• Conservation Science in Museum
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• v.20
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• pp.77-92
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• 2018

A stone seated bodhisattva (Sinsu5971) was discovered in Pyeongchang-gun, Gangwon-do in 1974 and was transferred to the Chuncheon National Museum upon its opening in 2002. The statue had damage to wide areas and was thus difficult to restore. This study utilized 3D scanning and 3D printing technologies to identify the overall form of the statue and the degree of damage, which allowed the restoration of lost portions that otherwise could not have been accurately restored to their original shape. Prior to the conservation treatment, the pigments used to decorate the surface were investigated using an optical microscope, and their main components were analyzed with a p-XRF (Potable X-ray Fluorescence Analyzer). The deteriorated lacquered surface was stabilized using animal glue and consolidated with stone strengthener (OH-100). The investigation found that the surface of the statue was made of zeolite that was lacquered and then gilded. As for pigments, white lead was used for the white color and red lead and cinnabar were used for red. The lost portions were redesigned by mirroring the remaining parts with 3D technologies. However, it was difficult to affix the 3D printing outputs to the statue without visible gaps since the damaged parts suffered flection. The portions of the outputs to be connected to the statue were thus modified and supplemented. It was also difficult to collect data on the properties of 3D printing materials due to the lack of previous in-depth study. These obstacles are subjects for further study.

• Conservation Science in Museum
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• v.16
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• pp.138-153
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• 2015

Wooden standing Bodhisattva in the collection of the National Museum of Korea (Bon 8239) was purchased as part of the museum's Central Asian collection during the Museum of Japanese Goverment General of Korea. The wooden statue exhibiting classical characteristics of Song Dynasty Buddhist sculptures is colored on the whone. The result of condition check for exhibition in 2014, it has severely damaged, with discoloring and exfoliation in color pigment and crack of wood observed in various areas. The object was therefore treated for conservation. A series of analysis were performed also at this time to determine the production technique and the materials, including testing of the X-ray penetration depth, X-ray fluorescence analysis and wood species analysis. This revealed that the statue was made by joining several separate pieces of wood. As for color pigments, the white pigment was either chalk (CaCO₃) or gypsum(CaSO₄·2H₂O), and the green pigment was emerald green (Cu(C₂H₃O₂)₂·3Cu(AsO₂)₂). The red pigment appeared to be lead red(Pb₃O₄) and the blue pigment was ultramarine blue (3Na₂O·3Al₂O₃·6SiO₂·2Na₂S). All the pigments were repainted in later eras. The analysis, indicated that the wood was derived from a tree of the genus Populus, family Salicaceae. The wooden standing Bodhisattva was repaired and reinforced with natural materials and was brought to a stable condition necessary for display.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Applied Chemistry for Engineering
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• v.31 no.1
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• pp.43-48
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• 2020

Fe₂O₃ nanoparticles with the mixed structure of cubic and nanorod were synthesized by precipitation, hydrothermal, sol-gel method, etching process and heat treatment. Fe₂O₃/TiO₂ core-shell (CS) of type Fe₂O₃@TiO₂ composite was fabricated on a 20 nm nanolayer of TiO₂ coated on the surface of Fe₂O₃ nanoparticles. Fe₂O₃/TiO₂ yolk-shell (YS) composite was prepared by chemical etching and heat treatment of Fe₂O₃/TiO₂ CS nanoparticles. Physical properties of Fe₂O₃, Fe₂O₃@TiO₂ CS and Fe₂O₃@TiO₂ YS nanoparticles were characterized by FE-SEM, HR-TEM and X-ray diffraction. The solar reflectance, commission internationale de l'Elcairage (CIE) color coordinate and heat shield temperatures of Fe₂O₃, CS and YS type Fe₂O₃@TiO₂ pigments filled with poly acrylate (PA) paints were investigated by UV-Vis-NIR spectrometer and homemade heat shield temperature measuring device. The Fe₂O₃@TiO₂ YS red pigment filled PA composite exhibited excellent near infrared light reflecting performance and also reduced the heat shield temperature of 13 ℃ than that of Fe₂O₃ filled counterparts.

• Conservation Science in Museum
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• v.17
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• pp.69-84
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• 2016

Yuso is the term for decorative tassels of a braided string which hangs a scroll painting. This study, drawing on extant research concerning the yuso made for Joseon period portrait scrolls of kings and meritorious retainers, focuses on the yuso created to hang literati portraits. Concretely, It examines yuso of seven portraits in the collection of the National Museum of Korea in order to characterize their appearance and determine their material composition. The study found that most of the yuso are sixteen-strand strings braided into a rounded cross-section(dongdahoe). The seven yuso, of which six are red and one indigo-blue, reflect the popular style associated with Joseon period literati portraits. The yuso for the portrait of Yun Geup(duksu 3503) is made from gilded paper. Analysis showed Fe particles present in a red pigment underlying the gold layer, suggesting the presence of red ochre(seokganju), an iron oxide mineral. The yuso of the portrait of Shin Im(duksu 4846) is used a paper which contains gold as well as traces of Pb, Hg and Ag. The paper in the yuso for the portrait of Yi Seongwon(bongwan 10122) mainly consisted of Ag, indicating silver paper having been used in its fabrication. The inner paper in the yuso of the portrait of Yi Seogu(sinsu 1065) is a leather combined with Ag, Fe, and Br, according to chemical analysis. The FTIR of the leather sample reveals that the spectrum in the fingerprint region is nearly identical to that of sheepskin, indicating the yuso was made from gold-coated sheepskin.

• Journal of Conservation Science
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• v.27 no.4
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• pp.357-369
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• 2011

The Bongamsa Jeongjindaesa Wonotap Pagoda (Treasure No. 171) constructed in the 10th century composed mainly of leucocratic granite with feldspar phenocryst. The major rock-forming minerals are quartz, orthoclase, plagioclase and some biotite. This pogoda is highly damaged physical weathering which are break-out, flakes, exfoliation and cracks. As a result of the infrared thermography on the surface of the pagoda, internal exfoliations occurred to cracks. Also, P-XRF analysis showed that Fe, S, Ca and Mn of concentration were so high in the discoloration parts. The coated part of red pigment has a high five times in Fe content than the fresh rock surface. This result suggests that material of red pigment is hematite. Ultrasonic velocity of the stone properties were from 831 to 2,457 m/s, but it measured velocity of less than 1,000m/s in part of damaged area. Therefore, we suggest for safety conservation for weathered parts of the pagoda, that is in want of rejoin and consolidation treatment about serious damage parts.

• Journal of Conservation Science
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• v.36 no.5
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• pp.383-392
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• 2020

This study aimed to examine the characteristics of paint used for modern art works by conducting sectional observations, inorganic component analysis, and infrared spectroscopic analysis on the painted layers of 3 painted sculpture works exhibited in the Yongdam Dam Environmental Sculpture Park and Naejangsan Sculpture Park in the Jeollabuk-do area. The observations indicate that the cross section is composed of various layers of 2-3 folds, the thickness of the layers was uneven at approximately 23-150 ㎛, and putty was used for plate treatment prior to painting. Inorganic component analysis results show that putty containing calcium carbonate, iron oxide, diatomite, and titanium dioxide was used for the putty layer. It is also assumed that paint mixed with green (Cr₂O₃), blue(sodaliteblue), red(chromered), andwhite(TiO₂) colors were used for the painted layers. As a result of infrared spectroscopic analysis to confirm the types of paint, it is estimated that the paint was mixed with polyester resin and an extender.

• Journal of the Korea Concrete Institute
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• v.23 no.3
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• pp.265-272
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• 2011

Even though concrete is the most important material for building structures, its intrinsic gray color degrades urban esthetics. In order to improve this problem, coloring methods of mixing pigment in concrete batch and painting the surface of concrete surface have been tried. However, applications of the coloring methods in construction field are difficult due to high cost and low durability. Recently, acid stain agent is emerging as a new coloring method for concrete. It is able to apply a remarkably thin colored layer on a concrete surface from chemical reaction between acid and alkaline solutions. This study has examined the changes and variations of the surface layer of mortar specimen from chemical reaction of acid stained agents. The colors were changed into natural irregular stains according to aging. After the staining, no shape change was found from visible inspections. Microstructure of the colored surface applied with acid stained agent was much rougher than that of original mortar. When the colored layer was compared to original surface, crystals of hydrate such as $Ca(OH)_2$ and C-S-H gel were observed. Surface hardness was same or slightly higher in the colored layer. The value of pH was reduced by approximately 10%, weight contents of elements such as Ca, Si, and Al were low. In the chemical composition of the colored layer, the non-cement based elements of Mn, Cr, and Cu increased. Also, Fe and alkali elements of K and Na increased.

• Journal of Conservation Science
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• v.25 no.4
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• pp.421-430
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• 2009

This research was carried out focusing on the urgent treatment and related studies for paint scribbling on Samjeondobi Monument (Historic Sites No. 101) in 2007. Before the preliminary test, the paint lacquer used on the surface of Samjeondobi Monument was analyzed. The paint lacquer turned out to be the paint lacquer spray composed of $Pb_3O_4$ used for the red pigment in the market. It was proved that the poultice used with the organic solvent was the best way to remove the paint pollutants following the preliminary test for the removal of paint pollutants which was performed with various removal methods by the laser, etc. However, the removing the paint pollutants was found in difficulty in contrast to the preliminary tests because the paint on the spot was hardened so rapidly over time that there was difference from the situation of the laboratory. For that problem, the poultice method with ethylene dichloride of main component from Remover (goods in the market) was the most efficient, therefore the pollutants were removed with the solution of alkyds resin and nitrocellulose and the rest part was removed by the $Laponite^{(R)}$ RD.

• 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.