• Conservation Science in Museum
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• v.27
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• pp.91-102
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• 2022

Silica-based inorganic fillers for restoration of iron objects have been used for the reduction of thermal expansivity and the improvement of melt flow index. However, the higher the amount of filler is applied, the more degradation of mechanical properties and the yellowing occur, which could cause retreatment of the objects with adding stress to them. Thus, research on not only the quantification of a mixture of resin and filler but also the yellowing should be emphasized. Experiments on mechanical properties were carried out with a silica-based light filler, Micro Shell as a comparison group. The results of the experiment showed Micro Shell reduced the number of occurrences of the yellowing by 34% compared to existing fillers. The value of adhesion and specific gravity was also improved depending on the filler amount. The results of this research indicate the possibility of using Micro Shell as a new filler.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.51 no.2
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• pp.170-177
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• 2018

Samples were obtained from broodstork in May, 1998, while naturally fertilized embryos were maintained and the process of skeletal development was observed from larvae and juveniles. Prelarvae immediately after hatching showed an average total length of $5.38{\pm}0.41mm$ (n=10), premaxillary and dentary were ossified, parasphenoid was ossified in the cranium, and centrum and caudal bone did not ossify. Prelarvae showed ossification with maxillary, articular and epihyal and branchiostegal rays of hyoid arch were ossified at 5 days after hatching with an average total length of $6.40{\pm}0.39mm$ (n=10). The vertebrae began to ossify in the direction of the tail, and neural spine began to ossify above the ossified vertebra. Postlarvae showed ossification of lateral ethmoid, parietal, and caudal skeleton in the cranium when the average total length was $7.30{\pm}0.12mm$ (n=10) in 8 days after hatching. At 22 days after hatching, postlarvae ossified maxillary in the cranium, and ossified endopterygoid and ectopterygoid, etc. in the palate, when the average length of $11.1{\pm}1.27mm$ (n=10). At 32 days after hatching, with the average length was $12.8{\pm}1.97mm$ (n=10), caudal skeleton had one additional epural bone ossification, resulting in ossification of a total of 3 epural bone to complete ossification of all spicules.

• Korean Journal of Ichthyology
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• v.20 no.3
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• pp.167-172
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• 2008

The Korean bitterling, Acheilognathus signifer (Osteichthyes Cyprinidae), is an endemic and endangered species in Korea. During developmental stages, a small number of oculocutaneous albinism (with colorless body and eyeballs) were observed in the species. In order to investigate histological differences between normal and albinic bitterling, the dorsal skin and choroid-retina of the eyes were taken. The skin and eyes of normal and albino bitterling were similar in structure except for the presence or density of pigment cells. In normal bitterling, the epidermal melanocytes and dermal melanophores were abundantly developed in both the skin and epidermis of the eyes. But in the albino, the dorsal skin had few melanins, and the pigment cells over the choroid-retina pigment epithelium and iris of the eye were very small.

• Journal of Conservation Science
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• v.33 no.5
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• pp.319-329
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• 2017

In this study, formaldehyde concentrations in two exhibition halls were monitored using a passive sampler from May 2012 to April 2013. Formaldehyde concentrations in the exhibition halls were 5 to 36 times higher than concentrations outdoors. Concentrations inside the exhibition room and showcase varied according to pollutant source, HVAC(heating, ventilation, air conditioning)system and environment management. The formaldehyde concentration levels were corrected according to a standard method prescribed by Indoor Air Quality Management Law of the Ministry of Environment, Korea. As a result, Most concentration levels exceeded the exhibition standard of the Ministry of Environment($100{\mu}g/m^3$) and artifacts conservation standard of Tokyo National Museum($50{\mu}g/m^3$). Seasonal concentrations in the exhibition room and showcase were in the order summer>fall>spring>winter. Formaldehyde emissions increased in summer when air temperature and relative humidity are both high. Formaldehyde concentration distribution according to the temperature and relative humidity showed positive correlation. Air temperature showed good correlation because $R^2$ was in the range of 0.8~0.9. Analysis of formaldehyde emission characteristics in the exhibition hall would be helpful in efforts to improve indoor air quality.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.10-39
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• 2023

Seongjusa Temple was founded in Boryeong in Chungcheongnam-do Province by Monk Muyeom (800-888), better known as Nanghye Hwasang. After returning from studying in China, Muyeom stayed in the Silla capital city of Gyeongju for a period. He later settled in a temple that was managed by the descendants of Kim In-mun (629-694). He then restored a burned-out temple and opened it in 847 as a Seon (Zen) temple named Seongjusa. It prospered and grew to become a large-scale temple with several halls within its domains. The influence of Seongjusa in the region can be seen in the Historical Record of Seongjusa Temple on Sungamsan Mountain, which relates that there were seventy-three rooms within the domains of the temple. What is most notable in the record is that the temple is referred to as "栴檀林九間," which means either "a structure with nine rooms built with Chinese juniper wood" or "a place that houses Chinese juniper wood and has nine rooms." Regardless of the interpretation, Seongjusa Temple had a large amount of juniper wood. Around this time, the term "juniper" referred to the olibanum tree (Boswellia sacra) native to the islands of Java and Sumatra in Southeast Asia. It is presumed that at some point after the death of Jang Bogo, the maritime forces that controlled the southwestern coast of Korea may have acquired a large amount of Southeast Asian olibanum wood and offered it to Seongjusa Temple. During the reign of King Munseong, Kim Yang (808-857) patronized Seongjusa Temple and its head monk Muyeom, who enjoyed a lofty reputation in the region. He sought to strengthen his own position as a member of the royal lineage of King Muyeol and create a bridge between the royal family and Seongjusan Buddhist sect. The court of King Wonseong designated Seongjusa Temple as a regional base for the support of royal authority in an area where anti-royal sentiment remained strong. Monk Muyeom is believed to have created an iron Buddha to protect the temple, enlighten the people, and promote regional stability. Given that the Seongjusa community had expanded to include more than 2,000 followers, the iron Buddha at Seongjusa Temple would have been perceived as an image that rallied the local residents. It is assumed that there were two iron Buddhas at Seongjusa Temple. The surviving parts of these Buddhas and the size of their pedestals suggest that they were respectively enshrined in the Geumdang Main Hall and the Samcheonbuljeon Hall of Three Thousand Buddhas. It is presumed that the first iron Buddha in Geumdang was a large statue over two meters in height and the second one was medium-sized with the height over one meter. The Historical Record of Seongjusa Temple on Sungamsan Mountain contains the phrase "改創選法堂五層重閣" which indicates that a multistoried Geumdang was newly built to enshrine a large Buddha sculpture like the first iron Buddha when Seongjusa Temple was founded. Also, according to the Stele of Seongjusa Temple and the surviving finger fragments, the first Buddha was making the fear-not and wish-granting (abhayavarada) mudras. The main Buddha of Seongjusa Temple is possibly Nosana Buddha, just like the main Buddhas at the contemporaneous temples Silsangsa, Borimsa, and Samhwasa. Given that Monk Muyeom studied Hwaeom teachings in his early years and received royal patronage upon his return, it is believed that the retro tendencies of the Hwaeom school, centered on the royal family of the Silla Dynasty, were reflected in Seongjusa temple.

• Korean Journal of Ichthyology
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• v.29 no.1
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• pp.32-40
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• 2017

Samples were obtained from broodstok in May, 2010, while naturally fertilized embryos were maintained, and the process of skeletal development was observed from larvae and juvenile. Prelarvae immediately after hatching showed an average total length of $6.85{\pm}0.63mm$ (n =5), Premaxillary and dentary were ossified, parasphenoid was ossified in the cranium, and centrum and caudal bone did not ossify. Prelarvae showed ossification with maxillary, articular, and epihyal, and branchiostegal rays of hyoid arch were ossified at 2 to 3 days after hatching with an average total length of $7.25{\pm}0.28mm$ (n=5). The vertebrae began to ossify in the direction of the tail, and neural spine began to ossify above the ossified vertebra. Postlarvae showed ossification of lateral ethmoid, alisphenoid, parietal, and caudal skeleton in the cranium when the average total length was $9.00{\pm}1.53mm$ (n=5) in 6 days after hatching. At 40 days after hatching, postlarvae ossified maxillary in the cranium, and ossified endopterygoid and ectopterygoid, etc. in the palate, when the average length of $23.3{\pm}0.28mm$ (n=5). At 120 days after hatching, with the average length was $37.5{\pm}2.83mm$ (n=5), caudal skeleton had one additional epural bone ossification, resulting in ossification of a total of 3 epural bone to complete ossification of all spicules.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.204-221
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• 2020

East Asian countries share a culture of perfuming clothes. The prosperity of the Maritime Silk Road and the incense trade are direct factors that have led to the development of incense culture. Perfuming clothes is a method of applying fragrance by burning incense. The Chinese could make an incense mixture with various types of incense, and records demonstrating use of perfuming clothes tools (熏籠) show that they might have perfumed clothes with incense mixtures. During the Tang dynasty, the incense trade thrived. Examples of ancient literature such as 『千金要方』, 『香譜』, 『香乘』 describe how to make incense for perfuming clothes and how to perfume clothes. 『桂海虞衡志』 and 『諸蕃志』 shows trade partners and goods. Incense was introduced to Korea alongside Buddhist culture. 『買新羅物解』 shows Silla traded incense with Japan. One of the trade goods recorded in 『買新羅物解』 is perfuming cloth incense (熏衣香), which establishes that Silla performed perfuming clothes at that time. During the Goryeo dynasty, Goryeo exported musk as well as ginseng. The royal family burned incense from the Song royal family. Noblewomen preferred sachets. The use of this dress continued into the Joseon dynasty. 『買新羅物解』 showed that Japan imported incense from Silla. 『The tale of Genji』 illustrates Heian nobles' incense culture, perfuming clothes culture, and trade of incense. Perfuming clothes tools became essential articles for marriage purposes and it developed in a practical shape. The Champa had a perfuming clothes culture. It is described on 『諸蕃志』. As Agilawood is found in Tongking, and Tongking was neighbor to the Champa and China, they might have had a perfuming clothes culture as well. Korea, China, Japan, and Vietnam shared a perfuming clothes culture. We can identify universality and commonality in the purpose of perfuming clothes, time of development, the method of making the incense mixture for perfuming clothes, the method of perfuming clothes, the tools, the gender of perfumer, and the type of herbs and spices.

• Economic and Environmental Geology
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• v.56 no.6
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• pp.715-728
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• 2023

Tracksite of pterosaurs, birds, and dinosaurs in Chungmugong-dong in Jinju was designated as a natural monument in 2011 and is known as the world's largest in terms of the number and density of pterosaur footprints. This site has been managed by installing protection buildings to conserve in 2018. About 17% of the footprints of pterosaur, theropod, and ornithopod in this site under management in the 2nd protection building are of great academic value, but observation of footprints has difficulties due to continuous physical and chemical damage. In particular, the accumulation of milk-white contaminants is formed by the gypsum and air pollutant complex. Gypsum remains evaporated with a plate or columnar shape in the process of water circulation around the 2nd protection building, and the dust is from through the inflow of the gallery windows. The aqueous solution of gypsum, consisting of calcium from the lower bed and sulfur from grass growth, is catchmented into the groundwater from the area behind the protection building. Pollen and a few minerals other constituents of contaminants, go through the gallery window, which makes it difficult to expel dust. To conserve the fossil-bearing beds from two contaminants of different origins, controlling the water and atmospheric circulation of the 2nd protection building and removing the contaminants continuously is necessary. When cleaning contaminants, the steam cleaning method is sufficiently effective for powder-shaped milk-white contaminants. The fossil-bearing bed consists of dark gray shale with high laser absorption power; the laser cleaning method accompanies physical loss to fossils and sedimentary structures; therefore, avoiding it as much as possible is desirable.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.132-150
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• 2022

Designated as a national intangible cultural asset, the fish weir is a traditional fishing method and was a leading fishing tool in Korean coastal fishery. As the littoral sea area fishing vessel fishery developed since the 1970s, traditional fishing methods including fish weirs began to decline. The fish weir has been passed down in the form of tools such as fish weirs, stone weirs, and bamboo weirs. In Namhae-gun and Sacheon City in Gyeongsangnam-do, anchovies are caught using bamboo weirs. A basic bamboo weir consists of a fish trap(balgong), a space where fish gather together, and a V- or U-shaped wooden fence(halgaji) that helps fish come inside the fish trap. Its fishing method is to catch fish that have come to the coast during high tide alongside those are stuck inside fish traps(balgong) with nets or scoop nets. This paper examined the process of passing down traditional fishing methods through a comparative analysis of the bamboo weir structures and fishing methods in the Namhae and Sacheon regions. First, the historical process of assembling the current bamboo weir structure was analyzed. The bamboo weir, a fishing tool, appears to have combined the features of past weirs and fish weirs based on the Jijok Strait and Samcheonpo Strait. Next, this paper examined the structure and fishing method of the two types of bamboo weirs made with a circular or square fish trap(balgong) where fish gather. Through this analysis, this study examined the lives of fishermen who have adapted to their natural environment and actively utilized obtainable resources(materials), and then changed the traditional fishing method of bamboo weirs and developed them into an appropriate technology. Lastly, a new value attributed to anchovies caught using bamboo weirs was analyzed. This new value extracted from better bamboo weir anchovies works as a mechanism to uphold the tradition of anchovy-catching bamboo-weir fishing, which produces a smaller amount of anchovies compared to other methods of anchovy fishing. In this way, bamboo weir fishing has been passed down as a result of its differentiated aspect of producing better anchovies than those produced with other fishing methods, as well as the historical aspect of it being a traditional fishing method.