• Journal of Conservation Science
• /
• v.37 no.1
• /
• pp.55-62
• /
• 2021

This study investigated mechanical property changes by measuring compression factors, resilience, and compressive strength according to packaging pattern and filling rate to identify the applicability of cultural heritage packaging using thermoplastic polyurethane elastomers (TPU). Research results indicate that the cross-shaped 3D pattern showed the best resilience when the internal filling rate was 20%, while the octet pattern was the best when the filling rate was either 40 and 60%. The octet pattern had the best mechanical properties and stability with resistance capacities of 20.79 kgf/cm², 40.40 kgf/cm², and 82.23 kgf/cm² at 38%, 39%, and 40% recovery speeds, respectively, depending on the internal filling rate (20, 40, 60%). Based on these results, basic data on the applicability, stability, and reliability of 3D cultural heritage packaging materials using TPU materials were obtained.

• Journal of Conservation Science
• /
• v.17 s.17
• /
• pp.5-18
• /
• 2005

Rock materials of the Stone Lantern in the Gwanchoksa temple was composed of dark grey granodiorite. This Stone Lantern is partly structural distortion as S-shape, especially, rocks of the upper supports and under the roof materials were highly deterioration due to the surface exfoliation, and strong secondary contaminations owing to the discoloration by oxidation of inserted iron plates between the rock properties, and white grey to dark black contaminants along the rain path way. Rock surface of the Stone Lantern occurred as partly green patches because of coated by algae, lichen and moss. This biological problems are need for cleaning and treatments. The Stone Lantern have to be considered to conservation method that can reduce weathering factors with long-term monitoring about environmental change for structural stability, surface degradation and mechanical weathering. Materials of the Stone Lantern and basement rocks of the area are consisted of same petrogenetic granodiotite based on occurrences, petrological and geochemical characteristics.

• Journal of Conservation Science
• /
• v.34 no.5
• /
• pp.379-385
• /
• 2018

This study examined the condition of degraded plastic artifacts and conducted materials assessments for conservation treatment. The properties and bond characteristics of five types of adhesives(EVA, PVAc, Cyanoacrylate) were evaluated to select the adhesive most suitable for conservation treatment. The degradation of plastic artifacts caused cracks, peelings, and surface warping. According to the FT-IR analysis, the synthetic resin used in the artifact was estimated to EVA type. The properties of the adhesives were evaluated through acidity, and hardness measurements. The results showed that acidity varies with the type of adhesive, and that the hardness of PVAc was higher than those of EVA. On comparing the bond characteristics of the samples after artificial degradation, it was found that PVAc and Cyanoacrylate increased the chromaticity and hardness of the samples, while EVA was the most stable with relatively little change. Thus, EVA was confirmed to be the most suitable materials for conservation treatment of degraded plastic artifacts. In this study, as the experiment of treatment materials based on actual artifact, it is expected that it could be used a basis research for conservation treatment of plastic artifacts.

• Conservation Science in Museum
• /
• v.10
• /
• pp.21-27
• /
• 2009

This bamboo brush stand was made by attaching two bamboo tubes together, each 80mm in diameter. On the bottom is a "∞-shaped"wood board made of Ailanthus altissima. The surfaces are decorated with exquisite and dynamic designs of a dragon and clouds, and a deer and pine trees. Part of this bamboo brush stand was damaged, lost, or worn down, prior to conservation treatment. After conservation and recovery treatment, its original form was restored. Earth powder, chalk, and gluten mixture were used as materials to fill in the missing parts. After the original form was restored, thin silk fabric was attached to the inner surface of the glued part to prevent cracking. Traditional materials and repair techniques were used to allow for reversal of treatment, if necessary, as seen in the surface of the restored part being made antiquated with lacquer varnish.

• Journal of Conservation Science
• /
• v.33 no.6
• /
• pp.507-518
• /
• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• 보존과학연구
• /
• s.14
• /
• pp.77-93
• /
• 1993

In order to study for the production techniques and the materials of using in Korean Lacquer Antiques, we examined the section structure by SEM and Microscope, the qualitative analysis of lacquer layer by XRF and XRD, the qualitative analysis of Golhae layer by XRF and XRD, the qualitative analysis of Golhae by EDS on the locquer-wares which was excavated from Anapchi Pond Site in Kyungju and Miruksa Temple Site in Iksan. In the lacquer-wares excavated from Anapchi Pond Site, the lacuqer-wares layers made by a cloth attached on the surface of wooden vessel and Golhae-a mixture of clay and lacquer-covered on the cloth and finally finished with the red lacqure, being mixed with pure mercury sulfide(HgS) and lacquer. And raw materials of Golhae made of clay. The lacquer-wares excavated from Miruksa Temple Site in Iksan, we presumed that the lacquer-wares used fine born grains in place of clay for the raw materials of Golhae. Expecially in case of black lacquer-tray, we found that lacquer put on the surface of wooden vessel without cloth attaching and Golhae covering and the production of wooden vessel was used power-driven machine.

• 한국문화재보존과학회:학술대회논문집
• /
• 2007.10a
• /
• pp.95-98
• /
• 2007

• Journal of Conservation Science
• /
• v.5 no.2 s.6
• /
• pp.25-34
• /
• 1996

The essential point to be considered when restoring lacquered ware is to know its materials and properties, and prior studios from the conservational and scientific examination is the way to achieve it. Recently, to get a close examination of its materials and methods involved in lacquered ware making, cross section microscope studies are being applied. Cross section microscope studies shows that lacquering process has been simplified and that bone and earth substances have been added to the materials, a method also traced from the lacquered wooden coffin excavated from the 'Nak Rang Tomb' and by the lacquered wares of the 'Kyongjoo An Ap' areas. The significance of this Chosun Dynasty lacquered wares's inlaid with mother-of pearl restoration can be found in that we have been able to harmonize the very traditional and the very modern scientific method of our time and that we were able to launch a step forward from using only the synthetics to open up a new range of natural materials such as lacquers, bone and earth substances, oxhide-glue and nacres and of referring to the traditional methods.

• Conservation Science in Museum
• /
• v.27
• /
• pp.103-124
• /
• 2022

This study examined the properties of the materials used in the three-story pagoda at Jangha-ri, Buyeo. It was performed in order to identify the objective condition of the pagoda and establish an appropriate plan for the conservation treatment of the pagoda. According to the study, the average total magnetic susceptibility was 3.71 (10^-3 SI unit), and at least four types of granite with different origins were likely used in the production of the pagoda. The ultrasonic velocity averaged 1,519m/s, and the coefficient of weathering showed an average of grade 4. The thermal gradient between the cement (restoration materials) and original materials was identified through thermal imaging. In some areas, the cement restoration materials required replacement with new stone materials with properties similar to those of the original stone materials. Taking into account these results, a map of weathering damage was prepared and appropriate conservation treatment plans were established based on the findings of previous studies. Since the pagoda had suffered severe biological damage and discoloration, surface contaminants were removed through wet cleaning with distilled water and a brush. The exfoliated areas were reinforced on the site by mixing epoxy resin with powdered stone with the same properties as the original stone materials of the pagoda.

• Conservation Science in Museum
• /
• v.27
• /
• pp.23-38
• /
• 2022

The standing plaster figure entitled is an early work from Choi Man Lin's 'Eve' series. It reflects the aesthetics of abstract sculpture in the period following Korea's liberation from Japanese colonial rule. Modern and contemporary sculptures can be made from a wide variety of materials, so the particular selection of materials and expressive techniques are indicative of both the artist's intentions and the zeitgeist of the moment. In this regard, the materials and production techniques used in provide important basic data for the chronological study of Choi's artistic development. In this study, scientific analysis was conducted to reveal the production techniques used in the work. The scope of appropriate conservation treatment was decided through consultation between several people with decision-making authority. First, the internal structure was inspected using X-CT scanning, and a material analysis was conducted to identify the formal characteristics, materials, and production techniques found in the work. As the analyses revealed the work to be in a relatively stable state, only minimal conservation treatment was applied based on the opinions expressed by the institution housing the work, by a former assistant of the artist, and in an interview granted by the artist during his lifetime.