the gilt-bronze case for acupunctural needles in the RMAH collection restored the original form of the relic and arrested further corrosion. Above all, it revived the historic and academic value of the overseas Korean cultural heritage through scientific analysis.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.192-207
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• 2018

The Hyangwonjeong and Chwihyanggyo located in the back garden of Gyeongbokgung Palace have mainly been investigated by referring to historical records about the reign of King Gojong and various drawings thought to have been made in the late Joseon period. Because the current Chwihyanggyo was rebuilt temporarily after being burned to the ground during the Korean War, its form and the location of its reconstruction are not grounded on any accurate historical investigation. Although there are some photos of the Chwihyanggyo that were taken between the end of the Joseon period and the Japanese colonial era, there is no information about the photographer or when they were taken, and it is hard to see which photos show the original Chwihyanggyo Bridge with them. The Cultural Heritage Administration, which is currently promoting the restoration of the Chwihyanggyo, has recognized this problem and initiated research on the matter. In 2017, an excavation survey successfully identified the original location of the Chwihyanggyo, as well as that of Hyangwonji Gado (假島), and the shape of the first foundation stone in the pier. With these findings it was possible to infer the ways in which the Chwihyanggyo has changed over the years. Moreover, by measuring the AMS (Accelerator Mass Spectrometer) of the samples collected in the mounding layer of the Gado where the Hyangwonjeong is located, it was discovered that the Hyangwonjeong was constructed sometime after the Imjin waeran (Japanese Invasion of Korea in 1592), which means that the theory that 'the late Joseon Hyangwonjeong was not the former early Josenn Chwirojeong' is groundless. Judging by the materials found to date, we can reasonably assume that the Chwihyanggyo and Hyangwonjeong must have been built around the same time that Geoncheonggung Palace was founded in the late Joseon period.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.88-109
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• 2017

As the technique to remove Paraloid B-72, which is known as an irreversible material, the method using organic solvent and heating, though the ways vary depending on the kind of material to be removed, has been usually used, but it has yet to apply to mud mural because of the technical limit in processing and the potential risk of damage and, moreover, the removal efficiency which also remains unproven. Thus, in a bid to seek the way to safely remove Paraloid B-72 contained in mural, the test was conducted in a way of applying a compress method, which is deemed most efficient. The solvents which are proven to be Paraloid B-72 were applied to the absorbents such as active carbon fiber and methyl cellulose and then were eluted to the surface of mud mural sample which was prepared in the same size and condition for a certain time before evaluating the stability and removal efficiency. Such test was intended to identify the applicability to the mural of Mireukjeon Hall at Geunsansa Temple, which had been treated with Paraloid B-72 for preservation in the past. As a result, the way of mixing the absorbent such as active carbon fiber and Xylene alone or with other quick vaporable solvents proved to be most efficient in removing Paraloid B-72 from mud mural and particularly Acetone:Xylene(1:1wt%) was found to be the most stable among others. Such a test outcome is expected to be a useful data for removing Paraloid B-72 from the mural of Mireukjeon Hall at Geunsansa Temple as well as for restoring other mural cultural assets in the coming days.

• Journal of the Korean association of regional geographers
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• v.11 no.4
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• pp.440-452
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• 2005

The granites in the Gyeongju area are represented by the Namsan granites and the Tohamsan granodiorites. In this study I examined the geomorphological and geological characteristics of the granite landforms in the Gyeongju area. Joint, tor and corestones are most identifiable geomorphological and geological structure in the study areas. Tor in the Namsan granites is well developed and mainly composed of cubic corestones. Petrographical features of the stones used for the stone-built cultural properties are compared with those of the granites cropped out nearby. Additionally radiogenic element contents (K, Th, U) were acquired for comparison by gamma-ray spectrometer analysis. Most stones from the stone-built cultural properties in the Bulguksa Temple are very similar to the Namsan granites in terms of petrography, radiogenic elements. On the contrary almost all stones from the Seokguram Grotto share common petrographical, physical and chemical characteristics with the Tohamsan granodiorites. Therefore it can be suggested that the stones in the Bulguksa Temple were supplied from Namsan, and that the stones in the Seokgurarn Grotto were collected at nearby Tohamsan.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.56-67
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• 2024

This study aims to characterize the material of the finishing materials used in the No.1 stone chamber tomb of the Baekje-era tumuli in Songjeri, Naju with mineralogical, chemical, and physical analyses. The finishing material is a mixture of white lumps and fragments, presumed to be shells, that remain on the surface and between the gaps of the stone walls inside the tomb. The analysis results revealed that the main constituent mineral of the finishing material is calcite. Infrared spectroscopy showed peaks due to calcium carbonate, and thermal reaction decarbonation in the 700~800℃ range, high calcium content, and loss on ignition were confirmed. Therefore, the main material of the finishing materials was determined to be lime, and since no aggregates such as sand or gravel were found, it was identified as lime paste. The shell fragments mixed into the lime paste appear dark blue or grayish-white in color, with no original shape remaining. The surface has a layered structure, and microscopic observations revealed prismatic layers with a columnar structure and nacreous layers with a consistent orientation, suggesting that the shells are from bivalve mollusks. Additionally, X-ray imaging of the shell fragments showed holes and tunnels caused by boring marine organisms both on the surface and inside, and radiocarbon dating results confirmed that the dating of the shells was consistent with the construction period of the tomb. It is concluded that the finishing material used in Tomb No. 1 in Songje-ri, Naju, was lime paste mixed with shell fragments, and the lime was made using the shells of bivalve mollusks as the raw material.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.166-177
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• 2022

The Shiveet Khairkhan is located on Tsengel Som in the middle of Bayan-ulgi Aimag in the Altai region. Various remains have been identified, and it has been found to be an important area of the Eurasian steppe. In this study, the characteristics of textile fibers and dyes excavated from the tombs of the 1st~3rd century Xianbei period in the sites of Shiveet Khairkhan, Mongolia were investigated. As a result of analysis using optical microscopic observation and attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR) for fiber identification, green and yellow fabrics were identified as silk fabrics. To investigate the properties of the dye, the surface reflectance of the dyed fabric was measured using an fiber optic reflectance spectrophotometer for non-destructive analysis. The green fabric appeared similar to the reflection spectrum of indigo dye. In addition, as a result of component analysis using gas chromatography-mass spectrometry, isatin and indigotine were detected. Isatin and indigotine are characteristic components of indigo dye, and it was found that the green fabric of the tombs of the Xianbei period was dyed using indigo dye. It was difficult to identify the type of dye in the yellow fabric as a result of reflectance spectrum and gas chromatography analysis. Indigo plants are a dye used for blue dyeing from thousands of years ago, and many species are distributed around the world. It was confirmed that the fabric was relatively well preserved and indigo dye was used for the green Jikryeongui (garment with a straight collar) in the ancient tomb of the Xianbei period about 1,800 years ago, even though it was buried for a long time. Scientific investigation of textile cultural heritage is an essential process for conservation treatment, restoration, exhibition, and the creation of a conservation environment. It is expected that related research will be activated in the future and will be helpful in interpreting the living culture at the time, preserving textiles, and a conservation environment.

• Journal of Korea Game Society
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• v.4 no.3
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• pp.11-20
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• 2004

Virtual reality that we have seen from the movies in 80's and 90's is hawing near based on the rapid progress of science together with a computer technology. Various virtual reality system developments (such as VRML, HMD FishTank, Wall Type, CAVE Type, and so on) and the advancement of those systems make for the embodiment of virtual reality that gives more sense of the real. Virtual reality is so immersive that makes people feel like they are in that environment and enable them to manipulate without experiencing the environment at first hand that is hard to experience in reality. Virtual reality can be applied to the spheres, such as education, high-level programming, remote control, surface exploration of the remote satellite, analysis of exploration data, scientific visualization, and so on. For some connote examples, there are training of a tank and an aeroplane operation, fumiture layout design, surgical operation practice, game, and so on. In these virtual reality systems, the actual operation of the human participant and virtual workspace are connected each other to the hardware that stimulates the five senses adequately to lend the sense of the immersion. There are still long way to go, however, before long it will be possible to have the same feeling in the virtual reality as human being can have by further study and effort. In this thesis, the basic definition, the general idea, and the kind of virtual reality were discussed. Especially, CAVE typed in reality that is highly immersive was analyzed in definition, and then the method of VR programming and modeling in the virtual reality system were suggested by showing the restoration process of Kyongbok Palace (as the content of the original form of the culture) that was made by KISTI(Korea Institute of Science and Technology Information) in 2003 through design process in virtual reality system. Through these processes, utilization of the immersive virtual reality system was discussed and how to take advantage of this CAVE typed virtual reality system at the moment was studied. In closing the problems that had been exposed in the process of the restoration of the cultural property were described and the utilization plan of the virtual reality system was suggested.

• Conservation Science in Museum
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• v.8
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• pp.41-47
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• 2007

The wooden lacquer wares, which had excavated from the water reservoir in the Isong Sansung Fortress, were applied with vacuum freeze drying method and treated, after they had been substituted with tbutanol, and treated with PEG-pretreatment. The manufacturing technique, which had not been investigated in the past, was examined through the investigation of the wood and the lacquer used for wooden lacquer wares, and the pieces of the lacquer wares, which had been stored for a long time, were restored for the exhibition and conservation. As the result, the wooden lacquer wares were manufactured, using black alder belonging to the group of Alnus, and the lacquer was painted on the bottom-layer by mixing the powdered soil and lacquer, and it was confirmed that the lacquer mixed with the black pigment and the pure lacquer had been painted alternatively over 2 times, and that the wooden lacquer ware had been manufactured through total 5 times of being painted.

• 보존과학연구
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• s.23
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• pp.163-177
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• 2002

North monk-stupa and East monk-stupa , which are placed in Yeongoksa, are delicately sculptured and historically valued so they have been determined as National Treasures. It is assumed that North monk-stupa was made in early Goryeo Dynasty period. Parts of it were damaged by grave robbery in 2001. So restoration was begun in 2001. While restoring it, wrong arrangement on top of the monkstupa was rearranged. Top of East monk-stupa was also arranged in a wrong way so it was restored to its original form. Because each part of top of the monk-stupa was adhered with epoxy resin, it was separated by using thin saw. After being arranged in right order, the middle of monk-stupa was fixed by setting up stainless steel shaft. Anda of North monk-stupa, concerned about being damaged by crack, was adhered with epoxy resin.