• Journal of Wetlands Research
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• v.5 no.1
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• pp.1-13
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• 2003

Conservation of wetlands are important because wetlands are hatcheries for fishes and habitat for migratory birds and mammals. Wetlands also function as a filter for polluted water and material and transition zone for harboring numerous species of plants and animals. This paper reviewed the importance of wetland conservation and policy on management of wetlands in Korea. Wetland Conservation Act(1999) and Maritime Management Act(1999) are two legislation for conservation of wetlands. Wetland Conservation Act is issued by both Ministry of Environment and Ministry of Maritime Affairs and Fisheries. The definition of wetlands are so diverse, but this paper categorized wetlands as both natural and man-made lakes, mud flat areas and inland wetlands. Management application was considered for each wetland categories.

• 보존과학연구
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• s.14
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• pp.94-108
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• 1993

The cultural properties of cloth are of animal orgin (silk), or of vegetable orgin(cotton, hemp, ramie). As clothes are of an orginic material, they were subjected to damage by chemical, phisigical or biological factors, viz, moulds insects, lights, humidity and temperature changes, etc. And these factors promote that clothes generally result from various types of deterioration. In 1992, We were performed the conservation treatments for total 9 pieces of cloth, such as 3 pieces of General PAK SHIN-RYONG(Important Folklore Material No.110) 3 pieces of Madam Jung(Important Folklore Material No.115) and 1 piece of King Se-jo(Important Folklore Material No.219). The procedure of the conservation treatment for clothes describe the following below. 1) The washing and dry-cleaning to remove the contaminated substances from cloth was used 0.2% stearyl potassium soap solution and the mixture solution compound of n-Hexane, C6H14. and n-Decane, C10H22. And after the washing and dry-cleaning, the dry of clothes was carried out in a warm condition. These steps were repeated in 2 times over for each cloth. 2) The repair of clothes was attached the similar textiles to stronger fabric linings by needlework.3) The reprodution was made for cloth of King Se-jo to equalize the type, color, quality and skill of materials. 4) After these above procedures, all clothes fumigated to prevent the biodeterioration by using the mixed gas of methyl bromide and ethylene oxide as insecticide and fungicide. 5) Finally for the purpose to keep in a safety long-term condition, the treated clothes sealed with Biaxially Oriented Polyvinylacohol Film(BO-PVA film) and Helium, purity 99.999%, filled up in sealed BO-PVA film bag.

• Journal of Conservation Science
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• v.38 no.1
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• pp.45-54
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• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.40 no.2
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• pp.43-56
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• 2008

The purpose of the experiment was to evaluate the material stability of the paper of the annals of Joseon Dynasty for the conservation purpose and the categories were as listed below : 1. Procuring traditional Hanji and semi-Hanji from different regional hanji paper mill. 2. Artificial accelerated aging treatment to examination its stability (UV irradiation, dry heat) 3. Analysis of optical, physical characteristic. The suitable Hanji for categories would be used as a reconstruction material for the waxel paper in the papers of the annals of Joseon Dynasty.

• Journal of Conservation Science
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• v.30 no.1
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• pp.33-38
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• 2014

The adhesive material was found for joining pottery fragments from Duurlig Nars, Mongolia estimated in AD 1C. In this study, analysis of natural substance for joining fragments of pottery was performed using gas chromatograph and mass spectrometer. As a result, it was identified triterpenoid substances, such as lupeol and betulin which were known to constituents of birch bark tar. It was suggested that Mongolian used adhesives made by birch bark tar for joining pottery fragments. Therefore if organic materials of ancient objects are systematically researched, it can provide significant evidence related to the way of life of ancient people.

• 한국문화재보존과학회:학술대회논문집
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• 2007.10a
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• pp.85-86
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• 2007

• 한국문화재보존과학회:학술대회논문집
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• 2007.10a
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• pp.23-24
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• 2007

• Journal of Conservation Science
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• v.36 no.1
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.

• 한국문화재보존과학회:학술대회논문집
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• 2005.11a
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• pp.154-159
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• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• Journal of Conservation Science
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• v.26 no.3
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• pp.325-334
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• 2010

In order to clarify the effect of consolidant, the artificial porous material with low intensity was manufactured using granite powder and Portland cement. We have prepared four kinds of alkoxysilane system consolidants, a acrylic resin and a epoxy resin and investigated about characteristics before and after consolidation. As a result of the research, Silres BS OH 100 was effective for density and surface hardness. SS-101 with hydrophobicity and Site SX-RO with hydrophilicity had the good durability over salts weathering. On the other hand, Syton HT-50 and Paraloid B72 were easily destructed by salt weathering because they were concentrated on surface area by the low penetration depth. Araldite 2020 was the most effective consolidant for improvement of physical properties.