• Title/Summary/Keyword: Soil mural

Search Result 16, Processing Time 0.019 seconds

Manufacturing Technique of the Avalokitesvara Bodhisattva Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong

  • Yu, Yeong Gyeong;Jee, Bong Goo;Oh, Ran Young;Lee, Hwa Soo
    • Journal of Conservation Science
    • /
    • v.38 no.4
    • /
    • pp.334-346
    • /
    • 2022
  • The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.

A Characteristic Analysis on Clay Pigments of Mural Paintings in Sri Lanka

  • Yoo, Seon-Young;Seneviratne, Buddakoralelage Janani Namal;Kim, Gyu-Ho
    • Journal of Conservation Science
    • /
    • v.38 no.4
    • /
    • pp.327-333
    • /
    • 2022
  • Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al2O3) and silicon dioxide(SiO2) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics of clay pigment samples, we go over previous pigment analyses of mural paintings in Sri Lanka. Kaolin is identified after the 17th century, yellow and red ochre are applied in early periods, Classic and Late Classic styles. The change in raw materials of pigments occurred in the 17th century.

Study on Material Characterization of Earthen Wall of Buddhist Mural Paintings in Joseon Dynasty (조선시대 사찰벽화 토벽체의 재질특성 연구)

  • Lee, Hwa Soo
    • Journal of Conservation Science
    • /
    • v.32 no.1
    • /
    • pp.75-88
    • /
    • 2016
  • In this study, 5 mural paintings in the Buddhist temples of Joseon era were researched for component analysis on the soil contained in the walls. The results of particle size analysis showed that the ratio of particle contents were different in each layer. In the finishing layer, the distribution of the middle sand fraction is higher than that of the middle layer. The results of XRD analysis showed that quartz, feldspar, and clay mineral are the main components of sand, suggesting similar mineral composition to that of ordinary soil component. It seems weathered rocks were used for construction of the walls. The main chemical components detected from EDX analysis were Si, Al, Fe, and K. Also the SEM images showed sand or clay sized minerals. In conclusion, the walls of the buddhist mural paintings in Joseon Dynasty had been constructed by using the loess, and had been produced by using mixture of clay and sand particles of different sizes for each layer. This study identified the characteristics of the materials and the manufacturing technologies used on the walls of mural paintings of Buddhist temples in Joseon era.

Study on Application of Filling Material for Reinforcement of Soil Murals in Buddhist Temple (토벽화 균열부 보강에 사용되는 충전제 적용 연구)

  • Lee, Kyeong Min;Lee, Hwa Soo;Han, Kyeong Soon
    • Journal of Conservation Science
    • /
    • v.29 no.4
    • /
    • pp.395-406
    • /
    • 2013
  • The conservation of damaged object should be restored by the similar material with the original and they have to reversibility as possible as. The characteristics of Buddhist mural paintings composed of clay are with soft material. So far, there have been a number of researches done on filling material that reinforces cracks and exfoliation of mural painting. Based on the application of traditional materials, it was found that they are appropriate to various applications. However, only based on those research results, there are some constraints to the application in the field. In addition, there has been only a few researches done on physical characteristics of filling materials. A major issue is that there is not any standard established on various mixing ratio, which is required for treatment of mural painting. This study was carried out to understand the physical characteristics of filling materials on clay mural painting. The 1st test was conducted to analyze test specimen in twelve different conditions by varying soil mixing ratio and organic medium. The 2nd test was conducted to manufacture filling materials appropriate to the mural painting, based on the result of stable condition from the 1st test, and which was applied to treatment in field.

A Study on Painting Layer Fixative Processing of Mural Paintings of Buddhist Temples in Korea (한국 사찰벽화 채색층 고착처리제 적용 연구)

  • Lee, Haw-Soo;Han, Kyeong-Soon;Lee, Sang-Jin
    • Journal of Conservation Science
    • /
    • v.29 no.1
    • /
    • pp.81-92
    • /
    • 2013
  • In the past, European material and method were applied to conservation of Buddhist mural paintings in Korea. At that time, there were inadequate to selection of materials in consideration of porosity and hydrophilicity, therefore insufficiency to assessing their suitability for materials. The treatment result of mural painting are dissatisfied with consolidation of painting layer using synthetic resin. Therefore, it has experimented on applying fixative for reinforcement of painting layer on Buddhist mural painting in order to establish the effects of conservation. In relationship of binder's viscosity, adhesion and penetrating depth, adhesion increased in high-viscosity specimen whereas it decreased in low-viscosity specimen. While the binder's penetrating depths show similar patterns, the surface's response and combination adjacent to painting layer have differences. Animal glue and methyl cellulose (MC) shows excellent performance in their reaction with soil and painting layer. It is estimated that the fixative penetrates deep into soil to produce a stable fixing effect. The viscosity of polyvinyl acetate resin (PVAc) and acrylic resins are low, and thus penetrates well into soil, but they adhere poorly to soil.

A Study on the Manufacturing Properties of Soil Mural's Finishing Layer with Different Types and Concentration of Natural Adhesives (천연 보강 매제의 종류 및 농도에 따른 토벽화 마감층 제작특성 연구)

  • Moon, Hye Young;Lee, Kyeong Min;Chung, Yong Jae
    • Journal of Conservation Science
    • /
    • v.34 no.3
    • /
    • pp.143-155
    • /
    • 2018
  • In this study, we investigated the properties and manufacturing methods of soil mural finishing layers fabricated using animal glue, starch adhesive(wheat paste), and Dobak glue. We assessed the workability and weatherproofing properties of the earthen plaster and finishing layers fabricated using concentrations of 3%, 5%, 7% and 10% for each adhesive. The results showed that a mixture using 3% or 5% starch adhesive or 3% Dobak glue was suitable for constructing the finishing layer. For finishing layers made with animal glue, earthen plaster had poor workability. It was dry and easily broken as the concentrations of animal glue increased. However, specimens made with low concentrations of animal glue did not exhibit surface deterioration after a freezing-thawing test. Therefore, animal glue mixtures could possibly be used for constructing finishing layers in concentrations lower than 3%. Mixtures containing starch adhesive produced plasters with good workability. Additionally, starch adhesive enhanced compression strength. However, when starch adhesive was mixed at concentrations above 7%, the surface exhibited roughening and staining in freezing-thawing tests. When Dobak glue was used in mixtures, it enhanced compression strength, but concentrations above 5% produced specimens with surface cracking. For concentrations of 3%, there were no cracks and the specimens were stable after freezing-thawing tests, so concentrations below 3% of Dobak glue are suitable for constructing finishing layers. We expect this study will be useful for restoring the traditional technology of soil mural finishing layers and suggest using adhesives to construct the finishing layer.

Material and Manufacturing Properties of Bracket Mural Paintings of Daeungjeon Hall in Gaeamsa Temple, Buan

  • Lee, Hwa Soo;Yu, Yeong Gyeong;Han, Kyeong-Soon
    • Journal of Conservation Science
    • /
    • v.38 no.1
    • /
    • pp.45-54
    • /
    • 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.

Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo (진도 쌍계사 대웅전 벽화의 재질특성 및 제작기법 연구)

  • Lee, Na Ra;Yu, Yeong Gyeong;Lee, Hwa Soo
    • Journal of Conservation Science
    • /
    • v.37 no.6
    • /
    • pp.701-711
    • /
    • 2021
  • This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

Thermal Environment Analysis for Preserving Ancient Mural Painting in Songsan-ri Tomb No. 6, Gongju, Korea (공주 송산리 6호 벽화고분 보존을 위한 온열환경 분석 연구)

  • Kim, Dae Woon;Jeong, Sun Hye;Lee, Min Young;Chung, Yong Jae
    • Journal of Conservation Science
    • /
    • v.32 no.4
    • /
    • pp.521-534
    • /
    • 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.

Study on Physical Change in the Earthen Finish Layer of Tomb Murals Due to Drying (건조에 따른 고분벽화 토양 마감층의 물리적 변화)

  • Cho, Ha-Jin;Lee, Tae-Jong;Lee, Hwa-Soo;Chung, Yong-Jae
    • Korean Journal of Heritage: History & Science
    • /
    • v.50 no.4
    • /
    • pp.148-165
    • /
    • 2017
  • Mural paintings drawn inside ancient tombs are very sensitive to changes in the environment such as temperature and humidity, especially the finish layer of the tomb murals differ in preservability depending on the material properties and humidity conditions. In this study, I examined the mural painting of Songsan-ri Tomb No.6, where the finish layer was made of earth, and identified the physical changes that can occur due to drying, depending on the material properties of the finish layer. I found out through particle size analysis that the finish layer of the mural painting in Songsan-ri Tomb No.6 is about 85.0wt% below silt, about 14.0wt% clay therein, mostly composed of silt and below clay. I also found out through physical property evaluation that surface change rate of samples showed the largest change at 15.5% in reproduced finish layer sample made up of bentonite, followed by 7.8% of reproduced finish layer sample made up of celadon soil, 6.3% of reproduced finish layer sample made up of loess, 6.2% of reproduced finish layer sample composed of white clay and the same order of change in appearance was confirmed in each sample consisted of soil. In addition, it showed the same trend of surface change rate, and the bentonite condition showed the largest change, in the measurement of shrinkage rate and expansion rate. The experiment shows that the finish layer composed of soil is affected by cohesion among particles according to the content of fine parts and the relationship between the agglomeration due to the content of the differentiated part and the stress due to the expansibility depending on the kind of the clay mineral etc. Therefore, it can be concluded that the physical damage occurred in the mural painting finish layer of the Songsan-ri Tomb No.6 is related to the factors such as the material characteristics of the soil and the highly humid environmental change inside the tomb.