• Journal of the Korean Wood Science and Technology
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• v.50 no.3
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• pp.193-217
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• 2022

The Wooden Seated Amitabha Buddha Triad and Altarpiece have not been the subjects of definitive species identification and scientific analysis. In this study, visual investigation, portable X-ray fluorescence (p-XRF), species identification, and lacquer layer observations were carried out to determine the original materials and conservation status. Cracks, exfoliation and discoloration were detected during the visual investigation. The p-XRF data indicated that chrome oxide green, malachite, gold, cadmium red, cinnabar, minium, hematite, lead white, ink stick (Carbon), and copper were used for pigments and the coronet accessory. Tilia spp., Abies spp., and Pinus spp. were identified from both the Buddha Triad and Altarpiece. Finally, lacquer layer analyses of the base layer, lacquer layer, orange pigment layer, and gold leaf layer observed modern synthetic pigments likely used in previous conservation. As the Korean Cultural Heritage Charter and the International Charter for the Conservation and Restoration of Monuments and Sites clearly state that objects of cultural heritage must be conserved using their original materials, future conservation of these objects should utilize the data obtained in this study to employ traditional materials. Furthermore, a deterioration map diagnosis can be applied together with the obtained analysis data to understand the conservation status of and inform an appropriate and authentic conservation treatment for the Buddha Triad and Altarpiece.

• Journal of Conservation Science
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• v.33 no.2
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• pp.61-73
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• 2017

In order to identify the application techniques of wooden lacquerware artifacts, optical/polarized light microscopy, Fourier transform infrared (FT-IR) spectroscopy, and scanning electron microscopy (SEM) equipped with energy dispersive X-ray analysis (EDX) were conducted on the lacquer films of 61 wooden lacquerware artifacts excavated from the Imdang-dong site, Gyeongsan, Korea. Powdered soil, soot, and charcoal were used as a filler for the undercoat, and iron oxide ($Fe_2O_3$) was used as a red pigment. Five different applying techniques were identified for the undercoat according to the composition of the lacquer. Eight different application techniques were identified for the final coat (on the middle layer and surface layer). Totally seventeen application techniques were identified based on the combination methods of the undercoat and finalcoat. Consequently, the undercoating techniques of Imdang-dong lacquerwares were found to be similar to those of lacquerwares from excavated in other provinces. However, the use of iron oxide as a red pigment at Gyeongsang province is very characteristic compared with others.

• Journal of the Korea Furniture Society
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• v.27 no.3
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.

• Journal of Conservation Science
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• v.25 no.4
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• pp.421-430
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• 2009

This research was carried out focusing on the urgent treatment and related studies for paint scribbling on Samjeondobi Monument (Historic Sites No. 101) in 2007. Before the preliminary test, the paint lacquer used on the surface of Samjeondobi Monument was analyzed. The paint lacquer turned out to be the paint lacquer spray composed of $Pb_3O_4$ used for the red pigment in the market. It was proved that the poultice used with the organic solvent was the best way to remove the paint pollutants following the preliminary test for the removal of paint pollutants which was performed with various removal methods by the laser, etc. However, the removing the paint pollutants was found in difficulty in contrast to the preliminary tests because the paint on the spot was hardened so rapidly over time that there was difference from the situation of the laboratory. For that problem, the poultice method with ethylene dichloride of main component from Remover (goods in the market) was the most efficient, therefore the pollutants were removed with the solution of alkyds resin and nitrocellulose and the rest part was removed by the $Laponite^{(R)}$ RD.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.139-147
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• 2014

This paper researched the woodcraft in the Baekje kingdom since the study on the Baekje furniture has not been established due to the absence of the artifacts or remains related to the furniture in the Baekje period. Accordingly, the study focused on the excavated Baekje wooden products and wood crafts on the basis of ancient documents and investigated the ancient documents supposedly related to the Baekje furniture: The Chronicles of the Three States and Japan Scribe. As the result of the study, it could be summarized as follows. First of all, the woodcraft materials were wood, whagak, ivory, silver, gold and they were domestic or imported. Secondly, the woodcraft was finished naturally or lacquered with black or red color or varnishing with lacquer. Thirdly, the kinds of furniture used in the Baekje were a desk, a small portable dinning table, a table and folding stool. Even though there has been no heritage of the Baekje furniture and woodcraft and it is difficult to explain the characteristics or give an example of the Baekje furniture in detail, this study seems to be significant now that it researched the documents and related artifacts or remains which could give some hints or hypothesis of the furniture and woodcraft in the Baekje. What is more, there have been no sound studies on the Baekje furniture.

• Journal of Conservation Science
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• v.30 no.3
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• pp.277-286
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• 2014

This is the scientific analysis of lacquered pottery cup and lacquered pottery plate excavated from Pyongyang Tomb No.53 at Namjeong-ri, Nangnang Tomb, which were under conservation treatment as a part of the Project of Unregistered Artefacts Uncovered in the Japanese Colonial Era. It is very rare to have a lacquered pottery cup and plate, lying on a lacquered pottery table, as a set of grave goods. In particular, they are not wooden but pottery items. Of that on this analysis Lacquered pottery cup and lacquered pottery plate use red pigment and black pigment mixed with lacquer. Analysis results of red pigment is cinnabar(HgS) and black pigment is estimated carbon-based pigment.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.463-476
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• 2016

Western countries came to Asia aggressively in the early 1900s. Westerners who came to Korea at that time also had a various jobs with diplomats, missionaries, doctors, and so on. Korean diet was curious and shocking to foreigners in the early 1990s, so they made a record of the Korean diet. They thought Korea was peaceful, attractive and rich to eat. Koreans ate mainly rice and kimchi, a variety of grains, vegetables and bibimbap. Korea had a variety of meat and fish, seaweed, and herbs(ginseng). Foreigners said Koreans were greedy for food and ate a lot. Koreans ate basically a bowl of rice(bap), a bowl of soup(kuk), kimchi, soy sauce and other dishes. If Koreans wanted to set a table in abundance, they have meat soup(kuk) with meat and additional fish like as raw fish, dried fish, and boiled or fried fish. Korean people had a jangdokdae with Ongki(Earthen jar) where soy sauce(kanjang), soybean paste(doenjang), red pepper paste(kochujang), pickles (jang-achi) have been fermented. Foreigners felt the smell of lacquer tree and kimchi hung in the air from Korean people. While they were compared it to the smell of western rim cheese burger, they said Korea was a country with nasty smell in the feet. By the records of foreigners in the early 1900s, Korean's diets and image were appeared objectively.

• Journal of Conservation Science
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• v.38 no.2
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• pp.133-143
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• 2022

In this study, we analyzed the rickshaw (Owned by the Daegu Modern History Museum) by measuring each material. The purpose of the study was to identify the materials in modern cultural assets that utilize a variety of materials in a complex way, and establish basic data for preservation and management. Using portable X-ray fluorescence analyzers (P-XRF), species identification, fiber identification, paint film analysis (microscope observation, SEM-EDS, FTIR) on metal, wood, fiber and paint was carried out. Brass, an alloy of Copper, Zinc and Iron, was measured in the metal parts. Further, wooden parts, such as Oak (Quercus acutissima), Japanese Cedar (Cryptomeria japonica), Bamboo (Bambusoideae). Torreya nucifera (Torreya spp.) were identified in the body. Fiber parts consisted mainly of cotton, but some parts were also made of leather. In terms of paint, rickshaws were applied with multiple layers, using cashew (synthetic paint used in place of lacquer). In sum, the rickshaw body part appeared to overlap with layers of fiber, metal (soild), paint, and colored (black, red) layer.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.48-65
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• 2018

The authors of this paper aim to make a record of the construction process, its symbolic meaning, and the changes in the status of the landscape plants at the Pasanseodang according to the Report on the Pasanseodang written by Park Gyu-hyun in 1874. First, the construction of Samgahun Pavilion, which is located in Myo-ri, Habin-myun, Dalsung-gun, Daegu, took about 90 years and spanned the lifetimes of Park Sungsoo, an 11th-generation descendant of Park Paengnyun (1417~1456) through to Park Kyuhyun, a 14th-generation descendant. It was called the shape of dragon, with its head facing the tail (回龍顧尾形), in feng shui. Second, the village of Pahwoe was founded in 1769, the 45th year of the reign of King Yeongjo, by Park Sungsoo for the purpose of socializing with his friends at his thatched home, and was named after his own courtesy name (Samgahun). Park Kwangseok, the second son of Park Sungsoo, built the sarangchae in 1826 and the anchae in 1869 after his marriage (in 1783). Then, Park Kyuhyun, the grandson of Park Kwangseok, built the pond and planted it with lotus flowers, and built the Hayeopjeong in 1874. The Pasanseodang, as the precursor of the Hayeopjeong, may be related with the name of the hillside region behind Samgahun. Third, a quadrangular-shaped pond with a length of 21m and a width of 15m was also built and planted with lotus flowers. In the center of the pond is a small round island that reflects the world view of the Chosun dynasty, i.e. that the sky is round and the landmass is quadrangular. Meanwhile, the name of the Hayeopjeon reflects the value system of aristocrats who lived a life of leisure and artistic indulgence. They called the eastern room "Yeeyeonhun" (怡燕軒) and the western room "Mongyangjae" (蒙養齋), names which embody their wishes for a good life as a member of the nobility and a bright future for one's descendants. Fourth, in Confucian terms, the authors infer the points of view reflected in the kinds of trees that were planted according to Confucian norms (pine tree, lotus, bamboo), the living philosophy of sustainability (willow), the ideology of seclusion and the search for peace of mind (bamboo), and relief efforts for the poor and a life of practicality (chestnut, oak, wild walnut, lacquer). The authors assert that this way of planting trees was a highly effective design feature of landscape architecture that drew on the locational and symbolic significance of the Seodang. Fifth, the majority of the trees that were initially planted withered and were replaced with different species, except for the locust and lotus, at this point. Nevertheless, a review of the process of construction, symbolic meaning, and original architectural landscape of the Samgahun is of value in demonstrating the extended symbolic meaning of their descendants in terms of the practical loss of the function of the Seodang, the values of Feng Sui (red in the east, white in the west, based on the principles of Feng Sui), the function of repelling evils spirits (kalopanax, trifoliate orange), aesthetic and practical values (sweetbrier, apricot, pear, peach, and oriental oak trees), and the prosperity of the family and the timeless value of honest poverty (silk, crape myrtle, and yew trees).