• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.22-23
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• 2007

• 한국문화재보존과학회:학술대회논문집
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• 2006.04a
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• pp.39-44
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• 2006

• Conservation Science in Museum
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• v.11
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• pp.53-60
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• 2010

In this paper, key features of an excavated submarine article and general process of its conservation will be introduced. First, the conservation process of removing salt from an excavated submarine article was done by desalting stage, and the X-Ray photographing was done for its inner and outer damage detection. The process of making a restoration mold with the beeswax for the broken part, making restoration material with fillers and grinded broken pieces of earthen ware have similar color and quality, and color matching distinguishable for the naked eye after the whole conservation process have been finished.

• 한국문화재보존과학회:학술대회논문집
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• 2003.09a
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• pp.79-80
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• 2003

• Conservation Science in Museum
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• v.10
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• pp.1-13
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• 2009

A part of the bronze bell from Goryeo (918-1392) in the collection of Buyeo National Museum was missing, and it was noted to retain corrosion products and burial accretions. Chemical analysis showed that the chemical composition of the bronze bell is Cu (74.18%), Sn (9.58%), Pb (15.77%), and very small amounts of As, Fe, Sb, Bi, and Ag. It was noted that the microstructure of the bronze bell was mainly made up of α phase and α+δ eutectoid phase, and gray (S) and black (Pb segregation) prevailed. Conservation treatment has been done for the preservation of this bronze bell.

• Conservation Science in Museum
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• v.14
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• pp.1-5
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• 2013

This study was conducted to analysis and conserve a lacquered sheath excavated from Soochon-ri, Gongju, Korea. The lacquered sheath was collected together with iron relics. The lacquered sheath was damaged and lost the parts by the external pressure. Many parts were adhered with the rust. Firstly, the object was understanded to have the relation with the iron materials excavated together through the X-ray photographs. As the analysis of the lacquer layers, the report conducted to a study the method of production. After the analysis of relic, the conservation treatment was performed for the stability of original shape. And we made the protection frame for the storage and exhibition.

• 한국문화재보존과학회:학술대회논문집
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• 2005.03a
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• pp.24-27
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• 2005

• 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.

• Journal of Conservation Science
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• v.35 no.3
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• pp.259-268
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• 2019

Stone cultural heritage will either be damaged by composite damage or will lose its original historical authenticity starting with the moment it is created. Various artificial interventions to restore them to their original state have been described, centering on the conservation treatment case of the Stupa of State Preceptor Jigwang from the Wonju Beopcheonsa Temple Site. Restoration of the Jigwang stone pagoda was carried out after securing all scientific and technological means for the research and protection of the cultural heritage in question. Since its restoration was promoted to retain its aesthetic and historical value and was based on a careful understanding of the original materials and prototypes, extensive restoration was sought, which contributed to the restoration of the original form, resulting in both preservation and authenticity.

• Journal of Conservation Science
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• v.35 no.6
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• pp.689-700
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• 2019

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.