• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.148-165
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• 2017

Mural paintings drawn inside ancient tombs are very sensitive to changes in the environment such as temperature and humidity, especially the finish layer of the tomb murals differ in preservability depending on the material properties and humidity conditions. In this study, I examined the mural painting of Songsan-ri Tomb No.6, where the finish layer was made of earth, and identified the physical changes that can occur due to drying, depending on the material properties of the finish layer. I found out through particle size analysis that the finish layer of the mural painting in Songsan-ri Tomb No.6 is about 85.0wt% below silt, about 14.0wt% clay therein, mostly composed of silt and below clay. I also found out through physical property evaluation that surface change rate of samples showed the largest change at 15.5% in reproduced finish layer sample made up of bentonite, followed by 7.8% of reproduced finish layer sample made up of celadon soil, 6.3% of reproduced finish layer sample made up of loess, 6.2% of reproduced finish layer sample composed of white clay and the same order of change in appearance was confirmed in each sample consisted of soil. In addition, it showed the same trend of surface change rate, and the bentonite condition showed the largest change, in the measurement of shrinkage rate and expansion rate. The experiment shows that the finish layer composed of soil is affected by cohesion among particles according to the content of fine parts and the relationship between the agglomeration due to the content of the differentiated part and the stress due to the expansibility depending on the kind of the clay mineral etc. Therefore, it can be concluded that the physical damage occurred in the mural painting finish layer of the Songsan-ri Tomb No.6 is related to the factors such as the material characteristics of the soil and the highly humid environmental change inside the tomb.

• Journal of Conservation Science
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• v.28 no.4
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• pp.353-366
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• 2012

This study was interpreted the making techniques of the Four Guardian Statues in Wanju Songkwangsa Temple, and retained basic data necessary for conservation treatment and restoration of the same material by estimating the soil source. The molding clay used in the Statues showed a variety of material characteristics according to different layers. The first and mid layers estimated as the original molding clay are composed of the same kind of soil. The soil of the finish layer was also confirmed to be genetically similar to that of the first and mid layers, despite little discrepancy. The former restoration layer was inconsistent in material characteristics with the original molding clay in every result of analysis. As a result of gamma radiography, making techniques of the Statues were able to identify the figure of the frame connecting the woods of main pillar frame to sub-frame and steel wire with ㄷ-clamp, nails and straw ropes, and the molding clay constructed upon the frame. Meanwhile, provenance interpretation confirmed that the soil of the estimated provenance area is of the same origin as the soil of the finish layer, and therefore is an appropriate material for conservation treatment. This result will contribute to the research on making techniques of the molding clay Statues.

• Journal of Conservation Science
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• v.29 no.1
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• pp.81-92
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• 2013

In the past, European material and method were applied to conservation of Buddhist mural paintings in Korea. At that time, there were inadequate to selection of materials in consideration of porosity and hydrophilicity, therefore insufficiency to assessing their suitability for materials. The treatment result of mural painting are dissatisfied with consolidation of painting layer using synthetic resin. Therefore, it has experimented on applying fixative for reinforcement of painting layer on Buddhist mural painting in order to establish the effects of conservation. In relationship of binder's viscosity, adhesion and penetrating depth, adhesion increased in high-viscosity specimen whereas it decreased in low-viscosity specimen. While the binder's penetrating depths show similar patterns, the surface's response and combination adjacent to painting layer have differences. Animal glue and methyl cellulose (MC) shows excellent performance in their reaction with soil and painting layer. It is estimated that the fixative penetrates deep into soil to produce a stable fixing effect. The viscosity of polyvinyl acetate resin (PVAc) and acrylic resins are low, and thus penetrates well into soil, but they adhere poorly to soil.

• Journal of Conservation Science
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• v.32 no.1
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• pp.75-88
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• 2016

In this study, 5 mural paintings in the Buddhist temples of Joseon era were researched for component analysis on the soil contained in the walls. The results of particle size analysis showed that the ratio of particle contents were different in each layer. In the finishing layer, the distribution of the middle sand fraction is higher than that of the middle layer. The results of XRD analysis showed that quartz, feldspar, and clay mineral are the main components of sand, suggesting similar mineral composition to that of ordinary soil component. It seems weathered rocks were used for construction of the walls. The main chemical components detected from EDX analysis were Si, Al, Fe, and K. Also the SEM images showed sand or clay sized minerals. In conclusion, the walls of the buddhist mural paintings in Joseon Dynasty had been constructed by using the loess, and had been produced by using mixture of clay and sand particles of different sizes for each layer. This study identified the characteristics of the materials and the manufacturing technologies used on the walls of mural paintings of Buddhist temples in Joseon era.

• Journal of Conservation Science
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• v.34 no.2
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• pp.107-118
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• 2018

This report does studied for making the method of conserving bracket murals in Daeungjeon of Jikjisa Temple, through the scientific way. Results of evaluated the conservation status at the braket mural paintings, most serious damage is structural damage like cracks, breakage, and delamination. After optical investigation, a characteristic point wasn't found such as underdrawing or traces of a coat of paint. The ultrasonic examination speed by each wall painting was measured from about 195.8 m/s to 392.7 m/s, according to the location of the surface, and it was able to compare the surface properties according to the location. In Infrared-thermal image measurement shows that wall layer separation and paint layer delamination are closely detected, therefore it was able to judge of damage on the objective way. Material analysis revealed that the walls were made by sand and weathering soil. The wall layer combined sand with less than fine sand size by nearly 5:5, and the finishing layer was found to have mixed medium sand and fine sand at approximately 6:4 rates. However, In case of finishing layer, mixing ratios of sizes less than very fine sand were found to be significantly lower than wall. Therefore, it is estimated that the plysical damage such as the separation between the layers of the walls created in the braket mural paintings, is continuously caused by changes in the internal stresses and volume ratio caused by the density differences between the wall and the finishing layers.

• Journal of Conservation Science
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• v.37 no.6
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• pp.701-711
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• 2021

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

• Journal of Conservation Science
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• v.37 no.6
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• pp.748-766
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• 2021

The Iksan Ssangneung (twin tombs), a pair of tombs comprising the Daewangneung (large royal tomb) and the Sowangneung (small royal tomb), were constructed in the typical style of stone tunnel and chamber tombs in the Baekje Kingdom during the Sabi period (538 to 660 AD) of ancient Korea. Soil layers exposed during excavation of Sowangneung in a trench east of the tomb are: the bottommost layer, the ground level layer, the Panchuk (rammed earth) layer of the Baekje, the layer created by a grave robbery, and soil recovered during the Japanese colonial period. Soil samples were obtained by segmenting an easy stratigraphic horizon into sub categorized soil layers, and their material properties were analyzed; they are composed mainly of sandy loam based on the particle size distributions. In the site foundation, loamy sand is packed in the bottommost layer, and sandy loam with high sand and silty sand fills most of the overlying layer. The central and topmost portion of the Baekje layer is composed of loam with high clay content. All soil layers show geochemical behaviors similar to those of the bottommost layer. X-ray diffraction analysis verified kaolinite in all layers, also observed in soil layers displaying high crystallinity. Kaolinite and halloysite were identified by scanning electron microscopy. Thus, we conclude that the Baekje layer of the Sowangneung is composed of sandy loam containing kaolin procured from near the site. An impermeable middle to upper layer was created using viscous loam. The top of the tomb was closed tightly.

• Economic and Environmental Geology
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• v.51 no.1
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• pp.49-65
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• 2018

The lime-soil mixture on tomb barrier (LSMB) is a type of tomb in Joseon Dynasty, which made with so-called 'Sammul' (three material compound) that mixture of lime, fine sand and yellow ocher. This study divided the tombs of the Gungri Site from Joseon Dynasty with layered wall and integrated wall according to the manufacturing types, and investigated on the basis of analysis to material characteristics and making techniques. Analytical samples were classified with lime-soil mixtures and soils, and interpreted the mixing characteristics of Sammul based on types of tomb barrier. The tomb barrier which is directly effect to control the inner environment was made with high content of lime. But the finishing or bottom layer were made with low content of lime. Overall the LSMB with integrated wall has higher content of lime and physical property than the LSMB with layered wall. The soil which was compounded as a Sammul and collected near the Gungri Site had similar with mineralogical and geochemical characteristics. Therefore, it is presumed that the fine sand and yellow ocher that made as a Sammul, were used with soil that was distributed around the site. Meanwhile, large scale limestone quarry is distributed near the site. Especially, Gungri Site has a possibility of material supply through water transport, due to the sea route from Asan bay is connected near the site. Thus, there is the possibility of transportation of lime materials from nearby quarry.

• 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.