• Journal of Conservation Science
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• v.32 no.4
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• pp.521-534
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• 2016

Ancient tombs are typically comprised of confined rooms, which have different spatial characteristics than the external environment because they are covered by heavy layers of soil. In this study, we examined the thermal energy flow from the outside to inside of Songsan-ri tomb No. 6. External heat flows slowly to the inside because of heavy soil layer, and the presence of several rooms and entrances. For this reason, it takes about two months for the air temperature to travel from the outside to the inside of the tomb. Interestingly, the gradational inflow of thermal energy from outside the tomb leads to delicate horizontal and vertical variations in the wall temperature. These micro-environmental differences occur in the inner tomb every year, so we can expect them to cause condensation with regularity. In addition, we show that the previously installed forced circulation air conditioning system risks fatal damage to the mural wall painting. The results of this research suggest an optimal air conditioning system and optimized space planning to conserve Songsan-ri tomb No. 6 and its mural painting.

• Journal of Conservation Science
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• v.35 no.4
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• pp.363-372
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• 2019

Animal glue has been used as a binder in Dancheong since the Joseon dynasty. Binders play an important role in determining the physical characteristics of a painting layer. The analysis of binders can be used to identify the materials and techniques used in traditional Dancheong. Binders can be investigated using physicochemical component analyses methods such as gas chromatography/mass spectrometry, pyrolysis-gas chromatography/mass spectrometry, and fourier transform infrared spectroscopy, but the detection characteristics vary depending on the degradation properties of the pigment and binder. Therefore, cross-validation using a combination of physicochemical analysis and enzyme immunoassay is used to increase the reliability of the results. In this study, we present an enzyme-linked immunosorbent assay (ELISA) as an example of an enzyme immunoassay as a method for analyzing animal glue, a traditional binder used in Korea. The applicability of ELISA was tested using commercial animal glue, in addition to animal glue produced using a variety of extraction conditions. The animal glue was analyzed in a Noerok-additionally coated-replica sample to evaluate the possibility of analyzing the animal glue in a paint layer mixed with pigment. Based on the results, we performed an assay on the use of animal glue in the Dancheong sample of the temples of the Joseon dynasty, that are estimated to have been built in the 17^th century.

• Journal of Conservation Science
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• v.35 no.5
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• pp.494-507
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• 2019

A diagnostic investigation of the conservation state of damaged murals of the Payathonzu temple mainly indicated delamination, exfoliation, and contamination of the coloring layer; cracks and damage to the wall; and separation from gaps. In particular, vulnerabilities resulting from cracks in the wall and damage from gaps demand swift reinforcement measures. Ultrasonic testing uncovered damage caused by gaps between the base layer and plastered wall in several areas of the mural, vulnerable parts in the wall around the cracks, and considerable degradation of the physical properties where cracks and gaps were severe. Moisture measurements identified vast disparities in moisture depending on location even within a single area of the mural, and it was clear that these disparities were the result of environmental conditions such as humidity. Damage to the murals in monument 477 was the most severe, and a diagnostic of the physical properties uncovered severe physical damage to the upper part of the mural as well as to the corridor ceiling, thus presenting the need for conservation treatment utilizing scientific diagnosis as well as objective data.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 2011.05a
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• pp.196-197
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• 2011

Rudder, one of the most important component in the marine vessel, is now being decreased life time to serve due to cavitation erosion, vortex current, high flow speed suffer from ship speed going up dramatically. In this study, 10 kinds of thermal spray coating materials(2 of Zn alloy series, 3 of Al alloy series, 3 of Cu alloy series, 2 of STS alloy series) are chosen to apply on specimens and analyze micro structure, metallic composition, properties(porosity, oxidation) by using visual observation, XRD, EDX etc.. Additionally, to refine the characteristic of corrosion endurance for thermal spray coating layer, compared with thermal spray process and 5 kinds of heavy duty painting and AC paint (Anti-Corrosion Paint). Based on above mentioned experimental results, a priority of all coated specimens on corrosion-erosion endurances finalized and summarized there by desirable composition and process of thermal sprayed material properly.

• 보존과학연구
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• s.26
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• pp.165-188
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• 2005

From the ancient to these days, there have been used many kinds of pigment which have two types that are inorganic pigment and organic pigment. At the ancient times, natural pigment had been used but the artificially mixed pigment has been used in modern times. By the way, searching for studies has been studied recently, it would be said the ancient pigments such as Danchung, Wall painting and Mural painting are the mainthema. However, studies about the pigments used in modern pictured relics have rarely can be found. Therefore, this analysis of Ilweolokdo would be important at the point of the pigments used in pictures of royal family in modern times and the results can be briefly summarized as below; Firstly, the results of qualitative analysis of the pigments that base or all pigments of picture was detected components of Ca, Fe and As, this results meaning that picture was used filler and basic paint. Secondly, a result of the analysis on the composition elements of the pigments shows that the main components in their composition are ;White - Lead Cyanamide($2PbCO_3$.$Pb(OH)_2$) or Titanium Oxide($TiO_2$)Blue - Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$)Green - Emerald green($C_2H_3A_s3Cu_2O_8$)Gold - Gold(Au), Red-Red Lead($Pb_3O_4$) or Cinnabar(HgS)Black - Carbon(C)Thirdly, X-ray diffraction analysis of crystalline structure for the blue and green pigment peeling off in picture shows that the components of blue pigment is Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$) and green pigment is Emerald green($C_2H_3A_s3Cu_2O_8$). Especially, microcrystalline structure of the green pigment was the shape like a cross section of wood. Consequently, we knew through the analysis of qualitative and microcrystallinestructures seen on the cross section of analyzed pigments layer that the all pigments used in the Ilweoloakdo is possible to use synthetic pigments in modern.

• Journal of the Korea Computer Graphics Society
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• v.7 no.4
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• pp.9-18
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• 2001

There was much previous work to represent effects which are used in the real world paintings. In case of Western paintings like as watercolor or oil painting, largely conversion techniques from photo images were researched. However, in case of Oriental paintings, the development of a conversion technique is not easy because a few strokes are used to represent objects. Then, model-based approach was studied to draw Oriental paintings. In this paper, a model-based approach for Oriental paintings is described. In our model, to represent the diffusion effects, LEM(Local Equilibrium Model) is proposed. LEM is a method to calculate the movement of water and ink effectively. Also, a layer model for paper is proposed to discriminate wet or dry state. And a brush model to draw strokes is described.

• Journal of Surface Science and Engineering
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• v.49 no.2
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• pp.141-146
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• 2016

In this study, electrophoretic paint (E-paint) was deposited on the knife-abraded surface of AZ31 magnesium alloy (AZ31), and its adhesion and corrosion resistance were examined by tape peel-test and salt spray test, respectively. E-paint started to deposit on AZ31 Mg alloy after an inductance time and pores were found in the E-paint layer which is ascribed to hydrogen bubbles generated on the surface during the painting process. The pores disappeared after curing for 15 min at $160^{\circ}C$. The E-paint on AZ31 exhibited good adhesion after immersion in deionized water for 500 h at $40^{\circ}C$. The E-paint sample without scratch showed no corrosion after 1500 h of salt spray test. However, on the scratched sample, blisters were visible adjacent to the scratched sites after 500 h of salt spray test.

• 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.

• KOMUNHWA
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• no.66
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• pp.87-112
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• 2005

Stain removal on ivory has been, for a long time, considered an undesirable treatment in conservation field because ivory is hygroscopic and anisotropic, having different physical properties in different directions. Cyclododecane, which sublimes at room temperature, has been investigated for its use in conservation field since 1995, as a reversible temporary consolidant, sealing agent or coating, water repellent, and barrier layer. This research aims to remove stains on ivory, temporarily protecting the none-stained area or painted area from methanol, acetone or the aqueous cleaning system using cyclododecane as a hydrophobic sealing agent. This research also aims to obtain information regarding whether cyclododecane can be safely and effectively used on archaeological wet ivory. Melted cyclododecane and saturated solutions of cyclododecane in mineral spirits, and hexanes were applied to ivory samples. Application methods, working properties of cyclododecane on ivory, and effect of cyclododecane coating on moisture content of wet ivory were evaluated. The sealing layer formed by molten cyclododecane or by saturated cyclododecane solution in hexane or saturated cyclododecane solution in mineral spirits did not form a secure contact with the surface of the highly polished ivory. The sealing formed with two different layers, in which saturated cyclododecane solution in hexane was applied initially and then molten cyclododecane was applied over the first layer, was found to securely protect the painted area. When the wet samples were kept in 100% RH environments for a month, active mold growths were observed except in the samples sealed with molten cyclododecane. In conclusion, cyclododecane was an efficient hydrophobic sealing agent to protect painting area while cleaning stains on ivory. It also prevented mold growing on wet ivory and wet bone. Evenness of cyclododecane film on ivory will be determined in UV light. Analytical techniques will include visual observation, polarized light microscopy, Scanning Electron Microscope, and Gas Chromatography.

• Journal of the Korean Electrochemical Society
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• v.3 no.3
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• pp.136-140
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• 2000

A stainless steel separator for a molten carbonate fuel cell is usually coated with aluminum diffusive layer to protect its surface against corrosion by the molten carbonate at high temperatures. In this study, a relatively simple method was devised to form the aluminum diffusive layer on a stainless steel substrate. Slurry coating of aluminum on the substrate followed by heat treatment under reducing atmosphere at $650\~800^{\circ}C$ produced the aluminum diffusive layer of $25\~80{\mu}m$ thickness. The thickness of aluminum diffusive layer increased with increasing the temperature or duration of the heat-treatment. The corrosion resistance against molten carbonate under oxidizing atmosphere was significantly improved by aluminum diffusive layer formed by the sluny painting and heat treatment method. Moreover, the sample prepared in this study showed corrosion behavior similar to the sample with aluminum diffusive layer prepared by ion vapor deposition and heat treatment.