• Conservation Science in Museum
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• v.27
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• pp.125-146
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• 2022

The Wooden Gamsil with Inscription of "Botajeon" in the collection of the Dongguk University Museum was made in imitation of the wooden architecture style of the late Joseon period. The Gamsil had suffered exfoliation in the pigment and loss of components and thus underwent conservation treatment. Prior to the conservation treatment, the damage was classified by type and form, scientific analysis was carried out on the fiber and the species of wood, and portable X-ray fluorescence (P-XRF) analysis was conducted for the pigment component analysis. According to the analyses, Korea Pine(Soft pine) was used for most parts of the Gamsil, Manchurian walnut (Jugalns spp.) was used for the signboard, and the fiber used was identified as rice straw (Oryza sativa). The P-XRF identified white lead and zinc oxide in the white pigment, red lead in the red pigment, ultramarine blue in the blue pigment, and emerald green in the green pigment. For the conservation treatment, contaminants attached to the gamsil were removed by both dry and wet cleaning, detached parts were reattached in their original places, and lost parts were restored.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.2
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• pp.181-187
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• 1992

일반적으로 면섬유는 햇빛에 의해서 변색되거나 약해지며 또 그 외에도 여러가지 물리적, 화학적인 변화를 일으키게 된다. 구체적인 화학반응의 메카니즘은 사용되는 광선의 스펙트럼, 대기조건(실내인 경우는 실내 환경조건) , 산소의 유무 그리고 염료 등 첨가물의 종류와 같은 여러 요소에 의해 크게 영향을 받게 된다. 환경조건 중에서 산소의 존재는 매우 중요하지만 open system에서 산소의 농도가 일정하다고 가정할 때 면섬유가 접하고 있는 환경조건 중에서 온도와 습도는 photodegradation의 속도를 결정짓는 중요한 요인으로 작용하게 된다. 박물관,:기념관, 도서관 등의 소장품이 자연광선이나 인공조명으로부터 손상되는 것을 막기 위해서는 먼저 이들의 photodegradation 현상에 대한 연구를 필요로 한다. 본 연구에서는 면시칩포를 자연광선과 가장 흡사한 스펙트럼을 가진 xenon arc lamp를 사용한 내후도 시험기내에서 온도와 습도를 조절하여 이에 따른 반응속도의 차이를 인열강도의 감소와 중합도 저하로 측정하였다. 1차 반응식은 실험결과를 설명하는데 유용하였으며 온 · 습도의 증가는 반응속도를 증가시키는 것으로 나타나 기존의 상반된 연구결과의 차이를 입증하였다. 또 온도와 습도는 상호관련이 있는 것으로 나타났으며 고온인 경우습도의 영향을 더 크게 받는 것으로 분석되었다. 반응의 활성에너지는 $30\~75\%$ RH에서는 12 kcal/mole 정도이며 수분의 함량이 낮을수록 활성화에너지는 커지는 것으로 나타나 수분은 섬유소 분자구조내에서 가소제 (plasticizer)의 역할을 하는 것으로 판명되었다.

• Journal of Conservation Science
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• v.16 s.16
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• pp.27-38
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• 2004

This study was performed to characterize historical paper artefacts from 16th to 19th century from Chungbuk National University Museum (CNUM) in Korea. In order to know the fiber composition, surface features and fiber orientation in historic paper artefacts, LM, SEM and EDX analysis observations were applied. Based on tested results, it was concluded that Korean historic papers from 16 to 19th century were made of paper mulberry fibers called dak, which had 2.79-16.03 m of fiber lengthes and $4.5-26{\mu}m$ of lumen widthes, and they were relatively well preserved. According to EDX analysis, the examined papers differed to the contents of inorganics. High contents of S, Si, Ca, P and Al refer to use fillers, such as gypsum, clay and talc, for paper artifacts. In particular, half of samples contained some amounts of S, Cl and Fe. Since those inorganics might be potentially harmful for the paper permanency, therefore it should be considered special restoration measures from the preservation point of view.

• Journal of Conservation Science
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• v.35 no.6
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• pp.612-620
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• 2019

A woolen tapestry curtain, owned by the Seoul Museum of Craft Art, is composed of tabby by cotton-warp and wool-weft threads and its patterned part is shown as a tapestry; paint with pigment has been added to it. The chromaticity of this curtain was measured and the substances in the deep red color were confirmed as Hg by an analysis of the ingredients through X-ray fluorescence. This is presumed to be cinnabar or vermilion. Analyses were performed on a total of seven fabric samples, including the warp & weft of the fabric, its trimming, and its back fabric. As a result, the warp of the woolen tapestry curtain was determined to be a cotton fiber with a middle hole or lumen in the cross-section. Furthermore, an infrared peak likewise showed O-H and C-O binding. Wool fibers as wefts were identified with circular and oval cross-sections and IR peaks showed N-H/O-H stretching and amide(-CONH-). The animal hair samples used in the wool fiber are believed to have come from long-tailed goral or goats and the possibility of using easy-to-spin sapsal dog hair is also not to be overlooked. This was determined through a contrast analysis by the Cultural Heritage Administration to identify the animal species used in the tapestry.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.4-17
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• 2011

The Baekje's cotton fabrics were excavated from 'Neungsan-ri temple site in Buyeo' (September 1999-April 2000) and stored at Buyeo National Museum after conservation treatment. In this study, it carred out non-destructive, chemical and morphological analysis for fiber identification, also considered on influx, features and difference between the 'Baek-cheop-po(Three kingdom period's cotton fiber)' and 'Mok-myeon(imported by Munikjeom, late Korea dynasty)'. As a result, the fiber proved cellulose fiber through analytical researches like color reaction, FT-IR(chemical analysis). It was also confirmed lumens, typical dimensional structure(morphological analysis) as an features of cotton fiber. The fiber was the first evidence in ancient Korea's cotton. But it can not prove that whether weaving were made in Baekje's area. However there were documentation that people in Beakje make cloth to silk fabric from 'Mahan period'. We can suppose that they have had an old weaving techniques. This study has a great historical, academic values as the only evidence for the hypothesis of a weaving technique of the Baekje's cotton. Through comparison to each region's ancient cottons, we can investigate the species of Baekje's cotton and ancient Korea cotton's influx.

• 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.

• Conservation Science in Museum
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• v.14
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• pp.13-22
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• 2013

The Nectar Ritual Painting(Jeung7551) in National Museum of Korea is estimated to have been produced in the 16th century. Ezimagodo who is the head priest of Ruganji in Kyoto, Japan donated this painting in 2010. Overall, damages were serious, such as missing, staining, folding, insects of the face and mounting silk, therefore, it need to conservation treatment. The treatment of conservation in painting was removing surface stains and repairing missing area. It was mounted by following the original form. The analysis result of textile in mounting and support fiber used silk and hemp in microscope. Pigments in paint were divided into six color types. This painting was used that vermilion(cinnabar) and red lead for red color, litharge(massicot) and gold for yellow color, lead white for white color, malachite for green color, azurite for blue color, and carbon black(chinese ink) for black color.

• Conservation Science in Museum
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• v.13
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• pp.51-58
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• 2012

The Conservation Science Team of the National Museum of Korea has carried out the conservation on the mandolin-type bronze sword that was excavated from Weolnae-dong, Yeosu as had been requested by the Research Center of Dolmens in Northeast Asia. The mandolin-type bronze sword from Weolnae-dong, Yeosu is accounted to be the longest one among all the bronze swords of the same type that have ever been excavated until now and it was in a treated condition with the primary conservation treatment already achieved. Due to the corrosion in progress, it was in a very brittle condition being in two separate parts of the upper and lower parts. With the upper part exposed and the lower part with earth, they were urgently collected. The Conservation Science Team carried out the conservation treatment on them by connecting the lower part of the mandolin-type bronze sword to the upper part after making the lower part exposed, and then by using an estimated restoration method for lost portions. When carrying out the conservation treatment, the glass fibers of 10 wt% Paraloid B-72 (in Xylene) was used as a method for strengthening the brittle artifact, and a non-destructive analysis was carried out to identify the ingredients using the X-ray fluorescence spectrometer.

• Conservation Science in Museum
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• v.16
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• pp.32-45
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• 2015

The bronze incense burner, discovered in Chungung-dong, Hanam, Gyeonggi-do in 1971, is a hanging incense burner dating from the Goryeo period. The incense burner was covered with a thick layer of clay. The object was in a severely deteriorated state, affected by bronze disease which resulted in extensive corrosion. Numerous cracks were present across its surface, and some parts had been broken off. To preserve and display the bronze incense burner in a stable condition, deposits of foreign material were removed from the surface, and the weakened metal was strengthened. Cracked and broken areas were reinforced using woven glass fiber, followed by the application of epoxy resin to restore the shape. To investigate the method of production, a chemical analysis was performed, and the microstructure was examined. The chemical analysis revealed that the body of the incense burner as well as the ear, loop, lid and the knob were cast in a ternary alloy of Cu-Sn-Pb. Moreover, copper nails with high copper content were used to securely join the ear to the body of the incense burner. The microstructure was mainly α-phase, and non-intermetallic inclusions composed of Cu and S were detected.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.