• Journal of Conservation Science
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• v.33 no.5
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• pp.345-354
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• 2017

A mural was discovered in the Ssanggyesa temple located in Jindo island, during repair of the Daeungjeon Hall. A study was conducted to determine the binding medium used for preparing the mural. Pyrolysis/GC/MS and IR spectrometry were used to analyze a painting specimen. Direct approach and on-line methylation approach were attempted for the pyrolysis/GC/MS. In IR analysis, the spectra of the specimen were found to be different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. They were also not identical to the standard IR spectra of drying oils such as linseed oil. Pyrolysis/GC/MS results of the specimen were different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. In the mean time, palmitic acid, octadecanoic acid, nonanedioic acid, and octadecenoic acid, which are characteristic pyrolysis products of dried drying oil, were detected. In addition, the pyrolysis/GC/MS chromatograms of the specimen and dried drying oil were also very similar. Therefore, it was concluded that the painting was prepared using drying oil as a binding medium.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.463-470
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• 2021

Due to natural and human factors, dunhuang frescoes in China have gradually degenerated. China has conducted digital transformation of frescoes since 1990. However, it requires expensive research costs. Most of the visitors passively accept transformation contents and lack subjective participation. The paper focuses on produces a prototype of Dunhuang frescoes on the CoSpaces EDU. It was implemented as a metaverse through procedures such as transforming the cave into 3D, mapping images to the cave model and developing CoBlocks. The research puts forward a more specific methodology without expensive costs of development. The paper makes it easier to realize the immersive and interactive virtual Dunhuang frescoes world, to improve the tourism contents and educational effect. This research carries on the statistics to the product result which develops according to the user experience of 100 different ages, has obtained the good feedback. The research results need to be improved is to strengthen the processing of graphic details. Therefore, Optimization and improvement of the result will be carried out in the future research.

• The Science & Technology
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• v.35 no.12 s.403
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• pp.30-31
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• 2002

우리나라의 고분벽화는 주로 고구려 무덤에서 많이 발굴되었는데 압록강 유역과 평양을 중심으로 하는 중국지방에서 90여기가 발굴되었다. 삼국시대 이후 고려와 조선조에 이르기까지 명맥만 유지해 왔다. 이 고분벽화는 종교적 내용에서 비롯하여 고구려인의 전투적 모습과 수호신이 주류를 이루고 있고 재료는 물에 녹지 않는 천연 광물성 재료들을 많이 이용했다.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.267-268
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• 2014

본 연구에서는 모션그래픽을 이용하여 고대 벽화콘텐츠 제작을 제안하였다. 고대 벽화나 조각상들을 현대의 예술품으로 영상으로 재생함으로써 고대 문화 유적들을 복원하여 보다 현장감 있는 작품으로 현대인에게 보다 친근감을 갖게 해 주고, 작품에 대한 새로운 발견을 갖게 해 주며, 전시, 관람 등의 부가적인 효과를 편리하게 할 수 있다고 제안한다.

• Journal of Conservation Science
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• v.27 no.3
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• pp.269-276
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• 2011

We have suggested effective P-XRF analysis method for pigment painting layer by calculating penetration depth of X-ray. This experiment calculated that X-ray generated from P-XRF was possible penetration until 1.17mm deep in the pigment painting. Based on the experimental results, analysis for eight color pigments on wall paintings in Ssanggyesa Main Hall, most pigments were painted traditional pigments. However pigments on recently restorated wall painting were used synthetic modern pigments.

• Conservation Science in Museum
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• v.14
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• pp.37-60
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• 2013

Conservation and analysis of wall painting Goguryeo was performed to classify the unknown fragments. The conservation naked eye observation, optical microscopy, and infrared examination were carried out in order to figure out the structure, quality of constituting materials, and damages such as cracks, and discolored fragments of colored areas. Based on such investigation, conservation was proceeded. and it was completed with strengthening the weakened pigment layer of wall blocks. In addition tombs where the wall painting fragments were excavated were investigated by making comparison with gelatin dry plates and copies possessed by National Museum of Korea. According to the result, they were Kaemachong, Gosan-ri Tomb No.1 Gamsinchong, and Wonbong-ri Tomb. The components of colors with which Goguryeo wall painting fragments were painted and the mineral pigments of the wall layer were analyzed. Portable µ-XRF spectrometer and X-ray diffractometer were employed. It showed that lime (CaCO₃) used for the wall layer, and the brown color is hematite(Fe₂O₃) and cerusite (PbCO₃) and lead oxide(PbO) were identified. In the red color, cinnabar (HgS) were detected.

• Korean Journal of Heritage: History & Science
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• v.48 no.4
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• pp.44-61
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• 2015

Mural tomb in Goa-ri(Goryeong) built in the 6th Century Gaya period investigated precisely by the scientific method. They were used to optical equipments for investigation and made a damage map according to the damaging types. The mortar layer was mostly exfoliated from the rest of the wall except for the burial chamber ceiling and corridor ceiling. Also painting layers rarely not observed. Most of the paintings were damaged except lotus painting in burial chamber ceiling. Various damage types that exfoliation, earthen dirt, film coating were found in murals. Damage factors of mural were the porous characteristics of mortar layer and the movement of moisture in the murals. They were caused physical damage such as crack, exfoliation. It was getting worse and causing to secondary damage like earthen dirt, film coating.

• 지역과문화
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• v.7 no.3
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• pp.81-108
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• 2020

This study aims to critically consider the local cultural policies of the government and local governments by village mural. Village murals, which began to be painted in the late 1990s, have been a nationwide cultural phenomenon for decades. In particular, it was consistently used as an important element of various local cultural policies implemented by the government and local governments. The government and local governments have been working on the project for two purposes: 'improving the residential environment' and 'activating tourism' but it has largely focused on 'activating tourism'. This study grasped the concrete status of major village murals across the country through field surveys, one of the case study methods. Also, through the analysis of official documents, the government and local governments operating in the village mural project were analyzed for the policy basis and administrative management plan. As a result of on-site surveys, most of the village murals across the country had problems such as uniform subject matter, low level representation, and poor follow-up management. This is partly based on the experiences and abilities of organizations and artists who participated in the village mural project, but fundamentally, it is due to the projects of the government and local governments that focused on short-term visual tourism rather than long-term improvement of the residential environment. It was confirmed that the projects of the government and local governments were carried out through vertical integration and that there were problems in the actual work, such as requiring specific topics, subject matter, designs and colors. As a result, the village murals 'objectify' the residents and 'romanticized' the place, resulting in a unified visual representation. Therefore, this study suggests that the administration and accounting should be strictly managed, but in actual work, the vertical integration structure should be eased by simplifying various documents and procedures, as well as rich cultural understanding of the target place, selection of various topics, and original subject matter and expressions.

• The Bulletin of The Korean Astronomical Society
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• v.41 no.2
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• pp.47.3-48
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• 2016

프랑스 몽티냑에 위치한 라스코 동굴에는 오늘날까지 발견된 수많은 구석기시대 동굴벽화 가운데 대표적인 그림들을 보존하고 있다. 동굴 벽화는 대략 BC 15,000년 전 것으로 연구되어 왔으며 최근 몇몇 학자들에 의해서 그 가운데 몇몇 그림들이 별자리를 그린 것이라는 이론이 제기되었다. 본 논문에서는 동굴 그림 가운데 황소 전당에 그려진 벽화를 별자리로 동정해 보았다. 그 결과 이것들이 성좌화임을 발견했다. 그림은 흥미롭게도 별자리와 암흑 성간운을 구별했는데 별자리는 윤곽선으로 그린 반면 검은 성간운은 검은 바탕의 그림으로 나타냈다. 그림은 벽화들의 특징과 구도 그리고 배열순서로 볼 때 전천 성좌도를 그린 것으로 동정되었는데 이는 당시 밤하늘에 보이는 별자리들과 암흑 성간운들의 구도와 배열의 일치에서 신뢰할 수 있었다. 벽화에는 황소자리, 플레이아데스, 오리온삼성, 오리온자리-쌍둥이자리, 사자자리-처녀자리-뱀자리, 천칭자리-사수자리-전갈자리가 그려져 있으며, 특히 은하중심의 사수자리에서 고물자리에 이르는 길다란 은하평면상의 검은 암흑성간운들의 특징적 나열을 들판을 뛰어가는 검은색 동물로 나타냈다. 척도를 감안해서 볼 때, 그림의 구도와 배열순서가 밤하늘에 보이는 것과 거의 같다 할만큼 사실적으로 그려져 있어서 구석기인들이 지적능력이 오늘날 현대인들과 다를 바 없는 수준에 이르렀다고 추정된다.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.11-12
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• 2017

고구려 고분벽화는 유네스코 세계문화유산이지만 남북한의 정치적 이데올로기로 말미암아 지금은 현장 접근이 불가능하다. 이에 가상현실 기술을 이용, 실제와 같은 체험 콘텐츠로 제작하였다. 이것은 인터렉티브한 가상현실을 체험할 수 있도록 사용자가 자유자재로 공간을 걸어다닐 수 있는 워킹형 가상현실(Walking VR) 기술을 적용한 것이다. 이는 관람자가 HTC-Vive의 컨트롤러를 이용하여 가고자하는 고구려 고분속 여러 벽화를 자유자재로 선택 가능한 인터렉티브 체험도 가능한 디지털 헤리티지형 VR콘텐츠다.